Just in time for the change of seasons comes Austrian death-doomers ENDONOMOS, back for a pensive second full-length following their pandemic self-titled debut two years ago. ‘Endonomos II - Enlightenment’ (2024) delivers six more compelling numbers, and comprising the band are singer/songwriter Lukas Haidinger (also on bass), Christoph Steinlechner (guitar), Philipp Forster (guitar), and Marius Segl (drums).

Trafficking in the terrain of Ahab, Evoken, Mournful Congregation, Katatonia, My Dying Bride, Candlemass, Swallow The Sun and Paradise Lost, the new album fills up our tank with dark, brooding doom (the strange, dirge-like opening to “Atheon Anarkhon”), featuring some wicked fingerwork (all throughout “Inversion”), contrasting murky and melodic singing that can be either brutal and caressing (as in “Entrapment”), and all of this surrounded in a mysterious, dreamlike fog that pervades the record.

Lyrics decry the brainwashing that leads to war and the oppressiveness of religious totalitarianism throughout history, imagining utopia “outside the grip of man.” I couldn’t help but conjure the famous image of Rodin’s “The Thinker” while listening, as words often seek reconciliation with a past too tangled and labyrinthian to take fully into comprehension.

The theme that bookends “Inversion” is a powerful doom anthem that I keep turning up the volume on. There are some beautiful dual guitar harmonies on “Atheon Anarkhon” is dismal a.f. and I love it. The sequence of rhythm, riffmaking, melodic guitar antics, gruff and haunted crooning builds fantastically, like pillar of ashen smoke taking shape into a terrible Phoenix and claiming the expanse of the sky.

“Resolve” brings us rainy riffmaking that goes for Serpentine Path depths of low, with strong rhythmic architecture, dazzling guitar play, and dissonant stretches that juxtapose with vocals that come through like a ray of sunshine piercing dark clouds. The slow guitar is almost mesmerizing and the plaintive melodies touch a sorrowful place in my brain, as I contemplate the lyrics: “In time I’ll resolve into the void, to blissful unconsciousness.” This coupled with powerful, thudding rhythms that ground the listener to the hard, cold physical reality of the here and now.

“Entrapment” is pure winter – one can imagine trudging through feet of snow in a landscape blanketed in white and covered by low hanging clouds. In fact, the lyrics speak of being taken “back to days of cold.” There are some touching and effective guitar harmonies in league with the beautifully tragic intro/outro of Pentagram’s “I Am Vengeance.” And when the downtuned low-end joins in the emphatic latter moments, it’s so damned heavy it shakes all around.

“Hostile” has that misty feeling from the aftermath of tears that Pallbearer fans will appreciate. Vocals are appropriately subterranean as it features the growls of Daniel Droste of Ahab fame. These are paired with clean pipes that, while forlorn, are accessible, and can also really soar.

“Kafir Qal'a” ends the record on a dismal note and has the feel of epic doom about it. Big chords, resounding soundwaves, grim arpeggios, screeching axework that hints at the extreme metal background of its handlers. The dark/light pairing of vocal styles works very well as the verses unfold, which may reference a battle fought around an ancient citadel somewhere in the first century.

Keep this one playing and really soak it in for max effect. Endonomos II - Enlightenment comes out Friday, September 27th, on compact disc and digital via Argonauta Records (get it here).

Give ear…

SOME BUZZ

Austrian epic doom metal Endonomos announces new album “Endonomos II - Enlightenment” via Argonauta Records. On their second album Endonomos refined their sound, going deeper and more eclectic in their particular vision of Doom Metal.

From the uncanny intro of dissonant chords and unsettling sounds to heavy, mean riffs and a highly melodic chorus, this one sports all the trademarks of Endonomos’ distinct style, while pushing its boundaries.

The ancient Greek song title “Atheon Anarkhon” could be translated as “no god, no sovereign” and deals not only with the inseparability of atheism and anarchism, but mainly how their counterparts (theism and autocracy) contradict human nature and corrupt the human mind.“ - says the band.

Recorded, mixed and mastered once again at DeepDeepPressure Studios, the album delivers thick riffs, epic melodies, uncanny chord progressions, The first single "Hostile”, boasting at almost 9 minutes length, is a highly melodic doom monolith, dealing with the inherently ill-disposed nature of life towards each other, and features guest vocals by Daniel Droste of German Doom Spearheads Ahab.

Endonomos is the brainchild of Austrian multi-instrumentalist, producer and session musician Lukas Haidinger, who is mostly known for playing extreme metal in bands such as Profanity, Nervecell, Distaste and many more, but as a longtime doomer, he finally brought his sinister yet melodic sound to tape.

SPIRAL GRAVE got out attention a few years back with their debut album ‘Legacy of the Annointed’ (2021). This four-member wrecking ball from the Maryland-Virginia area were formed out of the ashes of two legendary mid-Atlantic bands, Iron Man and Lord, in 2018.

Wasting no time, Spiral Grave stormed live stages and festivals with their fireball energy, then went right to work on a sophomore album, 'lll Repute’ (2024), which Doomed & Stoned brings you in full today.

Screaming Mad Dee is back as the dedicated vocal frontman, one of the most recognizable set of pipes in the heavy underground, tapping into the ire of metal god glory. Seriously, there are few as formidable as Dee Calhoun when it comes to belting it out. Completing the picture is Willy Rivera on guitar, Louis Strachan on bass, and Jason “Mot” Waldmann on drums, who set this record ablaze.

Every song on this album has punch, thanks to this doomy collaboration. “Watching - From The Sky” comes at you with crunchy, exuberant power. “Eulogy for Queen City (21502)” is dank and swampy, conjuring visions of “apocalyptic riders’ bloody reigns” – the horsemen dancing on the backs of the bruised these past four years. Lyrics reflect jadedness in the face of uncertainty and despair, the norm for far too many still:

Bad mojo permeates this goddamn place
Inhale the stale and bitter taste
The one horse saddled up and fled here long ago
As sundown blackened out the dirt around the bones

“Many artists have their COVID album,” says the band, “and this is ours. Once lockdowns started we just hunkered down and started writing. The emotions that we were all feeling during that time are very evident in these songs. The legendary Frank Marchand was at the helm for recording, and brought the absolute best out in us.”

“My Angel Comes Tonight” brings out a more ethereal side of the band, and illustrates Madd Dee’s ability to woo you as well as wow you with classic ballad feel (a song about a mysterious she-creature “alive in the night”).

“The Death of Ronnie M.” appears to be a revenge fantasy set to the backdrop of unspeakable acts that would bring out bloody rage in any of us. The band brings brutality to bear for this song and the one that follows, “Lungful of Blood.” This’ll get the blood pumping alright. It’s grim as fuck, chock full of dark fury. Lyrically heavy stuff, as well, as we’d expect from a singer who relishes the pen (see: Old Scratch Comes to Appalachia: Four Devilish Novelettes).

Title track “Ill Repute” brings us slithering riffage that winds, twists, and crawls like a copperhead, then strikes like a cottonmouth. Vocals get low and gravelly, the rhythms advancing methodically in churning fashion. There’s some delirious riffing later in the song that gets humid and trippy, and lyrics decry those who were left “rotten – forgotten – until they are statistics,” surely a reference to lockdowns and the culture of isolation that survives to this day. “No way to die.” And we raise our fists and bow our heads in agreement.

“(Raising the) Chalice” gives me thrills and chills, a defiant toast in the face of the Apocalypse. And then comes “To Stare Down God which turns into a downright frenzy of groove metal as Dee screaming guts out. "Time is coming when I’ll stand in judgment – put my anger on display.” Dee convinces you of it, too; he really does want to confront the Almighty. “I don’t want forgiveness – just want the Host to see. Their master has failed us beyond recovery.” Those last screeching words (“I cast you out!”) accompanied by rolling drums, bass, and guitar, make the perfect finish to this tour de force.

Spiral Grave’s Ill Repute drops Friday, July 12th, on Argonauta Records (get it here and ).

Give ear…

PIA ISA came to our attention during the pandemic with her first full-length, ‘Distorted Chants’ (2024), and before that from fronting the band Superlynx with roots stretching back to 2013 and four full-lengths (the latest of which came out just last year). There is a lot waiting to be discovered on this side of Norwegian doom – and if you haven’t delved in already, well let’s take the plunge.

Billed as psychedelic drone rock, this has a definite doom feel through and through, with Pia Isa bringing the vision to life on guitar, bass, and vocals. It takes its time to unfold, too, like a slow, blurry summer sunset. The album begins with the song “Transform” that gives us a good ol’ forlorn guitar, down-tuned and fuzzed-up. This is the vibe that made me fall in love with doom when I first heard Saint Vitus on stage, and at times gives me chills ala Windhand. Singing is serene and shrouded in mystery, not trying to break wine glasses here. It’s like something out of a hazy, hashishian dream with some very effective vocal harmonies that twist and turn like a flame.

“Into The Fire” is a slow burner indeed, with a beat from Superlynx drummer Ole Teigen that’s a plodding, upward climb over sand dunes and a steady descent through arid valleys. It’s got a hypnotic pace that I could have vibed with for as long as Sleep’s Dopesmoker, had it gone in that direction.

Title track “Dissolve” is sanguine and beautiful, giving us an undercurrent of solace in desolation. This isn’t a flashy, in-your-face kind of heaviness. It’s music that grounds you, while giving release to the frustrations of the soul. “There’s too much I can’t explain,” Pia Isa sings, “and no one knows the cure.” One thing is certain in all of the uncertainty, however: No one can deny that gravity is still at work. And you feel the weight of what she’s doing here. It’s like a dank wet heat that makes you feel intensely human, giving birth to mirages just along the horizon.

This isn’t a skulls and candles type of distant doom dreams, but more one that deals frankly with the trappings of being human here and now. “All these parts are thrown around, my nerves trembling all over town,” she sings in “One Above Ten Below”, a song touched with the essense of desert drone. Seems like it could be any one of us on any given day, making Pia’s lyrical confessions fresh and relatable. “Dissolvement is a recurring theme on the album,” she tells us, “but so is the idea of reassembling the pieces back together in new and different ways.”

Side B gives us “New Light”, with some glorious and arresting moments of ambience from Yawning Man’s Gary Arce (featured throughout the album) that sail above the morass like a bird over parched land. I really like the acoustic moments and how they both contrast and interface with the plugged-in lay of the land.

“Emerald” ups-the-ante on surreal atmosphere, taking us to a cold night with an emerald sky, “sun fire dancing so high.” Here anything can happen, anything will. By now, you’ll no doubt have gained an appreciation for how the ambiance comes together with a balance of elements that complement one another: slow 'n’ low strides, forlorn guitar hooks, and siren crooning.

“Tide” is the penultimate track and here you just want to turn up the volume to make sure you’re taking in all of that crackly low-end goodness. The jaded delivery is reminiscent of Undersmile, scarred yet still capable of great beauty. There seems to be respite here in contemplating cliffs and meditating by waters. “At the shore, no harm can threaten, no light betray.”

“Drown or Float” closes the record with irradiated fuzz, glorious harmonies, and a trudging rhythm. “It’s my thinking I’m protecting,” Pia asserts as she lays under life-giving sun and the sound of the crashing sea. It’s sink or swim, drown or float. Now is the moment to decide, and the song doesn’t rush us in coming to our conclusions.

Look for Pia Isa’s Dissolve, out Friday, June 28th on digital and vinyl formats via Argonauta Records (pre-order here).

Stick it on a playlist with Saint Vitus, Electric Wizard, Frayle, Kabbalah, MWWB, and Undersmile.

Give ear…

SOME BUZZ

Having played and written music for most of her life and always played in bands, a solo project was brewing in Pia’s mind for a long time until she started her solo endeavor in 2021. Her debut album Distorted Chants was released in 2022 followed by the ep Burning Time early 2024, both on Italian label Argonauta Records.

Her solo music is rooted in slow heavy drones but also has a lighter, dreamy and hopeful side. Her riffs are slow, heavy and minimalistic and her vocals dreamy and haunting.

On the new album Pia has worked more with layers of vocal harmonies and has given an old dark sounding nylon acoustic guitar more space in her massive distorted soundscape. In addition to singing she plays bass, riff guitars and minimalistic guitar leads while Gary Arce (Yawning Man, Fatso Jetson, Big Scenic Nowhere, Ten East etc) plays additional guitar melodies on six of the album’s eight songs. The drums are played by Ole Teigen (Superlynx etc) who also recorded, mixed and produced the album with Pia co-producing at Crowtown Recordings.

Pia’s lyrics are always personal and honest. She wrote Dissolve at a time where a lot of major things in her own life, but also in the world, changed, were uncertain and seemed to dis- solve. Dissolvement is a recurring theme in the songs, but so is the idea of molding things back together in a new form. As Pia often writes what she needs to hear herself, and needs to tell her- self, in her lyrics she wonders if there are others out there needing to hear similar things. On this album she is trying to create hope that no matter how scary major changes and the unknown are, it can also be an opportunity for new and better ways and ideas.

In addition to her solo project Pia has spent a decade playing bass and doing vocals in heavy psych band Superlynx and recently started the new project SoftSun with Gary Arce and Dan Joeright (Earth Moon Earth, The Rentals etc).

From New York’s Hudson Valley comes a new album from Kingston four-piece psychedelic doom heavies SHADOW WITCH. The band broke ground with the earthshaking 2016 LP, Sun Killer, then continued to dominate the Doom Charts with releases that followed.

Shadow Witch have a distinct sound that’s rooted in the deep history of doom in the Northeastern States. We featured the band on our compilation Doomed & Stoned in New York during the pandemic, and they released their third album on Argonauta Records at that same time. Next month comes a fourth LP on the same label, ‘Eschaton (The End of All Things)’ (2024).

Today, we share the second single from that eight-tracker, “The Lion & The Lamb,” following the reveal of “Tell Me” last month. The Biblical overtones of the lyrics are obvious, drawing upon the ancient story of The Fall of humanity. The song begins with a gentle riff, followed by organesque sound, and soft vocals.

Don’t let it fool you, though; this is just the build-up. Gritty vocal harmonies kick in from Earl Lundy (lead vox, Mellotron) and David Pannullo (vox, bass), then chilling low-end that engulfs you like few other bands will, finally climaxing in haunting fashion and ending in ambient effects worthy of a Panos Cosmatos film.

Before us is the music video for “The Lion & The Lamb,” which the band had this to say about:

Last fall, a guy I know was throwing away a truckload of plastic greenery he’d used for a commercial installation of some kind. It had a cheesy hyper-real kinda vibe, with an almost fractal repeat. I saw it and immediately knew I wanted to make a video with it. It’s a stand-in for the Garden of Eden, and backdrop for the characters in Tableau.

Out June 21st, Shadow Witch unleashes Eschaton (The End of All Things). Look for the new single and album pre-orders right here in the days ahead. Stick it on a playlist with Soundgarden, Lamassu, and Bone Church.

And don’t miss the opportunity to see Shadow Witch live, as bands in this scene generate insanely good live sound. Shadow Witch will be playing Maryland Doom Fest the week of the record’s release (details here).

Give ear…

Y'all know by now that I’m a sucker for a good conceptual album, one that really tells a story through interlocking songs and immersive ideas. Whether that be more mainstream examples such as Mastodon’s Crack the Skye, subterranean classics such as Sleep’s Dopesmoker and Slomatics Strontium Fields, or lesser known gems like Underground by Trippy Wicked & The Cosmic Children Of The Knight. There are actually more sci-fi and fantasy albums in the stoner-doom scene than one might expect, and an album that does it well is worth remembering.

Hailing from Verona and killing it since 2005, today we witness new sounds from five-piece stoner metal crew KAYLETH. We featured the band on our compilation Italy Strikes Back, and now they make a post-pandemic return with a sequel to their last sci-fi themed narrative 2020: Back To Earth.

Kayleth’s next chapter is entitled ‘New Babylon’ (2024), and the cover art really says it all: astronauts riding theropods, ufos hovering over bleak, explosion-pocked landscapes, mysterious orbs shooting lasers, and creatures of undefined origin descending from the sky. All fight for dominance over a strange planet.

“The Night” is the first single, presented here as an animated music video. An adventurous youth leaves his clandestine bunker, hops onto his speeder joined by his small robot friend, and takes a trip out into a post-apocalyptic world surrounded by ruined buildings drowned in water. Along the way, he encounters kaiju, muddy giants, and other menaces, ultimately finding his way deep into city caverns to emerge with a Pacific Rim style Jaeger that does battle with the dreadful blue cyclops.

Musically, the song starts out with a determined drumbeat accented by a bobbled synthesizer. Pulse-pounding proggy guitar riffs hint of danger. Powerful vocal harmonies soar above the morass. Next there is a transition into a second theme, this time more downtuned, doomy and consequential. The track fades out to accompaniment of epic woahs and ahs.

As with their three previous full-lengths, Italian label Argonauta Records will be issuing Kayleth’s New Babylon. Look for news of the release date, formats, and pre-order specifics at the label’s website and on the band’s socials.

Stick it on a playlist with Sunnata, Mammoth Weed Wizard Bastard, Cosmic Reaper, and Vinnum Sabbathi.

Give ear…

The Band Speaks on 'New Babylon’

It has now been four years since our return to earth in '2020 Back to Earth.’ There we had found a cold and inhospitable place, humanity was inexorably channeled on the path to extinction. We therefore decided to flee immediately in search of another planet where we could dwell.

We therefore came to New Babylon, a planet inhabited by humanoids but also by monstrous and ravenous creatures. There are “giants” that march about raising immense clouds of dust, stealing and plundering everything from people. Giants much like our corporations, they know no defeat and have no weaknesses, at least apparent ones.

There are old warriors like jarek who wait for war to feel like heroes, to feel alive. They find their dimension within the battle, where the line between hero and assassin magically blurs.

There are pyramids erected by men who think they are gods and turn the things life gives them into weapons and death, changing their use and meaning. Little men who think themselves omnipotent, burying knowledge of how life works under piles of lies.

We find a myriad of slaves, surrendered to live in huge troughs. They toil at nothing and find meaning in nothing. They prefer a convenient lie to an inconvenient truth.

In short, we realize that we have arrived in a world very much like earth. We are aliens but in a certain way we feel at home. We want to know, to understand, to evolve. We don’t recognize ourselves in this deceived humanity, we don’t give in, we believe. Nature, life is wonderful but when one thing loses its usefulness life gently explains to it that it is time to make room for something else. This existence has already been explained to the dinosaurs.

Kayleth continues their journey, never stopping because whoever seeks will find itself.

This debut LP by WITCHORIOUS is without doubt one of the finest doom metal offerings the year has given us. Antoine Auclair (guitar/vocals), Lucie Gaget (bass/vocals), and Paul Gaget (drums) have assembled a thoughtful collection of 10 tracks that draw upon the themes of classic horror and traditional doom metal, with prolific drumming, sinister guitar, and surreal atmosphere.

We begin with the ominous “Monster,” which is surely the musical equivalent to a brooding stormfront. Each instrument brings its unique powers to the whole, generating a menacing sound that got me slow headbanging immediately. Vocals have the same Medieval gruff as classic Morgoth, full of prophetic dread.

The roars of “Catharsis” approach Domkraft levels of fierceness. With male and female vocals in the chorus, the effect is mesmerizing. The track following this is deeply atmospheric, with its fuzz-filled intro and repeated arpeggios forming a thick haze that bedazzles the listener into a strange, trancelike state. Appropriate considering this is “The Witch.”

“Blood” is deliriously good. Again the riffs are on point! You’d have to go back to BelzebonG’s Sonic Scapes & Weedy Grooves to find riffs this pure. The beat never lets up; it’s a steady driver all the way through, keeping the narrative moving forward. Verses feature another lusty vocal performance and the chorus has tons of heart. I was happy there was room for a guitar solo.

“Eternal Night” has an unsettling vibe akin to the band Demon Lung. When the solo erupts towards the end, it sounds like something between a siren and a sax, but it could be a guitar effect or synthesizer. Whatever it is, it’s effective in bringing a chilling climax to the moment.

Once again, it’s the vocals that make a song like “Sanctuaire” so convincing – and this is to say nothing of the incredible drumming, subtle basswork, and atmospheric guitar play. Even the sequence of “heys” at 4:31 were dripping with the angst of instability, making me think of Kurt Cobain and Mark Arm.

After a brief interlude (“Amnesia”) we’re ushered into the album’s final three songs. The vocal attack on “Watch Me Die” is just savage, utterly convincing, and the doomy guitar chords match the mood. “To The Grave” is chill by contrast, with acoustic strumming that allow Antoine and Lucy to vary their vocal delivery and range, as they’re not competing with loud instruments.

Finally, comes “Why” (the longest track after “Sanctuaire” at 7:20). This one has a grooving bassline, bittersweet riffmaking, slappin’ drums, and clear, sincere singing with a certain Ozzyesque mystique. The guitar solo is soulful and grungy with plenty of stoner sway.

Witchorious drops Friday, February 16th on vinyl, CD, and digital via Argonauta Records (get it here). Don’t pass this one by! Stick it on a playlist with Amen-Ra, Beastmaker, Lord Vicar, Famyne, and Purple Hill Witch.

Give ear…

SOME BUZZ

Witchorious is a doom metal band from Paris, France. Founded in 2019, the trio is composed of Antoine Auclair (guitar/vocals), and brother and sister Paul (drums) and Lucie (bass/vocals) Gaget. Their first two singles “3 AM” and “Evil Creature” came out of darkness in 2020.

Their music blends bluesy riffs inherited from Black Sabbath, aggressive sounds supported by fuzzy bass lines in the likes of Electric Wizard, and intense atmospheres inspired by bands like Amenra and Mastodon. All this led by adventurous and solid drums, spawning modern chaotic doom metal songs with enraged vocals. Between screams and whispers, Antoine and Lucie’s voices have us travel from incantations to outpouring of despair. Each track will immerse you in the darkness of your mind, where you will keep looking for answers.

Dying to meet their audience, Witchorious played more and more gigs and opened for The Wytches in Paris and Westill Fest in November 2023. Witchorious’s debut album will be released in February 2024 through Italian label Argonauta Records. The album was recorded in Paris at Studio Sainte-Marthe by Francis Caste and contains 10 tracks that address psychic duality, human vice, and the inevitable fate of the world along with hellish fuzzy riffs.

Says the band:

“Initially, after the release of our double single, we were thinking of releasing a first 5-track EP. However, the health crisis dragged on and writing, like most bands, became our main activity. The writing of the album took around two years, with numerous arrangements on the tracks. The initiative for a track usually comes from a guitar riff and the vocals, and then we get together and each of us adds its own touch. We transform the song, the rhythm, its structure, until it sounds ‘Witchorious’. We wanted to create more modern sound and structures to avoid doing doom that we’ve all heard before.

"In the lyrics, we express our frustrations and self-awareness. The album deals with mental conflicts and psychological distress, the influence of human beings on their environment and on others… We were also keen to develop the character of the witch, who for us is a figure that represents oppressed minorities, whatever they may be. The witch frightens, disturbs and revolts, but at the same time fascinates and survives through the ages. We’ve had a lot of fun with the clichés of the genre, particularly around everything religious and satanic, because it creates an occult atmosphere that we love.

"This album is a concentration of our influences, a first step towards showing who we are, what our sound identity is, and what we have to say. By the time the album was recorded, the songs had really matured, and we fully focused on sound and ambiance. Francis helped us emphasize the evil aspect of the compositions, to make the whole thing sound really haunted.”

Hailing from Madrid, Spain, this is GREENGOAT, a stoner metal two-piece featuring guitarist/singer Ivan Flores and drummer Ruth “Kalypso” Moya. The duo has been plugging away since mid-pandemic and just weeks ago released their debut LP, ‘A.I.’ (2024), which contemplates the life of an artificial being living in a post-apocalyptic world.

Drawing upon influences ranging from Clutch to Black Sabbath to Pink Floyd, the band unfolds a tapestry of evocative landscapes, with robust and adventurous rhythmic tendencies, earthy vocals, and searing, soulful guitar passages on the order of Alice in Chains and Prong.

Today, we get to peer deeper into the lore of A.I. with the music video for “Human.” Reached for comment, the band shared this:

Tribe! We want to sincerely thank you from the bottom of our hearts for the warm reception you have given to our album A.I. Not in our wildest dreams could we have imagined that it would resonate with so many of you. That’s why we want to share this video of the single “Human,” a video made with a lot of love. We hope you enjoy it, and again, thank you for connecting with us.

Greengoat’s A.I. is out now on Argonauta Records (get it here).

Give ear…

I’m a big fan of songs that reflect the regional lore of where a band hails from. Enter ‘The Hex of Penn’s Woods’ (2023) by ALMOST HONEST, a New Cumberland, Pennsylvania act blessed with the boisterous energy of Red Fang, the harmonic luster of Crobot, and the riff-power of Black Sabbath. For this outing, the band says: “We did historical research, genealogical research, we traveled, we explored inside ourselves, we brought our emotions to the forefront and so much more to bring this album to life.” Let’s take a look at several of its 11 songs.

“Mortician Magician” introduces us to the record’s magnetic guitar-driven sound. A tribute to B-movies, the song features bouncy drums, funky bass, ravaging riffage, clean, earnest lead vocals and aggressive backing vox.

“Laughter Of The Deer Owl” follows and welcomes in a band-made creature with the head of an owl, the body of a deer, the wings of a fly, and octopus tentacles to boot! “It appears,” they say, “only to people who have lost everything including the will to live.” You’ll find the deer owl featured on the front cover artwork, which also gives a nod to “the Dutch Hex signs that you see on the side of barns throughout Pennsylvania.” Brandon Yeagley of Crobot makes a guest appearance during the chorus.

The focus on weird cryptids continues with “Alien Spiders,” which joins the previous track as one of the singles and features lyrics composed when two of the founding members were 11 years old. Front man Shayne Reed is on point with his guitar lead – it seems to tell a story without words – and the rhythm section is robust, giving way to hearty shouts.

“Amish Hex” rounds out the three singles with a tale of an Amish lad who gets picked on and discovers a book called (wait for it) The Hex of Penn’s Woods. “The lyrics push forth powerful south central Pennsylvania imagery,” says the band. This one opens with an old-style riff and has an air of mystery and tragedy about it.

Another track of interest to me was “Where the Quakers Dwell,” which Almost Honest says is about the history of this area, “including local Native American tribes, fruit, traditions, folklore and geography.” I’m once again impressed by how much thought the band has put into the songs on this album. The vibe is groovy, with a grindy midsection that reminds me of Stone Temple Pilots, but holds its own identity admirably.

There’s plenty more to experience on this packed record, a tribute to weird, quirky metallic rock and dark folk stories, played heavy, bright, and tight. Almost Honest’s The Hex of Penn’s Woods drops on Black Friday on compact disc and in digital format via Argonauta Records (pre-order here). Stick it on a playlist with Lo Pan, Caustic Casanova, All Hail The Yeti, Sasquatch, and Freedom Hawk.

Give ear…

SOME BUZZ

Coughed up from a smoke filled corner deep in the Central Pennsylvania rock scene in 2012, Almost Honest is a four-piece riff conspiracy dipped in enough sludge to choke mammoth, enough groove to make the dead dance, lyrics that could summon a Sasquatch and make her sing along, and a tonal brilliance that was crafted by master sound-smiths and enchanted by sonic-shamans.

Helmed by the darkly dulcet guitarist Shayne Reed, driven by the jungle rattling bassist Garrett Spangler, lifted up by the immense leads of David Kopp and powered by the ent-war thump of drummer Quinten Spangler, Almost Honest has evolved into a rock act to be reckoned with. Their debut studio full length album, 2017’s 'Thunder Mouth’ showcases a clarity of direction all but unheard of among debut albums.

Two years and thousands of toured miles later, 2019’s 'Seiches And Sirens,’ an anthemic atomic payload, detonated on impact with the local music community and showed the Pennsylvania rock scene a new kind of animal. Their southern metal sensibilities and dedication to the craft of *the show* shine brightly and remind audiences that great rock can and *should* be great fun. All of these ingredients bubbling in Almost Honest cauldron, and it’s easy to see how their brew appeals to so very many, from genre die-hards to even the most casual listener.

Not contented with their cavalier domination of Pennsylvania metal and hard rock, where they have been featured on hard rock radio staple 105.7 The X, Almost Honest has struck out farther, having toured — *flown their jolly roger* — all across the eastern United States and invading the dreams and streams of Asia, Europe, South America, North America, and Australia.

2020, a cursed year by any metric, should have been a circle around a brighter kind of star for Almost Honest, and everyone else. With tour dates canceled across the planet, and a creeping sort of dementia lingering over everything, it’s easy to understand why so many acts took the year as a loss. Almost Honest, however, had not.

Focusing the energy they would have put into extensive touring and using ritual druid magics, they conceived, wrote, and recorded a brand new album: 'The Hex Of Penn’s Woods.’ A conceptual leviathan, 'The Hex Of Penn’s Woods’ boasts a nearly arcane dedication to lyrical content and wisely eclectic musicianship, recording and mixing from top-tier Dynamo Audio Studios, mastering from iconic metal production wizard Machine (Gene Freeman), and artwork by the grimly baroque Italian master Francesca Vecchio.

Almost Honest is poised to deliver more of their unique, creamy fuzz soaked, metallic prog-funk potion, with a riot punch live show that Pennsylvania head bangers have come to crave as soon as the world is ready

As a rule, humans spend much of our time occupied with the activities of life and daily living, perhaps very little of it thinking about the reality of death. The pandemic, however, brought death near to each one of us in a way that was terrifying, leaving many inconsolable. It is my conviction that music is a part of the process necessary for healing our emotions from such wounds. Bands like Serpentine Path, Yob, and Undersmile have helped me to stomach some serious struggles with anxiety and depression, primarily because their sound translates so remarkably to the thing I am experiencing, as though they have unlocked the secrets of communicating precisely with the emotions.

Now comes COLUMBARIUM, not a new band by any stretch (its original form echoing back to the mid ‘90s), but a band new to these ears, thanks to them being picked up by a label we’ve followed for the past 10 years in these pages, Argonauta Records. Hailing from West Flanders, Belgium, the four-member crew has married old school doom on the order of Saint Vitus and The Skull to brumal death vocals for a sound that is not only severe, but curiously elevating. For the band’s premiere studio LP, 'The Morbidious One’ (2023), we have here assembled the team of Pete Jules V (bass, vocals), Koen Biesbrouck (guitar, keyboard), Marc ‘Markie’ Vangheluwe (guitar), and Vincent ‘Mille’ Millecam (drums)

The first of its seven tracks is “Eyes Bleed Black,” which the band states “is Columbarium in its purest form” and “was conceived from our gut feeling at one of our rehearsals.” The song, dedicated to a close friend of the group, is cold, misty, and ancient sounding. Esmee Tabasco from Tyrant’s Kall lends her ferocious and gnarly singing to the mix, to great effect. Lyrically, the song questions God and the often inexplicable nature of our existence. There are variations of the main theme along the way that accent the point – from powerful and menacing, to beautiful and stately.

Oh, Griet
Where’s your World
Where are you
We are here alone
Oh, Griet,
No Heaven above
Nor Hell below

“The Morbidious One” features some sinister, stinging guitar tone, which really wails as the track opens. Chords are angular and statuesque, with raspy dirty vocals. Around 4 ½ minutes in, things shift into a chugging quasi-thrash swagger, but soon return to the strange forbidding nature of its main character, which the band reveals is actually (here and throughout the album) “the deep emotion of Death.”

‘The Morbidious One’ is about a tribe that divinizes Death in a positive way to ensure a safe transition to the Afterlife. The character on the cover symbolizes Death in some of the lyrics.

We get a swirl of styles in “Rivers Of Blood,” which begins with resounding piano harmonies, soon joined by echoing strings, and finally the growl of the band in full form. It’s an effective intro, taking us to the bard and his tale of woe. The guitar gives us a memorable passage in between verses with a rhapsodic run of notes. Meanwhile, blast beats roil and then an interlude that seems to almost levitate in its solitude. The guitar’s theme returns opposite of the singer, then finally lets loose in a frenetic solo.

“Redemption” is next and its solo guitar introduction reminds me a bit of the plaintive style of the late, great Pilgrim. Soon the band hustles up and ushers us to the first verse, where the vocals are as grizzly and blood-dripping as you could ask for. And oh what a beautiful guitar lead from 4:14 to 4:46, imbued with pain, insanity, and the blues. Frontman Peter wrote this one “facing the passing of his mother in 2017. 'Redemption’ is redemption from life, redemption from mental suffering.” The death of his beloved mother seems to take on an almost Christlike character in the lyrics:

I am drained, of my Misery, My Preparation, for my Litany, The Last Day, Has come, When I cease to bleed, in your Arms,

“Barefoot On The Moon” is only 1:11 and makes me wish it lasted at least twice as long, owing to the appeal of the 12-string guitar matched with ghostly sanguine vocals from Michelle Nocon (ex-Bathsheba, ex-Serpentcult, ex-Death Penalty, now with Of Blood and Mercury). It’s a good palate cleanser, because things are about to get brutal.

Lyrics aside, “Our Glorious Ways” feels as if it could be a Puritan hymn sung inside a church by some stern fellow back in the 1700s. It’s fierce and unyielding, alternating between long, slow beats and up-tempo sprints, while the guitar hammers away at a grim piece of riff-metal, and closes with organ-like keys.

“A Cure For Everything – Get Back Alive” is like those runs with the romping drums and devilish guitar play that we’d all look forward to on thrash albums (or even from Witchfinder General and the New Wave of British Heavy Metal). Dual guitars come out to play, ravaging and savaging along the way with nimble tremeloes and dank chord progressions. At the three-minute mark, a switch to doom mode with a guitar harmonies so sweet it hurts to think about it too long. So it disappears and then comes back a minute later.

From there the theme develops improvisationally, then at 5:13 the thrash comes back and continues undaunted until the bass throws its weight around in an amazing solo. Aside from OM and Sleep, it seems rare to see an extended bass section of this kind, and that alone is worth sticking around for. And this bass, already downtuned, gets dead on your belly low! What an awesome bookend to what has been a strong album overall.

Look for Columbarium’s The Morbidious One on CD and vinyl via Argonauta Records, with the digital album releasing this Friday, September 29th (pre-order here). Stick it on a playlist with Marche Funebre, Conviction, Barabbas, Pilgrim, and Purification.

Give ear…

SOME BUZZ

Columbarium is a Belgian (from the village of Zwevegem) heavy Doom band which found its birth in 2021, but was conceived of seasoned members from the doom scene for over ten years. Having played about a 100 gigs in a former setup in Belgium, the Netherlands and France with bands like The Gates Of Slumber, Nekromant, Marche Funèbre, Serpent Venom, FAAL, Famyne, King Hiss and at fests like Little Devil Doom Days etc., they have built a serious reputation as a live act in the last decade. The addition of an extra guitar/keyboard player some years ago (Koen Biesbrouck, formerly also from the avant-garde, instrumental band Locus Control) has taken the music to another horizon and that newfound sound of the band was the cradle for the bands rebirth.

Columbarium found that sound in engaging with Belgian producer Lander Cluyse from Hearse Studio (Amenra, Aborted) and with Brad Boatright from AudioSiege Mastering Studio (US/Portland who worked with the likes of Monolord and Pig Destroyer). Together they found the sound they have always dug for in the Flemish clay. Columbarium played their first gig at the end of September 2021 with brothers in arms funeral doom band FAAL at the well-known underground club Little Devil in Tilburg/the Netherlands. Being the first gig in over two years at the venue, it was a memorable evening in a sold-out and very cozy setting.

As a teaser to the bands’ music, Columbarium independently released a lyric-video for the song ‘Rivers Of Blood’ on the 17th of December 2021. It got noticed by Belgian independent label Dust & Bones Records and it was very quickly clear that label manager Frederik Vanhee and the boys were assimilated minds in being metal freaks in heart and soul and having passed a lifetime of love for all kinds of different metal genres.

This resulted in the release of a first single ‘Rivers Of Blood’ with the title track and ( even though it’s not) B-side track ‘Save Our Children.’ It was released on the 23rd of May 2022 on limited, hand-numbered cassette and digital streaming and download on all platforms. The release was supported by a visualizer for the new song ‘Save Our Children’ which saw the dawn of day on the 23rd of May. The single was meant to be a ‘getting to know the band’ before the release of a full album in 2023.

Bass player/vocalist Pete states: ‘It feels rather uncomfortable to describe your own music and actually we don’t like doing so, but we go through life as a heavy Doom metal band with influences ranging from blues to some earlier slower death metal. To say it with the words from our good friend William Nijhof of funeral doom band FAAL, ‘A super combi between miserable and brutal!’

Having recorded that first full album with the title ‘The Morbidious One’ from April 2022 until mid July 2022, the mix and full production was finished in February 2023 by Lander Cluyse from Hearse Studio, who also did the first single in 2022. In March the band was picked up by Italian specialized Stoner/Doom/Sludge label Argonauta Records for release of the full album at the end of September 2023.

SCREAMING MAD DEE has been a staple of the heavy underground for decades, whether with the late, great Iron Man, Spiral Grave, or going solo. Last month, we reviewed his new album, ‘Old Scratch Comes to Appalachia’ (2023) and praised it for having “bluesy acoustic tunes that are doomy with just the right amount of darkness.” Stated plainly, it’s got a whole lot of heart. You’ll be hard-pressed to find a voice more honest and soulful in this scene today.

Today, we reveal the music video for “Pulse,” which falls midway through the album and is a response to the shocking Orlando nightclub shooting in 2016 that killed 49 and wounded 53. Shocking, but all too soon forgotten in an era of mass violence that continues to defy our reason and senses.

Reached for comment, Dee had this to say about the track and music video:

“Closing minds that open wounds in the name of a counterfeit god…” A song for those who are persecuted and even murdered simply because of who they love. We will NOT let hate win.

Art, and particularly music, helps us to process tragedies like this one, and perhaps even to shine a light of personal introspection. Old Scratch Comes to Appalachia is out now on c/o Argonauta Records (get it here).

Give ear…

Progressive doom meets dark rock and folk on the new album ‘Gratitude’ (2023) by Gothenburg’s OCKRA. It would, of course, be tedious (if not impossible) to trace back the various strands of influence on the songs before us. As I stated in my review of their EP, 'Infinite Patterns’ (2020):

It’s a bit tricky to draw a direct comparison between OCKRA and other acts. After all, it’s not often we hear a band attempt blending progressive rock with doom metal!

The name Ockra is not, as I briefly assumed, a reference to “okra” (that dreaded nemesis of my childhood, along with brussel sprouts), but rather “ocher” in the Swedish tongue. Ocher, that is, the color and substance of earth. Thus it is no surprise to find that Ockra’s songs deal with earthly matters of the here-and-now, leading off with the track “Introspection,” which preludes such songs as “Acceptance,” “Tage Wie Dieser” (“Days Like This”), and “Tree I Planted.” This is music that’s meant to be intensely relatable.

“Weightless Again” starts as a straight-up garage rocker that features robust drumming from Jonas Nyström, bouncing about joyfully amidst stirring vocal harmonies and traditional doom riffage. The piece slows up and gets misty, with an aura of sadness at about three-minutes. I praised Cruthu for capturing a similar spirit on 'The Angle of Eternity’ (2017), which takes a folk-like approach to writing doom. As the song crescendos, confidence rises, and we return to the peppiness of the beginning, but the atmosphere is still bittersweet, and the chorus remains psychologically piercing. The vibe is “things will get better, just keep hanging on” – or, to quote the song, you’ll be weightless again.

“Tree I Planted” is singer-songwriter fare that hints at the old country and western tradition. If you like the songs that Alice in Chains singer Jerry Cantrell writes, this one is a cinch. Alex Spielhaupter’s vocals are earnest, with a serious metallic edge, and get bluesy at times, backed by guest vocalist Stefanie Spielhaupter.

Fourth track “Acceptance” is bound to find its way onto a “Metal Classics” playlist one of these days. From the opening riff on, guitarist Erik Björnlinger had me hooked. The vocals are dark like Pentagram, moody like Goodeye, producing a bonafide earworm of a chorus. The song is thoughtfully structured, took, with a bridge of overlapping voices that brings The Byrds to mind.

The folk influence really shines through on the next track, “We, Who Didn’t Know.” What might have found life as a two-minute interlude, gets fleshed out into a full-fledged seven-minute song. After a soft vocal introduction (which references “Weightless Again”), the balance shifts to a largely instrumental portion. The whole feel for me was one of daisy-lit hills, until the band goes full metallic at the four-minute mark. Again, Ockra goes for grand, with a crescendo and a full-on rush of soundwaves launching an impassioned chorus, finishing with the solitary note of the guitar.

“Imorgon Här” (“Tomorrow Here”) follows, and while the title is in Swedish, the lyrics are still in English. The song is has got an upbeat, bluesy tempo (not unlike Graveyard), but the strength of Ockra’s harmonic singing distinguishes them here in a way that is simply magical.

“Tage Wie Dieser” (“Days Like This”) is sung entirely in Swedish. Personally, I love when bands include a song or two in their native tongue. If you approach vocals as just another instrument in the band (rather than someone telling you how to think or feel about the song), you may find you appreciate the experience all the more. Here the vocal harmonies are consoling and heavenly.

Suffice it to say, there were things that grabbed me upon first listen (namely “Acceptance”), but the second spin turned out to be even more meaningful, probably because the material was more familiar and I could lean into the songs more comfortably.

Look for Ockra’s Gratitude on Friday, May 26th, releasing digitally and on compact disc on Argonauta Records (pre-order here). Stick it on a playlist with Young Hunter, Dunbarrow, and Asteroid.

Give ear…

SOME BUZZ

The band OCKRA arose in early 2018 in Gothenburg from what was left of the stoner doom band Sulphur Dreams. With a strong desire to stretch musical barriers away from what is known as classic stoner or doom metal, the trio around Jonas Nyström, Erik Björnlinger and Alex Spielhaupter set out to develop their songwriting skills and find their own style under the new name OCKRA. The band has a wide range of influences from metal to folk, americana and jazz.

The first EP with four songs was self-recorded in a 'DIY’ spirit at the home studio in Onsala during spring/summer 2019 (with guest singer Ammy from EPA/Lastkaj14) and was released in March 2020 via Argonauta Records a week before the first lockdown put everything on hold.

The songs were well received by the media and the reviews in online and print magazines turned out very positive. As an example, the EP got 12 out 15 points in Germany’s largest print magazine for extreme metal “Legacy.”

During the summer of 2021, the trio went out to the little village Hesedorf near Hamburg to record their debut album 'Gratitude’ together with Peter Voigtmann (The Ocean Collective, Heads.) at his studio “Die Mühle” (the mill).

The calm environment and the nature around made it possible to go into a state of creative isolation. That may have had an impact on the music, which now has more elements of singer-songwriter and folk music.

The lyrics have been written in the shade of the pandemic and severe illnesses amongst close friends and family members in this period. Writing these very personal lyrics has been some kind of therapeutic and despite the severeness of the topics they are meant to provide a glimpse of hope.

Coming at us from Bradford, UK, it’s the much anticipated full-length debut by WOLVES IN WINTER – much anticipated because we have here a few familiar players from Solstice, Lazarus Blackstar, and Monolith Cult, names that are whispered about by fans here and there as they delve deeper into the hallowed halls of doom’s history.

Wolves In Winter generated excitement when they dropped a few stand-alone singles in 2021. One of them (“Nemesis”) finds its way onto the new album, titled ‘The Calling Quiet’ (2023). A twin guitar attack always has the potential to make things interesting, and here axe-swingers Wayne and Enzo double down on the thick flow of melody.

“Cord That Ends The Pain” is a grungy, somber slow-burner with “Fell on Black Days” pacing that reaches great heights of its own via the fevered pitch of its chorus. The band is to be credited for pushing the song even further, adding a final section that delivers a real coup de grâce.

“Nemesis” is a traditional doomer that borders on epic, with a hearty vocal approach that certainly many will find appealing. Guitars work in tandem with the rhythm section of Izak (bass) and Adam (drums), conjuring a misty, wistful atmosphere that’s both strong and determined. Once again, a stellar chorus presents itself, this time accented with effectual vocal harmonies.

“Pastime For Helots” is the last song on Side A and has a solemn, melancholic opening, but is well worth hanging onto for another sunbreak of a chorus. Every word is brimming with conviction and deep feeling.

Drums bounce and roll with transcendent might, yielding a “Promised Harvest” to begin the B-side. The riffage is as dire and menacing as you could ask for. Dark clouds are on the way and cymbals mark the march of time.

“Oceans” has a certain rhythmic pull, not unlike churning waves. Its verses have a reassuring metallic sheen, where the sweet 'n’ sour melodic line is shared by both the singer and guitarists. Then they break away from one another, each building their case as the song advances. Things end with cooing voices singing in Jerry Cantrelesque euphony.

Bittersweet counterpoint harmony ushers in the album’s closing and title track. The ambience greets us like a dawning day, bristling with life and quiet possibilities. Power is lent to every word and, once again, the listener becomes engrossed by its strange, solitary verses and the cathartic harmonies of its climactic chorus.

And now, appropriately, at the height of winter, we bring you The Calling Quiet by Wolves In Winter, releasing this weekend via Argonauta Records (pre-order here). All-in-all, one of my favorite doomy listens from edge to center since Apostle of Solitude’s 'Until the Darkness Goes’ (2021). For fans of Pallbearer, Spirit Division, and The Gates of Slumber.

Give ear…

SOME BUZZ

Epic, emotional, eloquent… UK doom metal quintet Wolves In Winter reveal full details of their highly anticipated album “The Calling Quiet”, to be released by Argonauta Records on February 24th 2023.

Formed between lockdowns in 2020, Wolves In Winter have worked tirelessly to forge a crushing fusion of traditional and contemporary doom metal. The band is comprised of seasoned veterans from the UK heavy music underground, including former and present members of Solstice, Lazarus Blackstar, Monolith Cult, Slammer and more, effortlessly building on a wealth of experience and carving a fully realised sound and vision.

Wolves In Winter wrote and recorded their debut album with Chris Fielding (Conan) at Foel Studios. Working with Fielding has allowed them to capture enormous tones and crushing riffs. The quintet seamlessly honour doom metal traditionalists such as Cathedral and Candlemass, yet go toe to toe with contemporary favourites including Pallbearer and Windhand.

Wolves In Winter land on both sides of the coin, building dynamic, weighty and nuanced lengthy tracks that are as heavy sonically as they are emotionally. With riffs and chord progressions that are contemplative and melancholic, a subtle yet driving rhythm section, and a powerhouse lead vocal performance which brims with emotive and passionate gravelly harmonies akin to Alice In Chains, Wolves In Winter have already crafted a versatile, engrossing and powerful sound.

From Helsinki they came, bringing doom’s greetings in the waning days of autumn. This is CIMINERO and you’re about to hear their forthcoming LP, ‘Shadows Digging the Grave’ (2022). It’s their second record following Subterranean Awakening, nine tracks of traditional doom replete with occultic meaning.

Each song presents a twisted tale of human desire, ancient mysteries, and the hand of Fate. They are sung by Valentina Vigato, whose vocal approach may seem numb and sedated, but not lacking in expression, subtlety, or authority when called for.

“Invoke Me” leads the pack and her vocals have just the right touch to give the chorus a lasting impact, especially in the song’s closing moments. “Torment” opts for the slow 'n’ low approach, with lanky bass licks, guitar aflame with purpose, and a chorus that makes it one of the most memorable selections from the album.

“Ring of Perpetual Insanity” may be a reference to World of Warcraft, where we find a Ring of Perpetual Conflict. Of course, Gollum in Lord of the Rings was driven to madness by his obsession over the One Ring. One of the great ironies of life is that sometimes what we own comes to possess us in turn. The song features guitar driven melodies that are stern and lonesome, along with a stirring chorus.

“Yearning and Insurgency from the Empyrean” commands a confident stride, likely referencing that great rebellion of Lucifer against God. It’s an up-tempo number with a certain underlying agitation, for war is in the works. A third of the angels will soon take up arms against the Lord of Glory, only to be cast down to the bowels of the Earth. One of the oldest stories of doom!

Slow 'n’ low songs are notoriously difficult to pull off convincingly, but “Deep Red Forest” has a strong heartbeat, sturdy rhythm, and singing guitar leads that make it work. Here guitarist Jukka Aravirta shines as he forges a pathway through the bloody thicket. Similarly, his performance is a standout in this foggy atmosphere of “The Leaper” and the remarkably stout-hearted single, “Nettare d'Estasi.”

The rest of the band is no less remarkable. Paavo Karppinen bass is as soothing as you can ask for as “Inner Child” opens. I felt myself melting into the ambience. The mood is ponderous and downcast, a true doomer.

“Underworld Coven” feels regal and brave by contrast, even if draped in the shadows of spite and sorrow. It suggests that there is a group of underground nobodies who share precious secrets passed down from generation to generation. This knowledge, in turn, makes them paradoxically powerful outside of social castes and economic systems. Jukka Aravirta’s guitar playing carries the song, with robust riffmaking that sometimes keeps rhythm, sometimes narrates.

Doom brings me a strange kind of comfort that’s hard to put into words. If you feel similarly, then may indeed find consolation in Shadows Digging the Grave. Releasing Friday, November 25th, on Argonauta Records (get it here). Stick it on a playlist with Reverend Bizarre, Pilgrim, and Lord Vicar.

This is the Doomed & Stoned world premiere.

Give ear…

SOME BUZZ

Following their much acclaimed, 2019-debut Subterranean Awakening, recorded just five months after the band’s first rehearsal, Helsinki-based Ciminero reveal full details of their anticipated new album 'Shadows Digging the Grave’ (2022). Ciminero play a heavy mixture of doom and occult rock, delivered with captivating melodies and psychedelic moments.

The band is a unique potion of Italian mysticism and finnish heaviness: a descendant born from the unholy covenant of Blood Ceremony and Cathedral, whose journey has been long without forgetting the origins.

The second album 'Shadows Digging the Grave’ unveils the elements heard on their debut, in a more cultivated way without locking into strict genre boundaries. The listener will be hypnotized into a world in-between divine mysteries and human psychology, tarot symbolism and manifestation of healing.

Church of Void was one of my favorite Finnish doom bands, so I was sorry to learn the band was no more. However, four of the original members got together with the drummer from Septic Apes) and founded FIMIR in 2019. After teasing out new material in 2020, the band signed to Argonauta Records and subsequently released a full-length record, ‘Tomb of God’ (2021). While generally grouped in the silo of doom, it leans towards more robust tempos than the standard slow 'n’ low. Think of them as more from the Saint Vitus school of doom, where the spirit of early punk has a tendency to punch up tempos and can manifest in spontaneous rows. Add to that venomous vocal proclivities and a general downcast vibe and you’ve got real trouble on your hands.

This is street music, the new sound of the disaffected. People who unwisely declare, “Doom is dead!” do not understand just how powerfully these kind of vibes resonate with a great many of us who feel lost, forgotten, maligned, and misunderstood in this great, big crowded world of ours. The very institutions set up to protect have shown their aging cracks and fissures, no longer the unfailing bullwork our parents and grandparents hoped they would be in the face of crisis. Neither does safety, security, and prosperity last forever, as we grew up imaginging we could do and be anything. Hell, arguably we’re coming the end of the age of the human. Perhaps doom is about coming to terms with all of the madness. In a strange way, FIMIR’s sound is at once aggressive and apathetic, hinting of defeat yet brimming with triumph. A downcast, yet defiant fuck you to the system.

Okay, enough of my inane philosophical musings! It’s time to revisit this summertime offering by way of a new music video from the five-member crew – which includes Magus Corvus (vox), A.D. (lead guitar), G. Funeral (guitar), H. Warlock (drums), and H. Wizzard (who comes to FIMIR by way of Septic Apes). We’re about to watch, “Obsidian Giant,” which crowns Side B of this urgent, engaging record. Explains the band:

Obsidian Giant is the first part of the 'Tomb Of God’ trilogy from our debut album. This music video is about the sins and choices of mankind and how we are making our path towards the inevitable end of the world. Is there hope in the end or before it, is a mystery.

I listened to this, and the songs that follow, over and over again for hours upon first listen. Tomb of God just gets stronger with every spin. A must for fans of Reverend Bizarre, Lord Vicar, Cardinals Folly, Lucifer’s Fall, and kick-ass doom!

Give ear…

SOME BUZZ

FIMIR was founded in 2019 by former CHURCH OF VOID members G. Funeral, Magus Corvus, H. Warlock, A.D. and Septic Apes’ drummer H. Wizzard. From a mere spark in the dark and a distant echo of forgotten riffs haunting in emptiness from a collapsed doomstar of their former band, FIMIR got rid of their ghosts and started to work on their first album right away, until the world went into lockdown. Ultimately, the five-piece collective hailing from the frozen wastelands of Finland, used their time and creativity wisely, and managed to put the final touches on their upcoming debut, featuring six, heavy cosmic tracks unleashing an enthralling blend of razor sharp riffage, a haunting occult vibes, ambient soundspheres and classic doom metal!

Can’t even begin to express just how enamored I am with the French heavy music scene this year. It seems like there’s been a sudden punctuated equilibrium in the scene’s evolution, leading to an explosive blossom in creativity, depth, and variety. Case in point: INDIGO RAVEN from Toulouse.

Starting life as the compelling duo of July Docteur (vox) and Benoît Sangoï (everything else), a third member was just recently added to the team (bassist Jean Green) which has given Indigo Raven a deep, resonant sound. The weather on their new record, ‘Looking for Transcendence’ (2021), feels like the slow gathering of storm clouds. The instrumental textures, grey and bleak, contrast marvelously with the urgency of the singing, which is clear and powerful – at times even glorious.

Maybe it is simply a human tendency to notice beauty in the midst of something as ominous as a tempest, but I feel as though I’m on the edge of some cliff overlooking the vastness of the sea and a mighty swell building up as one looks at the horizon. The music moves closer and closer, until I forget my fear of the great swell, if only long enough to be swept away as a part of it.

High praise, even in metaphor, you may be thinking to yourself. To be even more gumptious, I’m about to introduce you to Indigo Raven by way of a track that’s different from any other on the new record. “Where Lies Our Heart” arrives at the end, when calm skies have again prevailed. It serves as a kind of postlude. It could be a hymn, an attempt to both reflect and memorialize all that we’ve been through together. Indeed, the song hints at a sense of serenity and gratitude now that the furor of the squall is past. The sound, rhythm and all, is achieved (it seems) purely through acapella singing and vocal effects.

Keep your eyes peeled for Indigo Raven’s Looking For Transcendence – out on multiple formats on October 22nd via Argonauta Records. You’ll find a fitting place for it on a playlist with Amenra, Om, Lowen, Chelsea Wolfe, Uzala, Messa, and other etherealists of doom (including the criminally overlooked Paris outfit Blóð). At once serene, spiritual, and haunting, don’t miss this evocative, moving, and artistically impressive debut.

Give ear…

Some Buzz

Formed in 2019 by creative duo Julie Docteur and Benoît Sangoï, and following their critically acclaimed 2020 debut EP, Indigo Raven welcomed a third band member to round up their line-up, bassist Jean Green (also in Mourier).

The trio’s sound emerges from the Peaceville Three’s influence with a modern sludge approach. A simple but not unsophisticated instrumental foundation of the band, coloured by a shamanic sound and these occult, haunting vocals, make 'Looking for Transcendence’ a captivating yet heavy as hell debut, that will most likely see Indigo Raven stand out as one of Europe’s underground best and up- and coming bands.

“After receiving more than stimulating feedback for our first EP and the arrival of our third raven, Jean, we were pushed to go deeper. Doing so, we’re very happy to introduce our first album: 'Looking for Transcendence’ (2021),” vocalist and visual creative behind the band, Julie, comments.

“We imprinted it with a form of dull & poetic rage, assumed vulnerability and eager for some serious split-screen. The music stays refined but gets more powerful and heavy, leaving space for the vocals to emotionally chant strong lyrics. We hope it will inspire you to inner journeys.”

Fans of bands like Windhand and beyond should watch out for Indigo Raven’s debut, slated for a release on October 22, 2021 through Argonauta Records.