Saturday, September 24, 2016

SWAMP WITCH: The Slithering Bog From Oppressive Death Doom Collective Streaming At Decibel; Record Out Now On Vinyl Via Tribunal Of The Axe

"The Slithering Bog moves slowly but heavily, accented by echoing growls and slow, oftentimes psychedelic, guitars. It's an album that just feels creepy, in the best way." -- Decibel

The Slithering Bog is the oppressive, six-track offering from West Coast death doom collective SWAMP WITCH. Captured during July 2014 at Earhammer Studios in Oakland, California by Greg Wilkinson (Brainoil, Annihilation Time, Noothgrush, et al) and mastered at Trakworx in San Francisco by Justin Weiss (Ludicra, Slough Feg, Cormorant, et al), the record was initially released on cassette via Transylvanian Tapes and is now available on vinyl via Tribunal Of The Axe. 

In celebration of its release, Decibel is currently streaming the record in full issuing, "What happens when you mix suffocating death/doom with hallucinogenic elements and lyrics about derealization then remaster it for vinyl? You get SWAMP WITCH's haunting The Slithering Bog.... The Slithering Bog moves slowly but heavily, accented by echoing growls and slow, oftentimes psychedelic, guitars. It's an album that just feels creepy, in the best way."

Succumb to the sounds of The Slithering Bog at THIS LOCATION. 

The Slithering Bog comes available in three color variants (black, purple haze, and swamp green). For orders visit THIS LOCATION. 

SWAMP WITCH is the culmination of psychedelic substances, occult practices, and a collective interest in dark, strange, and ultimately hallucinogenic music originally devised with the sole intent to commit and record ritualistic extremities through heavy music only for the night of 9/9/09. In the aftermath, members found themselves pressed to continue the slow-burning drudgery sparked on that September ninth into the months that followed, leading to shows, recordings, band members towing themselves out of the smog from Central Valley, California and into Oakland (and Arcata, respectively) and finally, the vinyl release that recollects the original material of that evening: Gnosis.

The punishing, murky layers protruding from 2011's Gnosis recordings drip with the trance-laden, drug-induced efforts of '70s psychedelia compressed into the claustrophobic toil and painful repetition of '90s sludge. This concept of Gnosis actually seems more akin to H. P. Lovecraft's ideas of psychosis and derealization as the only thing the feeble human mind can experience when confronting truth (cosmicism), as opposed to gnosis in the classic, transcendental sense of the term. In other words, it's fucked up.

The Slithering Bog continues where Gnosis left off: massive riffs and drug induced occult imagery dripping with psychedelia emphasized on tracks like opener "Strange Cults" and the grim pursuit that is "The Marsh of Delusion." The psychedelia evoked here by SWAMP WITCH is offset by a painful and toiling death/doom; nasty, alienating, tempos filled with otherworldly visions. Although description of this style range may seem conflicting, the lyrical themes involving psychosis and derealization create an obvious connection and intention between any supposed opposition of sound. The sound SWAMP WITCH presents here is involved with channeling a period of doom, before it broke big, that wasn't needlessly defined by sub genres: it's all dark and heavy. Indeed, the end result of almost two years of writing proved worthy, as warped landscapes and fungal textures resting somewhere between dream-like and sleep paralysis culminated into The Slithering Bog.

 "Managing a fine balance between lumbering, sludgy doom metal and drug-fractured psychedelia, the band brings to mind the likes of Yob, Electric Wizard, and Weedeater, but there's something altogether deeper running through the proceedings than mere sonic affiliations." - Rue Morgue 

"This record literally creeps up on you, and traps you slowly and imperceptibly, and when you realize that its slimy and vile tentacles are already around your neck, it is too late, you're fucked." - Cvlt Nation

"...swampy, witchy, stinking psychotropic sludge..." - Echoes And Dust

"Slow, nasty, compelling, and repugnant; The Slithering Bog is the soundtrack to lost nightmares. You may not realize it yet, but this means it's utterly essential." - Wonderbox Metal

MISS LAVA: Portuguese Psychedelic Outfit Issues Cryptic New Video For "Another Beast Is Born" + Tour Dates Announced

Following the Small Stone Records release of their Sonic Debris LP in May, Portugal's MISS LAVA has just issued a new video from the record, created for the song "Another Beast Is Born." The clip is an adaptation of 1971 French film Don't Deliver Us From Evil (Mais Ne Nous Délivrez Pas Du Mal) by Joël Séria.

Offers vocalist Johnny Lee of the song, "In times like these is unbelievable how often we see people losing their lives by the hands of cold-hearted creatures who have no regard for human life. 'Another Beast Is Born' is our trip to hell to meet those creatures. It's a song with a touch of doom and black metal, a dark place we haven't explored before in MISS LAVA, a song with a big riff that still blows my mind, and is one of my favorites in the album."

See MISS LAVA's "Another Beast Is Born" video RIGHT HERE.

MISS LAVA also begins a steady burst of Portuguese tour dates this week in support of the album, with shows booked throughout their home country from now through November, with many additional live shows to be continually announced in the weeks ahead.

MISS LAVA Tour Dates:
10/01/2016 Festival Bardoada e AJCOI - Pinhal Novo, PT
10/08/2016 Festival Faro Alternativo - Faro, PT
10/28/2016 DRAC - Figueira da Foz, PT
10/29/2016 Club de Vila Real - Vila Real, PT
11/19/2016 Bafo de Baco - Loulé, PT

See MISS LAVA's previously-released videos for"The Silent Ghost Of Doom" RIGHT HERE and "In The Arms Of Freaks" HERE, and stream Sonic Debris in its entirety HERE.

Sonic Debris is available on CD and 180-gram light blue vinyl limited to 500 units at THIS LOCATION.

A true sonic voyage with a diversity beyond anything yet evidenced by the band, Sonic Debris traverses unexplored auditory landscapes. Throughout the record's ten consuming movements, MISS LAVA manifests explosive sound textures, kaleidoscopic asteroids, and obscure beasts making for an all-consuming listen that's difficult to overlook. Outlaws Of The Sun notes, "Sonic Debris sounds like the stoned out offspring of Queens Of The Stone Age, Kyuss, Monster Magnet and Truckfighters all vying for musical supremacy. And for that you will be crazy to miss this superb album. Excellent and highly recommended." Rock And Roll Fables hails the band's fusion of, "Kyuss' wall of sound with Monster Magnet's psychedelia and a little of Corrosion Of Conformity's Southern-fried jam sensibility," further gushing, "Saying MISS LAVA could be the next Kyuss is a bold statement. I know this. That band was the one that set me on the path to my musical awakening when I was just a wee lad. If Kyuss followed up Blues For The Red Sun with another album (and not the Sky Valley concept), then they'd be lucky to have it sound as good as Sonic Debris. Yep, I said it."

Sonic Debris was captured at Pentagon Audio Manufacturers, JDB Showroom, and Estúdio Crossover in Lisbon at various times throughout 2014 and 2015, produced by Fernando Matias and MISS LAVA, engineered by Matias, José Pedro Ataíde, and Ricardo Bravo, mixed by Benny Grotto at Mad Oak Studios in Boston, Massachusetts, and mastered by Chris Goosman at Baseline Audio Labs in Ann Arbor, Michigan. Sonic Debris follows 2013's Red Supergiant and 2009's Blues For The Dangerous Miles, which was listed among Loud Magazine's Top Five Portuguese albums of that year, and 2008's limited edition, self-titled EP.

Friday, September 23, 2016

Party on! Stream XII BOAR's groovy new album in full now!

Described as "a veritable orgy of garage metal and stoner dropkicks that will leave you reaching for the whiskey" by Metal Hammer, the fun-laden metal'n'roll 12-track piece was recorded and produced by Chris Fielding at Skyhammer Studios. 

XII BOAR's guitarist and vocalist Tommy Hardrocks provided a full track-by-track guide for this new album, which you can hear in its entirety RIGHT HERE.

XII BOAR "Beyond The Valley Of The Triclops"

"A veritable orgy of garage metal and stoner dropkicks that will leave you
reaching for the whiskey." Metal Hammer

"Filthy as fuck and deliciously dirty, XII Boar's Triclops is gonna find you
 and fuck you up." Rocknreel Reviews

"If you're into groovy party metal, this is an absolute must-have." Merchants Of Air
Speeding at you like an out of control train, XII BOAR (pronounced 'Twelve Boar') have been tearing a new one into the stoner/sludge/metal scene over the last few years. The three-piece wrecking ball from Aldershot, Hampshire, blast their way into your skull with ear-splitting leads, sonic riffs, filthy bass lines, whiskey drenched vocals and a sweet southern groove.

Combining Motorhead’s swagger, Sabbath’s downtrodden doom and the swinging crunch of Corrosion of Conformity – these Hampshire louts lay down a colossal slab of rock'n'roll-infused groove metal, alongside a wild live show to fuel even the greatest parties. Now the band is on a path to do great things. With their debut album "Pitworthy" released in March 2015, XII BOAR are rapidly becoming unstoppable. Their upcoming new album "Beyond The Valley Of The Triclops" was produced by Chris Fielding at the legendary Skyhammer Studios, who helped to drive the band to bold new levels, creating some of their most epic and party-hearty material yet. Wrapped up in some stunning, booty-tastic artwork done by quasi-legendary artist James Hayball, "Beyond The Valley Of The Triclops" creates a total sonic experience, the sort of thing that you can get utterly and beautifully lost in, as you travel beyond the valley. After all...

This is pure rock and roll for the heavier generation.

Tommy Bassom - Guitar & Vocals
Adam Thomas - Bass & Backing Vocals
Dave Wilbraham - Drums


The Well premiere first track from forthcoming album Pagan Science via Brooklyn Vegan

Austin trio The Well premiere the first track from their anticipated forthcoming album Pagan Science today via Brooklyn Vegan. The song "Black Eyed Gods" is available to hear and share HERE. (Direct   Soundcloud).

The Well was also recently prominently featured on The Walking Dead star's Ride with Norman Reedus TV show on AMC. Not only has the band composed and recorded the series' original theme song, they also appeared on a recent episode with Reedus, an avowed fan of the band and all things RidingEasy.

The impressive crux of Pagan Science, the sophomore album by Austin trio The Well, is that It's a multiplicity of itself. From the band's dual male/female vocals to their transcendently timeless sounds and erudite lyrical themes, Pagan Science is crystalline in its complexity and clarity at the same time.

The Well walk an intriguing line between authentic early 70s doom/heavy psych and the more frayed-edge-of-sanity weirdness of their hometown's legendary noise rock scene, whilst also splicing in shades of chamber choir vocals, occult rock and dark folk.

Sonically, Pagan Science picks up where The Well -- bassist/vocalist Lisa Alley, guitarist/vocalist Ian Graham and drummer Jason Sullivan -- left off with their widely heralded 2014 RidingEasy debut Samsara. Here, the band's heavy psych, proto-metal sound growing evermore vast, yet more focused on hooks, and their lyrics more conceptually intricate. Part of a running thread throughout the album's introspective lyrics is the notion that the world outside of one's own mind is also a creation and reflection of the interior world of that mind. And, just like the band's sound is one thing (undeniably heavy) and simultaneously another (dark folk, blues... there's even a Crosby, Stills & Nash cover, "Guinnevere"), it's this multiplicity that makes Pagan Science such a captivating record.

Pagan Science was recorded with producer/engineer Chico Jones at Micro Mega Studio in 2016. Jones also previously engineered the band's debut album Samsara with producer Mark Deutrom [Melvins, Sunn0)))] in 2013. Samsara, released late September 2014 was ranked the #1 debut album of 2014 by The Obelisk and widely praised in the press. Likewise, the band's intense - some even say "possessed" - live performances have earned them featured slots at Austin's Levitation Fest in 2015 & 2016, as well as tours with Kadavar, All Them Witches, Black Tusk and more.

The album kicks off with a looped vocal harmony launching a slithering guitar riff and thunderous drums on "Black Eyed Gods" in which the band's dual vocalists sing in unison throughout like Byzantine monks. "Skybound" starts with a fast churning riff with vocals run through heavy delay and reverb until the drums cut out briefly, then, dropping to half-time the song becomes a massive psychedelic throb as the vocals continue to loop onto themselves above the proceedings. "A Pilgrimage" takes a slower groove, accented by pulsing congas and single note Middle Eastern sounding guitar progression. "Byzantine" begins with monk-like chants, swelling cymbals and droning guitars building up to pounding toms until it all coalesces in a massive eruption. "Choir of the Stars" slowly builds over a lugubrious bass line as a snarling slide guitar weaves throughout, while haunting sounds of yelping coyotes echo in the background. The song ends in a pig-like guitar squeal as "Brambles" begins beneath. Syrupy guitars merge with Alley's and Graham's unison vocals to form a slowly building monolithic sound describing a paranoid chant. Throughout, Pagan Science channels the supercharged no-frills hard blues of Blue Cheer and Deep Purple while adding multiple layers of effects, entrancing vocals and the dark thrill of a funhouse hall of mirrors.

Pagan Science will be available on LP, CD and download on October 14th, 2016 via RidingEasy Records.

Artist: The Well
Album: Pagan Science
Label: RidingEasy Records
Release date: October 14th, 2016

01. Black Eyed Gods (STREAM)
02. Forecast
03. Sky bound
04. A Pilgrimage
05. Drug From the Banks
06. Byzantine
07. One Nation
08. Choir of the Stars
09. Brambles
10. I Don't Believe
11. Guinevere

On the Web:

Thursday, September 22, 2016

Mammoth Weed Wizard Bastard – Y Proffwyd Dwyll

It gives me hope for humanity, or at least musicians, when I hear albums like this. I didn't really know much about this band so I didn't have a lot of expectations. After about 30 seconds of listening to the opening track, I had a big smile on my face and I spent the next 48 minutes banging my head with a dopey grin on my face. At least no one saw me except for the cat, but I swear he puts things on You Tube. 

This is just good old sludgy, heavy, doom goodness. These guys and gal have riffs for days and I think this is what molasses would sound like if it came to life and played music. It is dark and thick and a little bit sweet, thanks to the female vocals. For me, there is something about that combination of heavy music and a light voice that just does it to me every time. I love the way the vocals are doubled and tripled and sometimes turned into a whole heavenly sounding chorus against the backdrop of music that is just pummeling away.

This band hails from Wales, and I don't speak Welsh but according to Google Translate the album title literally means “The Prophet Fraud”, so I'm thinking a better translation would be “The False Prophet”, but I'm no linguist. The press release mentions Druids and doom and who knows what the Druids were like and what they listened to, as they seem shrouded in mystery, but you can't say they wouldn't sound like this. Besides the vocals, what really does it for me is the use of the synths. They always seem to drop in just at the right time, and they seem to be playing just the right thing. That judicious use is what really makes the album for me.

I really dig this album, and one of the things that this band has going for them is the ability to write riffs that don't all sound the same. You may think that is no big deal, but give it some real thought and you may realize that your favorite band writes more similar riffs than you think. Each song here is distinct and I found myself thinking, “No way they're going to top that riff”. Then the next track kicked in and I was still headbanging and grinning. “Valmasque”, the album opener, has a chorus that somehow sounds major and poppy and quite beautiful actually, kind of like how Kurt Cobain used to pull those types of choruses out of a dirgey sounding song. “Testudo” has this nice acoustic opening thing going on for about two and a half minutes, and then the hammer drops so hard I'm surprised I still have a floor in my house. I also enjoyed “Osirian”, the synths are just off the chain crazy, bouncing around and adding mayhem to a riff that crushes like Mjolnir.

Being a band and finding elements of music and style that separate you from the pack is no small feat these days, and Mammoth Weed Wizard Bastard definitely have the goods to do just that. Hopefully this album will garner them some more well deserved recognition so that more of you brothers and sisters who enjoy the heavy will get a chance to hear them. Seek them out and reap your reward.


Wednesday, September 21, 2016

RIVERSIDE - 5.1 mix edition of "Love, Fear and the Time Machine" out now; "Eye Of The Soundscape" release announced!

Polish prog masters RIVERSIDE have just released a special 5.1 mix version of their current, 6th studio album "Love, Fear and the Time Machine" (2015) via InsideOutMusic.

The release comes as CD+DVD Digipak with (slightly modified) artwork by Travis Smith with the following tracklisting:

RIVERSIDE - "Love, Fear and the Time Machine - Hi-Res Stereo and 5.1 Surround Mix"

Disc 1 / CD (60:32): "Love, Fear and the Time Machine" Album
1. Lost (Why Should I Be Frightened By a Hat?)          (05:51)
2. Under the Pillow (06:47)
3. #Addicted (04:52)
4. Caterpillar and the Barbed Wire (06:56)
5. Saturate Me (07:08)
6. Afloat (03:11)
7. Discard Your Fear (06:42)
8. Towards the Blue Horizon (08:09)
9. Time Travellers (06:41)
10. Found (The Unexpected Flaw of Searching)         (04:03)

Disc 2 / DVD-AV (96:35);
"Love, Fear and the Time Machine" Album (60:31)

"Day Session":
1. Heavenland (04:59)
2. Return (06:49)
3. Aether (08:43)
4. Machines (03:53)
5. Promise (02:43)

"Video Clips":
1. Love (Trailer)           (01:38)
2. Fear (Trailer) (01:58)
3. Time Machine (Trailer) (01:07)
4. Found (Video Clip) (04:06)

The bonus DVD is a hybrid disc (DVD-AV), which has a DVD-Audio and a DVD-Video session on the same disc. The DVD-A portion (audio only!) contains the main album and "Day Session" as high resolution 24bit lossless stereo versions as well as the main album as MLP lossless 24bit 5.1 surround version. The DVD-V portion contains the main album and the "Day Session" as high resolution 24bit lossless stereo versions as well as the main album as high resolution 24bit DTS 5.1 surround version and 4 videos (The 3 album teasers and the promotional video clip for "Found").

The 5.1. CD+DVD Digipak release can be ordered here:

Meanwhile, RIVERSIDE continue to be productive and have just announced the release of a complementary instrumental album entitled "Eye Of The Soundscape" on October 21st, 2016 via InsideOutMusic. The release again features cover artwork by Travis Smith (see above!) and features 13 experimental and highly atmospheric compositions, which showcase RIVERSIDE's ambient electronic side.

"Eye Of The Soundscape" compiles all the special instrumental RIVERSIDE tracks previously used as bonus material for the "Shrine Of New Generation Slaves" and "Love, Fear and the Time Machine" albums, alongside rare cuts as well as 4 new songs ("Where The River Flows", "Shine", "Sleepwalkers" and "Eye Of The Soundscape") into a massive playing time of +100 minutes, which will be available as 2CD-Mediabook, 3LP (With both CD's as bonus) or Digital Download.

But read what RIVERSIDE's Mariusz Duda had to say about the upcoming release:

"I had a feeling that the sixth RIVERSIDE album might be the last chapter of a story. That the future releases might have a different sound, a different character... Unofficially, I called our latest three albums "the crowd trilogy". Each subsequent title was longer by one word - four, five, six. Six words was long enough as a title and I thought that was the one to finish it off with...

Before we started a new chapter, perhaps a "new trilogy", I had an idea to release a complementary album. An album in between. An album we had always wanted to record. It wouldn't be just new music but in our case and in such configuration it would definitely be a new quality because we hadn't released such an album before.

For years, we have accumulated a lot of material, a part of which was released on bonus discs. I know that some of our listeners still haven't heard those pieces and do not realise that RIVERSIDE, basically right from the start, have been experimenting with ambient and progressive electronic music. And that's always been a part of our music DNA.

So I presented the idea to the rest of the band and the decision was unanimous.
We decided to make a compilation of all our instrumental and ambient pieces, and release it this year as an independent album. Some of the songs would be re-mixed to make them sound better, but most of all, we'd add new compositions.

At the beginning of the year, we locked ourselves in the studio and we started to compose. We even published a picture on our facebook page, in which Grudzień is holding a small keyboard as a joke. That was that recording session. We were working with smiles on our faces, genuinely excited, knowing that this time it wasn't just a bonus disc or an addition to something "bigger" but a fully fledged, independent release with that kind of music, full of space, trance, melodies and electronics. The day before I got a text message from Grudzień, "I really can't wait for this release, I have always had a dream for RIVERSIDE to release such an album."

More details about "Eye Of The Soundscape" to follow soon.


FUZZ EVIL to release debut album on Battleground Records | Embark on US West Coast Tour this October

Fuzz Evil on Bandcamp | Facebook | Twitter

Formed in Arizona’s Sierra Vista in 2014, Fuzz Evil is a riff propelled power trio founded by brothers Wayne and Joseph Rudell of heavy desert stoners Powered Wig Machine.

With two singles currently to their name – last year’s ‘Born Of Iron’ and 2014’s 7” split with fellow Arizonans, Chiefs – this September sees the official release of their self-titled debut on the Washington-based label Battleground Records.

Joined by newest member and fellow Powered Wig Machinist Daniel Graves on drums, Fuzz Evil serves up a thunderous blast of rock 'n' roll reverie indebted to the likes of MC5, The Stooges, Clutch and Black Sabbath. Recorded, mixed and mastered at Primrose Studio by Brian Gold, from the opening crunch of ‘Good Medicine’ (featuring Unida/House Of Broken Promises’ Arthur Seay) to the progressively harbingered ‘Black Dread’, the album flows like the diaries of a cosmic nomad. Swirling and psychedelically enhanced with storylines spun from the mind’s eye of vocalist Wayne Rudell and his obsession with comic books, science fiction and cult cinema.

Fuzz Evil also embark on US West Coast Tour this October in support of the new album, which will receive an official release on 30th September via Battleground Records.  For the full list of dates take a look below.
Fuzz Evil:

Wayne Rudell – Vocals/Guitar
Joseph Rudell – Bass Guitar
Daniel Graves – Drums

Arthur Seay (House Of Broken Promises/Unida) – Lead Guitar on ‘Good Medicine’
Marlin Tuttle – Drums
Brian Gold – Keys
Fuzz Evil Live:

1/10 – Silver Dollar Saloon – El Monte, CA
2/10 – Golden Bull – Oakland, CA
3/10 – TBC – San Jose, CA
4/10 – Starlite Lounge – Sacremento, CA
6/10 – Kenton Club – Portland, OR
7/10 – Valley's – Tacoma, WA
8/10 – Tim's – Seattle, WA
9/10 – Sam Bonds – Eugene, OR

Artist: Fuzz Evil
Title: Fuzz Evil
Release Date: 30th September 2016
Label: Battleground Records
Formats: Vinyl/CD/Digital
All songs written by Fuzz Evil
Recorded/Mixed/Mastered by Brian Gold at Primrose Studio, Sierra Vista, Arizona

Artwork by Joseph Rudell & Carrie Olaje of Ghosttown Graphic Art –
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