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.

I still remember getting a shipment of vinyl from Twin Earth Records to sell at the inaugural Doomed & Stoned Festival in 2016, and among the haul was the self-titled debut LP by HAUNTED. At the time, they seemed like Italy’s answer to Windhand, which was at the peak of its popularity, and I was quite excited about what they had to bring to the table.

Two years later came the excellent ‘Dayburner’ (2018), then the band went into the shadows for six years. Little did I know they had signed to Ripple Music for a third album, 'Stare At Nothing’ (2024), which sees the light of day after the big thaw this spring. Today, Doomed & Stoned is giving you a look at the band in action, as we view the music video of their first single, “Catamorph.”

Dank, surly low-end from bassist Frank Tudisco and bluesy doom riffage from guitarist Kim Crowley join thundering drums from Luca Strano, that seems to conjure the ebb and flow of the sea. This contrasts powerfully with Cristina Chimirri’s sublime vocals and gorgeous melodic lines on the new spin, which is a monument to the exquisite emotional expressiveness and statuesque might of doom metal. A beautiful record, through and through.

Look for Haunted’s Stare At Nothing coming out on vinyl, compact disc, and digital format on April 19th (pre-order here).

Give ear…

SOME BUZZ

The conceptual gestation of the album 'Stare At Nothing’ has deep roots. The seeds are study, listening and experience. HAUNTED have tried to tell their journey of self-awareness, of reunion, of pacification, of ideological freedom, of recognition of the Self and its complete destruction.

They didn’t want to create nothing, and so they just stared at it. In the lyrics they talk about what they saw: the Man who chooses, who sees and accepts himself, who doesn’t come to terms with the Universe, with a God, with the Infinite, but only with himself – through a reverse mystical journey.

The compositional climax took place on the Summer Equinox of 2023. Hired Kim Crowley on guitar and Luca Strano on drums, they lowered themselves headlong, sinking into the dark cavities of the ground.

Their music then had to be vibrant, magnetic, deep, dark and powerful. They relied on the darker shades of heavy rock and the furious poetry of grunge, composing sharp rhythms on evocative metrics.

I love it when bands go for epic. With concept firm in hand, four-piece English progressive doomers GÉVAUDAN reveal a one-track 43-minute epic in ‘Umbra’ (2023), the band’s second LP following the well-received 'Iter’ (2019).

Some songs are written to get your body moving and your head banging, and so release a lot of energy in a short space of time. Other songs are written for the long-haul, supporting the unfurling narrative of a story old, grand, mysterious, and surprising.

Gévaudan’s penchant for storytelling is worthy of the baffling tale of the Beast of Gévaudan itself, a puzzling corner of history three centuries past. This epic tale seems at times to characterize a carousing beast or the sorrowful cries of its victims or the brimming rage of loved ones headed into the forest to hunt the thing that is like a wolf, yet not a wolf.

Some hints of the band’s intentions can be gleaned from the album title, umbra being the darkest place in a shadow. The piece begins with the unsettling scratch of dissonant guitar, like a cloud of electrified mist. Then comes the slow, deliberate thump-thump-thump of the drums. The first doom riff and sorrowful verse emerges:

I’m waiting in the dawn light, clawing, tongue like dirt
Bleeding wounds that unwind, nails worn through
Screaming, wordless prayer

For a voice this plaintive, you’d have to go to Rainbo from Portland, Oregon’s Purification or The Wizard from the late, great Pilgrim. There is genuine mourning here, with words reminiscent of the downcast prayers of King David. Like the Psalmist, the eyes of lyricist Adam Pirmohamed seem to lift heavenward, to the invisible, esoteric realms of God and the soul.

And I slumber, in His embrace
He cradles me to death
And I slumber, in His faith
He caresses, within my flesh

You may wonder how to take the words, just reading them at face value, but Adam has a way of convincing you of them on an intuitive level, such is the sincerity and relatability of his singing. Meanwhile, guitarist Bruce Hamilton gives release to the moment with a dazzling heavy metal solo that does some singing of its own.

When Adam returns to the mic, it is with conviction, and the vocal style becomes considerably more bold.

And I slumber, in His embrace!
And I slumber, in His faith!

There follows at 12:43 a period of the sublimest peace, with the airy ambience of pleasant dreams, free from the burdens and cares of this life. In a note from the band, they reveal that the song is about battling depression, with strong Lovecraftian themes (see below).

A third section surfaces at 18:32, with the guitar strumming a triumphant theme and the rhythm section of Andy Salt (bass) and David Himbury (drums) supplying a lofty heartbeat. Adam’s singing seems to embrace sunlight and blue skies following the sullen clouds of the first act. At 21:51 a whirling, climbing solo from Bruce, charged with grit and determination.

There is something vaguely Medieval about the riff we return to at 23:03, as though it were ruminating on past sins or future worries. Then at 23:40 bliss enters in the form of a psychedelic guitar set against noodling bass and the gentle tapping of drums and cymbals. The stern riff returns, though it seems to be right at home with its jazzier counterpart.

Then at 25:05 the mood shifts back to the depressive air of the start, and it might seem like defeat – back to the status quo of gloominess and melancholy. But something has changed. There is reflection and a sense of perspective about the state of things, and an optimistic spirit rises above the morass.

I’m waiting in the dawn light
Screaming, euphoria
Sightless woodland
Breathless blood

The presence of the synth gives it an otherworldly flare. Then at 32:52 piano, bass, and voice take us to the water’s edge for a beautiful song within a song. It might have ended there, but the full band returns at 35:53 with wailing guitar and damning chords to truly finish the piece.

Standing at my hearth, I am showered with gold
Strong foundations, I am king, I am known
Growing inside, fearless soul of mine
Brightest eyes, reflecting through mirrors

Now, as I mentioned, this is inspired by Lovecraft so there could be something stranger, more sinister afoot than I am aware of. I won’t spoil those last four lines of the song (beginning at 38:21), but they may leave you questioning whatever you believed about the whole ordeal to begin with. I love the dark, droning synth that takes us into the void at the record’s conclusion.

And with that, Gévaudan have created something unexpected and brilliant in Umbra. The album releases this weekend on vinyl, compact disc, and digital formats (pre-order here). Stick it on a playlist with Neurosis, Serpent Venom, Purification, Age of Taurus, and Pilgrim.

Give ear…

A Letter From The Band

We’re delighted to provide an exclusive stream of our second full-length album, Umbra, in partnership with Doomed & Stoned. This has been a while in the making, and we’re really excited to finally be releasing our most ambitious record to date, seeped in grandiose and epic doom.

Our new album, 'Umbra’ (2023), evolved from the depths. Through a single 43-minute concept, it explores depression through the eyes of Eldritch horror, culminating in the unrelenting shadow that’s imparted on its sufferer – a battle of light, stalked by darkness. As you may have come to expect from Gévaudan, this is monolithic, progressive, and highly emotive doom.

It was late 2020 when the first riffs for Umbra appeared in the studio. We felt we’d really found our niche through our debut, ‘Iter’ (2019), and made a conscious decision that our next record was going to take some of the more epic elements even further. Since our inception in 2013, we’d had a strong desire to write a concept album - something vast and atmospheric. It felt like the appropriate time to embark on the piece and see how our sound would translate onto a 40+ minute canvas for the next album.

Our writing process took on a far more live and collaborative approach. Whilst riff-master-general, Bruce, continued to bring riffs into the studio which we adopted, refined, and worked into fully formed ideas. We also took more time to jam and evolve parts, and created more in the room collaboratively. This helped to fully shape the progression and tonal shifts we wanted to achieve.

Lyricist and vocalist Adam has always taken the lead on the thematics. When thinking of concepts for the album, we wanted to take a different approach than usual. We’ve covered a lot of fantasy, history, and the occult; and whilst we didn’t want to stray too far from that, we wanted to write something with more of a personal and relatable element.

At the time, Adam was managing a bout of depression and kind of fell naturally into writing about how they were feeling – almost an indescribable and ominous feeling, a sense of something looming. From that feeling it felt instinctive to use themes and ideas of Eldritch Horror as an allegory for depression and distress, and it was rewarding to write about a relatable topic whilst still staying true to our known themes and tones.

An important part of our evolution on this album is the introduction of piano and synth. They have extended the layers and palettes we can play with and have allowed us to explore different textures and writing approaches.

As part of the completely immersive concept approach, the cover art was another key ingredient. The impressive cover artwork has been developed by Erskine Designs. Conceptually and tonally, it’s the perfect accompaniment of the aforementioned themes.

The dynamics of our song writing have always been a key ingredient to our musical approach, and we were fortunate to have the opportunity to work with producer and engineer Mike Exeter in the studio again.

Finally, we’re really excited to be working with Meuse Music Records on this release. They have been incredibly supportive in bringing our vision to life on physical formats, and are a really great team to be collaborating with.

Please sit back, lower the lights, and crank up the volume to indulge in this epic musical journey.

The very first encounter I had with Lawrence, Kansas band THEY WATCH US FROM THE MOON was a review of their debut ep for Doomed and Stoned back in 2020 for their debut release, Moon Doom. Back then I called them “a virulent mixture of heavy, slow riffs and space theatrics.”

Three years later, and signed to UK label New Heavy Sounds, TWUFTM return with an incredible full debut! Five tracks of leviathan, tectonic soundscapes coupled with the symbiotic harmonies of twin vocalists Lunar and 73. “Epic” is an understatement; it’s the very echt of doom: panoramic, epic and majestic every which way you turn!

Lunar & 73 seem to be almost symbiotically harmonious and fuel a powerful, monolithic range of riffs and structures. Label mates MWWB are the closest comparison I can afford, but that is somewhat misleading. TWUFTM have a unique vibe, appealing sound, awesome concept, and may well have just catapulted themselves into the echelons. Unmissable!

DIE LIKE GENTLEMEN have always represented to me the ideal fusion of rock and metal. Drawing on their sludgey roots, the Portland, Oregon quartet adopts progressive and dramatic elements for a punchy sound that is, in the band’s words, “new and original, yet familiar.” This is no less true on their fifth album, ‘Hard Truths’ (2021).

In the opener “Guts of a Beggar,” a homeless man proclaims: “How can you just step over me? I’m still a man. Even stewing in my own filth, I’m still a man.” It is sung with lusty aplomb by the throaty vocals of frontman Adam Alexander. High drama at its best, the first chapter of what feels like an epic adventure as the record spins along.

This takes us to the apocalyptic, “Last Night On Earth,” which bemoans our blithe attitude towards this place we call home, as we tear it away little by little.

We’ll pay by degrees
plastic tides recede
mountains of debris

“Whipping Boy” begins with a chugging gallop and vocals that reach levels of epic doom, mingled with elements of the New Wave of British Heavy Metal. The verses and choruses here are hearty and robust, something that’s become a Die Like Gentlemen trademark.

whatever crimes the kings devise
the whipping boy will pay the price

“Letting in the Rain” is another standout track, coming later in the album. It captures the gloom, uncertainty, and paranoia of isolation during a long Northwest winter (“Did I leave these footprints on my floor? Did I unlock this door?”).

There is sardonic humor on the record, too, as on “Bury Me.” If you’ve ever wanted to watch the world burn, then perhaps you can relate to this dying man’s plea:

Bury me
but only up to my eyes
so I can see the world
and watch the spool unfurl

Bury me
but only up to my nose
so I can smell the smoke
and hear the living choke

Lyrics seem to touch upon matters relatable to our time, yet strangely removed from it, as if coming from the realm of dreams. It’s like a Dr. Suess poem full of odd characters, unusual turns of a phrase, and whimsical illusions. Not quite a Neil Fallon word salad (Clutch) or a Serge Tankian spittoon (System of a Down), Die Like Gentlemen nevertheless traffic in the urgent, carnal, and bizarre.

The music itself seems to pull you right out to sea in an undertow of brash vocals, bold tonal choices, progressive stylings, and frenetic unease. When I search for the nearest anchoring point, I compare it with Mastodon’s Leviathan.

In the end, vocalist/guitarist Adam Alexander comments:

We just write what we write. We all share a lot of influences – classic rock, death metal, doom, grunge. I guess it’s where we feel most comfortable: darkness, anger, anxiety, depression and doom. We’re not the first band to find freedom in dwelling on darker aspects but we’re always following different inspirations to keep things interesting.

Hard Truths is Die Like Gentlemen’s most robust effort to date. It releases March 17th and will be issued on CD and 2xLP in addition to digital via Drink This Music (pre-order here). For fans of Mastodon, The Lord Weird Slough Feg, and Melvins.

Give ear…

SOME BUZZ

It’s remarkable to think that almost ten years on from the release of their 2013 debut, 'Romantic Delusions of Hell,’ venerable cult rockers Die Like Gentlemen remain one of Portland Underground’s best kept secrets.

Born into the city’s heavy music scene; distinguished, eloquent and steeped in the spirit of Priest and Sabbath, for too long the Pacific Northwest’s gain has very much been the wider world’s loss.

However, this year all that should change. The band makes a thunderous return and with it bring their progressive rock leanings, deft song writing, heavy metal riffs, and well-warranted self-confidence on 'Hard Truths’ (2023), their fifth studio album and most ambitious and cohesive work yet.

The last few years have been a challenge for everyone in our little town of Portland: the politics, the pandemic, the isolation, the wildfires, the protests, the crime, the poverty, the addicted, and the toll of all this upon our collective mental well-being.

This album, years in the making, was written against this backdrop of turmoil, always keeping in mind that we cannot defeat our demons without first staring them in the face and acknowledging them for what they are: an aspect of ourselves.

'Hard Truths’ is a swirling tempest of heavy metal and classic rock, in keeping with the band’s Odysseus-like approach to exploration, rocking hard against prevailing winds of change. A full hour of twists and turns, wails and screams, passion and precision, and through it all, grappling with some very hard truths about ourselves and the world.

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.

The name SCARECROW may bring to mind several different things depending on your mindset and personal preferences. Some may think of the character from the Batman movies and comics, some will think of the straw stuffed beings used to scare crows out of a farmers field, and some will immediately think of music; it seems that there are at least two groups using the moniker, one is a metal band formed in 1989, the other is the reason that we’re here today.

Scarecrow is from Perm, Russia, and plays an amalgamation of rock, heavy blues, metal, doom, progressive and much more; done with a 1970s flair that I wasn’t expecting to hear when I first heard of them. They have released one full length, one single, and are releasing their newest album, ‘Scarecrow II’ (2021), on October 22nd via Wise Blood Records.

When I say that you truly need this album, believe that I’m speaking the truth. The eight tracks presented are extremely well put together, with influences ranging from Black Sabbath to Led Zeppelin, and everything in between. So, without further ado, let’s dig into the cream of the crop!

“The Endless Ocean Overtorture” brings us in with the soft sounds of waves lapping onto the shoreline with an exquisitely beautiful piano part. There’s a symphonic aspect here that I find incredibly soothing, and it’s sheer beauty encompasses everything.

This symphonic intro has become a staple of each Scarecrow release. The first album began with the Scarecrow Overture, and the 3 track single began with the chilly sounds of Rising. These superb intro pieces grab your attention before dropping some serious rock and roll meets metal meets doom power!

The aptly titled “Blizzard” follows the intro, easing the listener into the album perfectly. What we hear is hard rocking, progressive tinged doom that employs a bit of heavy metal thunder.

This track has some of the finest bass playing that I’ve heard recently, and the mix puts it right up front while not overpowering the other instruments. Elijah has a firm grasp on his instrument, and helps propel things with perfection! This is without even mentioning the sizzling lead sections, and the Robert Plant inspired vocal work. Everything about this track is so nicely structured, and everyone’s performances are simply mind blowing.

Another of my top picks is “Spirit Seducer,” which I love for how much it captures the '70s vibe, its musicianship, and the way it’s arranged. A highlight of this one has to be the lead guitar playing. Max is adept at playing exactly what the song calls for while taking his leads into the stratosphere; his tone and note choices are so perfectly thought out!

On the vocal end of things, Artemis truly shines. He has a fantastic range, really showing off his capabilities here. I hear Robert Plant again, but there’s much more going on as well. I’m honestly floored by the way he uses his voice, and I think you will be too.

My favorite track is called “The Moors” – 8 minutes of great music. The song gets heavy after a brief acoustic intro, the doom influence in full effect. I hear Black Sabbath in the guitar riffs, which is always a welcome sound. Artemis uses a softer approach during the verses, yet still elicits that Zeppelin feel. These guys blow me away on so many levels, with this track being the culmination of everything that I love about the genre, and about the band as well.

There are a lot of layers going on, plus there’s some flute, cool vocal nuances, and more of the guitar playing that makes me want to smash my own guitar out of frustration; I wish I had 1/100th of the skills shown on this album.

There are four other tracks here, and each of them are incredible, so don’t think that my not including them is a sign of them being weak; they are not, and picking which ones to discuss was incredibly difficult.

October 22nd is coming up quickly, so head over to Bandcamp and get your pre-order on. I promise that you will not be disappointed with spending your hard earned dough on this masterpiece. There are two tracks available for streaming now, and The Moors will be the third, and final, single released. I’ll leave you with my suggestion, and let you get to it. Enjoy!

The Great Scarecrow Giveaway!

Here are some free download codes for Scarecrow’s EP 'Ghost.’ Redeem at bandcamp.com/yum.

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If LAVABORNE sounds like an epic name for a band, it’s for very good reason. Not only is the Midwest outfit inclined towards epic themes, they have also ignited the use of a descriptor that has been neglected by most music journalists to date: power doom.

You pick up on the spirit lyrically, just as much as musically, in the new music video “Prove Your Worth” (the third single to be released from the Indy handful’s forthcoming full-length, Black Winged Gods). The song’s ominous opening chords and crooning guitar lead ready us for a tale grandiose, inspired by ancient mythological lore that still has its soul-stirring way with our imaginations.

“Prove Your Worth,” says vocalist Chris Latta (who you might recognize from the now defunct doom operation Spirit Division) “was one of the last songs that was finished before we started recording the album. [Guitarist] Brandon Signorino wrote the riffs for this one, with the rest of us filling out the arrangements as it went along. I love how it goes between from the slower first half to the faster climax all while maintaining a triumphant air throughout. The Viking-themed lyrics that I paired with it seemed to be a pretty good fit. This is one of our favorite songs on the album. I want it played at my funeral – pyre and longboats optional.”

I love where his head is at! Surely I’m not the only one who has daydreamed about which songs I’d want played at my wake (while morbid, it is nonetheless a strange bit of fun to work on a playlist of songs echoing one’s life journey). The music video not only relays the timeless theme of life triumphing against the odds, but gives us a behind the scenes look at the band in action, whose full line-up includes: Chris Latta on vocals, Brandon Signorino and Freddie Rodriguez manning the guitars, completed by the rhythm section of Brandon Davis and Freddie Rodriguez on bass and drums.

Look for ‘Black Winged Gods’ (2021) to drop on October 1st, with a CD and cassette release via Wise Blood Records (pre-order here). Stick this in your rotation with Candlemass, Witchfinder General, and Armored Saint and you’ll find it a fine companion to epic doom, NWOBHM, and power metal.

Give ear…

Some Buzz

Indianapolis warriors Lavaborne forge their riffs in the magma of classic metal. Flashback with us to the early and mid-'80s, when Iron Maiden was writing a new classic album every year and Candlemass lit their first flame.

When vocalist Chris Latta and guitarist Brandon Signorino first formed Lavaborne, they envisioned a blend of doom and power metal. Slide on your studded gauntlets and listen to Lavaborne’s Black Winged Gods, a spirited offering of self-described Power Doom that’s a modern ode to epic heavy metal.

“The darker tone and theatrical vocals are rooted in doom, while the faster drums and guitar harmonies are very inspired by more traditional heavy metal,” vocalist Chris Latta describes. “Our core influences are Judas Priest, Iron Maiden, Mercyful Fate, Candlemass, and the eighties Black Sabbath albums. We also take inspiration from more contemporary bands like Crypt Sermon, Khemmis, and Visigoth, among others.”

You can hear an array of those influences charging throughout Black Winged Gods. But Lavaborne owe their sound to no single genre or metal legend. Their riffs clash swords on distant battlefields and stomp through the swamps of doom and sludge. But this doesn’t sound like a band searching for their voice. After the original duo slowly recruited three members from local maniacs Mask of Sanity, they used the past two years sharpening the timeless choruses on Black Winged Gods. Drummer Max Barber recorded the album like an alchemist turning heavy metal into sonic gold. While the songs are populated with adventurers and mythic beasts, Latta’s lyrics translate fantasy themes with a philosopher’s quill.

“The lyrics on Black Winged Gods are primarily based on fantasy, religion, and mythology,” Latta explains. “[There are] a lot of standard metal tropes, but they come with certain twists or questions rather than playing them straight. A song like “The Great Reward” turns the idea of dying in a war for one’s country on its head. “Mortal Pride” uses the Tower of Babel to question religious authority. And “Master of Medusa” invites the listener to see the true face behind the monster.”

Lavaborne will ascend from the flames when Wise Blood Records release the album digitally and on CD/cassette formats on October 1st. Punch the sky and join the Power Doom quest of Lavaborne’s Black Winged Gods.

New England’s MOURN THE LIGHT reminds me of what I really love about doom as a metal subgenre. Their style features honest, relatable lyrics coupled with menacing riffs and cut rhythms. You get it all on their new LP: ‘Suffer, Then We’re Gone’ (2021).

Some will no doubt eschew the negativity inherent in such an outlook. I say there’s freedom in seeing life for what it has become, instead of buying into the false hopes proffered through highly stylized commercials, religious lies, and the empty promises of politicians. Existence in itself is a wonder and we naturally should do everything we can to make the most of it, increase happiness, and avoid pain. That doesn’t mean dulling the senses so that you feel nothing or narrowing the scope of your awareness so that misery is someone else’s problem. There I go, preaching. Really, I’m just trying to digest the poignant lyricism of the Connecticut band’s first full-length record.

Take the very first track, “When the Fear Subsides,” which carries a horisont message that is nothing if not clear-headed:

We can’t reach a common goal
If we’re always at each other’s throats
We can’t avoid extinction of our dreams
Without a true thirst for peace
We won’t ever rise again
If we can’t leave the past behind
There has got to be change
How have we been so blind

The whole song is a much-needed reality check for a people at war within. Social media, while such a powerful tool of connectivity and collective change, has somehow morphed into gigantic bubbles of reinforced delusion, with acerbic memes serving as a proxy for real life heart-to-heart conversations. The mix of acoustic and electric guitar carries the message so beautifully, calling to mind great songs of heavy metal’s heyday.

The forthright songwriting continues in “I Bare the Scars” as frontman Andrew Stachelek laments mistakes made and the memory that burns so acutely long after the fact. In the isolation of pandemic lockdowns, I dare say that many of us have had to examine our lives (often on repeat), with each visit to the memory bank ending with an empty deposit of “If only…”

Nothing we say
Takes the pain away
And it hurts so much
Where do we go
What do we do
When it hurts too much

Dwayne Eldredge and Kieran Beaty pull off strong guitarwork, with several emphatic breakaway passages that reinforce the sentiment of the words quite fittingly. The rhythm section of Bill Herrick and Kyle Hebner, on bass and drums respectively, gives the song heft and a sense of urgency, too.

As the album progresses, it’s like a wide awake commentary on life – not as we wish it, but as it in fact is. “Take Your Pain Away” begins by taking notice of something a lot of us have seen in an increasingly polarized, overly-politicized, and embittered society. “Yesterday you were so full of love, today you look like you’ve had enough.” Is it possible to rediscover the meaning of being human and the joy of simple human relationships in the increasingly dystopian nightmare of the 21st century machine? Beneath the apparent cynicism, the band seems to hope so.

On Suffer, Then We’re Gone, Mourn The Light call it like they see it and their album succeeds precisely because of such honesty. It’s rare that I like an album for the words (most of the time, I can’t understand them anyway, so I just accept the vocals for how they impact a song), but here the lyrics and music work together so powerfully because it’s all so damned relatable. A real salve for the suffering.

The epic new album emerges on Argonauta Records this weekend (pre-order here), but Doomed & Stoned is pleased to give you this advanced listen right now as we present the world premiere.

Give ear…

Some Buzz

Mourn The Light was formed in early 2018 by Dwayne Eldredge, co-founder of The New England Stoner and Doom Festival. Driven by his passion for thunderous, traditional doom metal mixed with lofty progressive metal leanings, Dwayne was hell-bent on creating a band that could sonically push a message of hope in spite of despair.

Following on their highly acclaimed 2019 debut EP, touring the US and Canada including festival appearances at Stoner Jam 19 (during SXSW) or the second New England Stoner and Doom Festival, Mourn The Light returned to the studio to record their first album. 'Suffer, Then We’re Gone’ (2021) has a plethora of influences showcased, yet made all their own. At one moment, Mourn The Light delivers crushingly massive riffs, only to jump at the next turn, galloping along with shades of classic power metal taking hold and leading the way – all the while focused on incredibly memorable songs, with catchy hooks and sing-along choruses.

'Suffer, Then We’re Gone’ is the culmination of hard work and determination to create something meaningful and special to us.” Says guitarist Dwayne Eldredge. “We have grown as a band so much over the last couple years and we think it really shows in our latest work. We are a metal family working together on our heavy metal legacy and we are proud to be working with Gero and Argonauta Records. We can’t wait to see what the future holds. Looking forward to getting out on the stage again soon….”

This is a momentous occasion for people around the world who appreciate Stoner Doom Metal and its hybrid forms. The Russian Train to Elsewhere has been solid all along. Then, on May 21, 2021, they played live at Peak Sound Endless Misery Doom Fest, revealing their new lineup to the public. And it’s absolutely astonishing.

On June 9th they released the audio as a bootleg. Lead guitarist Maria K. “Gerard” integral to the band all along, now debuts the recording of her vocals, which intertwine with the lead vocalist, Anna Utopian, who also plays keyboards and stepped in to replace the previous vocalist. On drums we have M'aiq the Liar, Olga on the rhythm guitar that keeps me going and going with this band, and on bass, Anton “Vargtimmen” Bryukov. Their previous singer, Denis Generalov, is no longer with the band. We’ll miss him and always appreciate his massive contribution to the previous demo and album. I’m glad to see that in the wake of his moving onward, the band didn’t falter. In fact, this new era of Train to Elsewhere is electrifying.

Their sound is hypnotic and contemplatively atmospheric. The excellent drums are pared down to the essentials, as the best Doom drums are. The slow lullaby groove takes us into the imaginative liminal world of Nod as if we’re on a sleeper car bumping over the metal tracks, hypnagogic images combining the forest landscape outside the window with the mind inside. They play everything at a slow, minimalistic, heavy pace, never giving into the egotistical show of shredding to demonstrate just how fast they can play meaningless notes. No, conversely, every note matters.

Anna Utopian’s expressive vocals are consistently strong and delicious, beautifully doing justice to the intense lyrics while she creates Eastern atmospherics on the keyboards. Rarely does any Metal band have so much female representation within it. All the women in this band come across as authentic, being purely themselves as much as the men are, which can be a challenging project, considering the objectified roles they are so regularly expected to play on stage in that particular genre. There are no distracting displays here.

This ability to be genuine is not surprising with this low-key band, though, as they are not about surface level of life. Instead, the music provokes profound speculations and nuanced states of consciousness. It was Anton’s articulate brilliance in interviews that first locked me into their work.

When Maria sings, I stop moving completely. Until she’s done. Only utter stillness will allow the cilia in my ears to vibrate with the kind of desperate attention they require when encountering my favorite female vocalist. I wasn’t expecting that. No one told me. But I’m telling you, Stoner Doom fans. You must listen to this band that has something to say, and you must prepare yourself for Maria’s one of a kind voice. Words don’t do it justice. It’s the low beneath low. Her throat allows everything through, not just part of the frequency of life. All of it. The inflections indicate so much nobility in the depths of life that surely no one could take living for granted again.

First, I’d like to ask about that slow groove that’s consistent through the songs. I’m curious how the different band members feel that movement within their bodies. As a loop circulating through the body, a sway side-to-side (like bumping over train tracks underneath), a sleepwalking headbang, a standing spiral? Perhaps the way they feel the groove move through their bodies changes song to song.

Maria: We’ve never rehearsed our on-stage choreography or something like that. It comes naturally from our perception of the music. I can say, I like the heavy, powerful low-tune sound of traditional Doom. I like the sound of our guitars, amplified and enhanced with stage gear, going through bodies of musicians and audience. I think the sound should fill all the possible space it can, changing it in its special way.

Anton: For our band it’s very individual, some of us stay more or less still, others move to the music, whichever is more comfortable. It’s an interesting question because movement to music and dance is a very early part of human culture in a way it’s ritualistic. Although we never rehearsed stage movement it’s interesting to see the connection with the audience in that light. It’s great when some people dance to our music and move to it.

Anna: Generally, when I’m playing on stage or rehearsing at the studio, I feel some kind of special energy coming through my body. Especially when I sing. I begin to feel very inspired and optimistic about everything around me. I don’t really rehearse my on-stage choreography; I just have some clear ideas about what I have to do on some of our songs. So most of the time I just improvise my on-stage movements. Also I enjoy having that special connection with the audience, it’s an unforgettable experience, especially, when you’re playing on stage and see the people dancing to your songs and even starting to sing any of your songs that you’re playing. That’s when the magic happens for me.

Olga: I felt this only after I became part of the band – the feeling of the unified space with a group of people. When I listen to our music I can almost see how our melodies combine with each other, winding and supporting each other. Seems like their directions and weight are not less material than stage equipment. And our bodies move with the space movement. In this context I like “The Path” most of all – it resonated with me first and still makes me sway to its rhythm emerging in my subconscious in everyday life. I like both versions of it – with Denis and with Anna on vocals, which feel very different.

I love that about the unified space and the melodies themselves playing a tangible role within it. And the rhythm arising from the subconscious. And Anna feels energy coming through her – I feel a tangible effect from that! What scales are you most fond of? Is that part of the particular Folk element of your Doom that creates that tonality? Are there any folk melodies that influence any of the songs? In what ways does your location influence you?

Maria: I’m fond of northern folk, especially Finno-Ugric music, also I try to look at our music from different dimensions, adding Eastern tonality (Arabic, Turkish, Jewish music), as well as blues riffs, chromatic and classical minor scales, influences from Southern and Eastern European folk tradition… Our “Nortern Summer” is a reminiscence to native Karelian folk tunes, and “Mothir” is our adaptation of Icelandic folk song.

Anton: The idea of our project was to express through the language of Traditional Doom some of our folk influences. Yet we are not a folk band in a traditional sense of the word; we try to incorporate those melodies a bit more delicately, but they are very important.

As for the location it has a great influence on us from the vast forests to the existential gloomy culture and literature, we are shaped by this as musicians. As for Finnish folk it is an important part of our culture which sometimes flies under the radar when people are talking about Russia. For instance, Russian poets of the XIXth century with their gloomy and even Gnostic outlook on existence are a big influence for the Russian language texts of our first album.

Anna: I feel inspired by nature. I like spending some time in the forest. In terms of music, I usually prefer songs in minor scales; I like songs that sound not so depressing, but emotional. For example, I like adding some French coldwave sound to our music, as well as some blues rock.

Olga: Here I agree with Anton. The country’s history defined the distinct visual component of our surroundings, inspired by the folklore ideas and concepts we faced from early childhood, it nurtured in our minds the tendency to reflect and the idea of complicated intricacy of life, even its wholeness in imperfection. Maria shapes those images in multilayered sincerity, bringing the ideas into reality.

What is the composition and arranging like for these songs? Do they ever arise from improv jams? Is it mostly one person’s vision per tune? Do the words or riffs tend to come first? Are you most interested in getting across specific meaning through the lyrics or in something else, like creating a subtle mood that goes beyond words?

Maria: Most music comes from improvisations and jams. Sometimes it happens that I bring raw material – several riffs and text – and we try to combine them into a song and repeat it till it seems ready. Also, we have some texts and some jam records that could fit together – so, why not make a song out of them. The needed mood appears when the song is almost ready and we try to play it slower or heavier or faster, add keyboards and guitar solo elements – that comes out of practice.

Anton: My personal contribution is mostly the bass parts in terms of composition, that’s all I do. But sometimes I can advise the band to play slower and heavier, as well as bring in some references from the underground doom scene. Also, I write some of the English-language lyrics like our title track from the debut album Samhain, which has been influenced by folk horror films like The Wickerman (1973) and British classical poetry.

Olga: Most of all I value the moment when the composition is almost finished, when the main direction is defined, but the result can be changed in unexpected ways with new fragments. Then the experiments begin, making us closer to realization of the plot, and I like the way each of us adds his sound to the final feel of the composition and atmosphere.

I like that you call it a plot. Stories really do arise from the subtle nuances within the music itself, whether there are lyrics or not. What emotional process would you hope listeners go through with these paganism-referencing songs? Is there something subconscious about the ancient primal archetypes that can serve people even if they don’t think about those mythologies in their ordinary lives?

Maria: Every song has its own references, atmosphere and path to lead the listener through. Of course, when the full song structure appears in your head, it’s a powerful inspirational impulse.

Anton: I would like to add that myths are powerful archetypes in our subconscious. We like to work with that because the modern world is not concerned with authentic myth and we want to help the listeners experience them. Of course, the interpretation of the myth is psychologically different for every individual but there are important patterns.

For example, facing death and mortality has been approached differently in different cultures. And aesthetically the pagan myth is very poetic and it fascinates me. The main themes of the lyrics are the recognition of one’s mortality and different aspects of death – on “The Path,” mystical dark field of pre-Christian pagan tradition in “Samhain” and “Mothir,” Gnosticism in “Ashes,” omens and symbolism in “Silent Guard,” romanticism in “Where you live,” and pagan beauty of nature in “Northern Summer.” The title track “Samhain” was inspired by a cult folk horror film The Wicker Man (1973) while also referencing the original pagan roots of Halloween – Samhain.

Olga: The concept of mythology and paganism is the great mirror for the human soul, referring to times, when there were fewer concrete facts and the whole world consisted of trembling windings of human fears and desires.

“Trembling winding of human fears and desires.” I love that. Back before we could fact check everything in a search engine, reality was more amorphous, full of outrageous possibilities, eccentric cutting-edge experiments. Would you like to tell us about Sigil of Time? Is there a mentally different approach to folk music in that one? Some of you are able to participate in that band. Does it feel like a new compartment of the self opening up, like a new realm of a room that you can inhabit? How is that room decorated differently than the room in which Train to Elsewhere sleeps and dreams?

Maria: First material was recorded about ten years ago as my solo project, then we collaborated with Anton for a rather long time – but never released it till spring 2020. In this project I can release my vision that cannot be expressed with a heavy band. Usually, I create meditative multi-instrumentalist soundscapes in a much more intuitive way; most of them are instrumentals or vocals that don’t carry any lyrics. Often the recordings wait for some time to be reviewed and even corrected a bit before releasing. Anton records a bass line and manages different synthetic and noise parts. To talk about the room: it’s for chamber music and solitary thoughts.

Anton: Sigil of Time was mostly our experiments with post-industrial dark ambient and dark folk music as well as some field recordings. We didn’t plan to release it to the public but our label Kryrart Records encouraged us to share our music with the world. It’s more of an abstract stream of consciousness inspired by dreams and visions but some lyrics and melodies which ended up in Train to Elsewhere were first composed for Sigil of Time so the two are interconnected.

What were the mechanical methods you used to get the post-industrial effects? That’s intriguing: I’d be curious to hear about any specific dream or vision that inspired a song.

Maria: Sigil of Time is mostly based on acoustic instruments (especially guitars), as we could mention earlier. We use it for recording guitar pedals and post-production with different kinds of distortion and delay, octavers and reversed echoes, also adding such things as different samples, raw analog synthesizer sound… In different periods of time Sigil had a tendency to explore various sources, while anthologies unite tracks from earlier times.

Usually, a song starts from the feeling of total clarity, when the idea of lyrics meets the image of musical sketch, giving a whole plan of what to do. It changes several times while recording, usually each part is improvisation, keeping only several repeating moments. Mixing inserts its corrections, and when the song is almost ready, I leave it for several days, returning to it later with minimal changes.

Anton: As for Train to Elsewhere we use techniques common for recording traditional doom metal. Maybe one thing that sets us apart is that we use the sounds of the amps and their built-in distortion power rather than custom distortion pedals for pedal boards. We want to capture a primal raw sound of early rock and metal. About dreams – before writing the lyrics to Samhain I saw a dream in which I was in a vast endless autumn forest as far as I could see. The forest seemed very old, even ancient; later the dream inspired me to write the lyrics to Samhain.

We would like to thank you for these wonderful interesting questions, it was great answering them. We’re very glad and honored you enjoyed our music so much.

Though MOANHAND has been active since at least 2016, it was only this year that I became aware of multiinstrumentalist Roman Filatov’s stirring experimental doom-sludge project. To call it a project feels like a slight, for ‘Present Serpent’ (2021) is a revelation. And I don’t cast such remarks lightly.

The six-chapter epic coils like a rattler warning you of impending doom ahead if you dare tread further. “Serpent Soul (A Tale of Angels’ Slaughter)” features swift, strumming chords that feel like they could be a dozen peeved Ophidia looking for a fresh ankle to bite. There’s no escaping once these fangs dig in, either. Might as well settle in and see what happens next, for not all serpents kill. This adder bears a tale indeed, carried by a compelling mix of mournfully appealing clean singing and caustic, venomous vocals that made me think of Enslaved as their wickedest.

“The Charmthrower” goes straight for the jugular with harsh shrieks of pained emotion. This one is perfect for your next spiritual catharsis. Unbelievably, there is a salve to this course track with a soulful, healing vibe that I shall happily compare to Apostle of Solitude. I’ve yet to comment on the dark floor of doom riffage and dire drumming that has given this track its sturdy foundation. The instrumental theme is beyond moving and opens Moanhands telltale devil vs. angel crooning, complete with a most haunting chorus. Tastefully, the song dissipates not with a fade, but with acoustic reprise of the beautifully dismal central motif.

Next we take on “Nightwings” and we’re flying right into Khemmis and Warning territory, with a ballad of august glory, accented by lilting vocal harmonies and supreme skills on the strings. The song presents with a warmth and sympathy uncharacteristic even for choice melodic doom.

“Endless Embrace” is another number that wears heart on sleeve. This far into the album, the more stoic among us may have had just about had our fill of “feeling” – enough to trigger one of those Alien chestbusters that’s been aching to rip right through your rib cage. But don’t give up on the song quite yet, beloved Doomer, for it holds a bounty of menacing treasure further along in the cavernous second-half.

“Raw Blessings” steps out at a true Pallbearer’s pace, this time with a searing guitar solo (with gorgeous tone) as prelude to the lyrics. I can really appreciate the basswork here, probably because it’s slow enough for me to really take notice of and be gripped by its wallshaking force.

Our doomed excursion finishes grandly with “The Boomerang of Serpents,” which was another one of the singles. If you haven’t put two and two together by now, there is a certain meditation we’ve been having on these sleek, limbless reptiles. And if you reflect for long enough, there’s plenty of metaphor to be had throughout the album. How telling that the snake has so fastened itself to human poetry, myth, folklore, and religious texts.

The tenor here is at once grim and urgent, with devilishly downtuned bass and guitar strings doubling in effect to rumble right through your gut. There is little respite to be found in the lungs of singer/songwriter Roman Filatov this time. This is a churning den of disquiet. The vipers are striking with passion, composed equal parts of spiteful rage and deeply troubling sorrow. Few tracks have so accurately captured the mood of doom as to arrive on my personal “Depressed As Fuck” playlist, but this one has done it. I can’t even think of a more striking emotional passage than the last three minutes of this song.

Moanhand’s Present Serpent is a keeper, alive with poignant feeling, heart-rending affectation, and inspired heights of grandeur. For me, at least, it was a profoundly moving experience taken in from beginning to end (and in repeated listening sessions). It will go high on my Top 25 submissions to the Doom Charts council toward month’s end, and with any luck will hold steady in Doomed & Stoned’s HeavyBest of 2021. Roman is a sensitive musician and an accomplished vocalist. Here’s hoping that circumstances will usher him to a stage near us in the future.

Look for the record to drop on Friday, June 18th on CD, cassette tape, and digital format via Burning Shine Records (get it here). For the hours leading up to its release, Doomed & Stoned is giving you this exclusive listen.

Give ear…

Some Buzz

Hailing from Moscow, musician/songwriter Roman Filatov is the one-man intermediary of rising metal behemoth, Moanhand.

Created in 2016 as a vehicle for Filatov to flex his musical muscle and classically tempered mind, he has since gone on to produce an imposing catalogue in recent years. Always under the radar and autonomous-in-action, his talents have culminated most recently in the release of Plague Sessions, an EP recorded live at Pentagram House Studio, in 2019.

But 2021 sees the arrival of his biggest project yet.

“I’ve always tried to avoid putting myself into boxes when making music,” explained Filatov recently. “Present Serpent is definitely a hybrid of genres. It’s not just a doom, sludge or stoner album. There are a lot of different influences from black/death metal, post-metal, classical and even pop music. It’s as melodic as it is brutal.”

Written, arranged, performed and programmed by Filatov himself, there’s no question that as an album, Present Serpent is the apex of an almighty creative offering, and a truly dynamic piece of work that demands your attention.

Present Serpent will be officially released on 18th June 2021 on Burning Shine.

Today I discovered that on Bandcamp, when you search for a genre, let’s say epic doom metal, there’s a “surprise me!” button, where it loads up random albums for you. I decided to use this to find something to listen to while working. Initially drawn by its beautiful cover and grabbed by the pun in the title, I decided to give ‘Stagmata’ (2021), the debut of London doomers BLEEDING ANTLERS a spin.

The record was released last February, but seems to have gone under the radar for most. Judging from the album title, as well as the fact that the band members are wearing goat masks on stage, I didn’t expect this to be a very serious endeavor, but worth giving a shot.

While the band may seem like a gimmick at first, opening track “Murder (and the Strength of the Absurd)” shows us that these guys are very serious about their music. The track is a grooving and stomping doom song that mixes old school doom with a modern sound. The vocals are what I’d expect Paradise Lost vocalist Nick Holmes to sound like if he would front a grunge band. While I’m usually not very keen on that type of vocals, it works very well here.

On the following tracks, Bleeding Antlers get to show their versatility. “Half Hanged Mary” and “The Forefather” give meaning to the band’s description of their music, because there’s no better way to describe them than psychedelic doom shanties. The tracks are heavy and doomy, but with a solid folk base. “Mooncalf” shows us that the band is capable of incorporating some fun in their doom, while still maintaining a high standard for their music. It’s one of the best tracks to be found on Stagmata.

“You, Me and Oliver Reed,” the ballad-like “The Place of Dead Things” and the devilish “O’ Satan” are all great doom shanties, making me want to sing along while waving a pint of beer in the air. It’s not until “Pony” that the band seems to drop the ball for a bit. The Ginuwine cover is funny and I’m sure it will do well live, but it feels out of place on this record and takes away from the band’s own great compositions. With a playtime of 65 minutes, the record would have been a long sitting even without this track.

With that, we’ve also touched the issue with Stagmata. There’s a lot to love on the record, but at points it feels like a little too much for one sitting. I wonder if I’d enjoy “King in Flowers” or a folk doom ballad like “This Ain’t Jonestown” more if I hadn’t been listening to this record for 40 minutes already.

Luckily the band manages to grab me again with “Mother’s Ruin.” The track brings back the magic of the first half of the record, suddenly incorporating a Marilyn Manson-esque chorus that will have you stomping your feet and shouting along. Sadly this new found energy doesn’t immediately flow through in “The Gentleman Dogs”, although there’s no denying the main riff and the chorus are really cool.

Bleeding Antlers finish off their debut with “The Last Prayer”, on which they kindly give us a summary of all the good things Stagmata has to offer. It has the shanty rhythms, the dark neo folk storytelling and of course some weapons grade doom. All these elements make you very forgiving for the record’s shortcomings, making me want to put it back on. Tomorrow, because as much as I enjoy it, it would have been better in two parts.

I’ve always said that given the right circumstances (say a good set of professional ears lodged in influential places) that CAVE OF SWIMMERS would be a sensation. Why? Because they’ve got all the right stuff to really connect with people at a time when heavy music has been simmering underground, well-past ready for a fresh outburst. Hamstrung by lockdowns, financial burdens, and fear aplenty, we’re ready to dust off our air guitars and party like it’s 1987 again (incidentally, the year I first discovered heavy music). I’m not alone in speculating that we’re in for another Roaring Twenties, not unlike the carefree days that followed the last global pandemic. And it’s precisely this kind of energetic vibe, with its unique Latin-meets-metal flavor, that is ripe and ready to rock ‘n’ revel to!

Hell, we’ve not heard a sound this contagious since, well, maybe Sepultura – and that was another animal entirely. With that said, Cave of Swimmers are very much metal to the core. And oh what a crowd-rousing live show Guillermo Gonzalez (guitar, synth, vox) and Arturo Garcia (drums, backing vox) can put on! I was there when Cave of Swimmers energized a hung-over and droopy mob gathered 'round The Vinyl Stage at the Hard Rock Hotel & Casino, lo those many years ago at the inaugural Psycho Las Vegas.

All that and they have an appealing back story: two friends whose families relocated to Florida amidst tumultuous circumstances in Venezuela. As teenagers, Arturo and Guillermo grew up idolizing bands like Iron Maiden and Metallica and now they’ve crafted a fantastic, original style of their own, with wicked guitar play and grandiose vocals built atop a rhythmic array that is simultaneously feverish and suave, with choruses that are imminently singable. Stream their latest LP at least twice through and I can predict which lines you’ll be humming at work and crowing in the shower at the top of your lungs.

When the band burst upon the scene in 2013 with Cave of Swimmers, I remember the community sharing it like mad. From “Materia” onward to their incredible namesake anthem, it was as if the Latin Candlemass had emerged from the salty Atlantic to enthrall crowds like some kind of warbling Creature from the Black Lagoon.

Their music-making only got better from there. 2015 gifted us with a second EP, Reflection, featuring a song I have no doubt will one day be a doom metal standard, “Prince of the Power of the Air”. I’m telling you, the Psycho crowd went stompin’ nuts when they heard those quasi-Biblical lyrics sung in epic doom fashion accompanied by that stern guitar tone, leading up to an incredible solo, and then a delirious second-half, which made everyone dance (whether we wanted to or not). It’s infectious, like I said. I’m telling you, this sound cannot be matched. And I’m convinced it will not be stopped, either.

2021 is Cave of Swimmer’s year to ascend, for thus saith the Prophet that dwelleth atop the Rocks on High! Pandemic or no, it was this duo’s time to release the material that had been welling up inside of them for so long. I guess we can call this their first LP, even though every spin so far has felt sufficiently hefty to refer to as a full-length. Six songs clocking in at over 30 minutes – it’s the band’s next stepping stone in their journey from the recording studio into your earbuds and mine.

'Aurora’ (2021) plays like the first songbird of spring, if you’ll indulge my idyllic wording for a moment. It’s just so full of earnestness, life, and yes joy. Three things that we’ve been longing for in the midst of so much treachery and nihilistic despair. Hell, I consider myself something of a nihilist, but this band melts away my grim pessimism. It’s all encapsulated in the thrashy, downtuned attack married to a kind of urgent Latin vibe that says “We’ve got one night left to live, let’s die with a smile!”

After an atmospheric introduction that foreshadows material still to come, we’re treated to “The Sun,” which the band released as a single awhile back. I remember telling them at the time, “You guys should be huge.” I meant it with all my heart, too. Certainly, this isn’t watered down pop music fare, yet I think the average heavy music listener will find it wholly accessible. I’d put this Cave of Swimmers neck-and-neck with any Top 50 touring metal act, based on this track alone. Maybe I’m just enamored of their sound and being less than objective. So sue me.

Next up: “Double Rainbow,” which is a kind of resurrection of optimism. Hope for a new and better tomorrow. “Forget the hate, forget the scene, forget the life of complacency,” Guillermo sings. “A second arc, new scenery, our time is here. Don’t let it go! When I hear it, I too want to believe.” It’s a message that’s especially important for us to convey to the next generation of rockers and metalheads, lest they be weighed down by our own disillusionment and mistakes. This is a song that encourages that that brash, foolhardy youthful joie de vivre and its power to change the status quo.

“My Human” opens up with a burst of syncopated guitar that reminds me of something Tom Morello likes to cook up, but its mere window dressing for a song that develops into something purely Cave of Swimmers. A single melodic line of epic singing accented by a soft layer of synthesizer lays out the verse, followed by one headbanger of a chorus. It’s a song about companionship and the consolation that we can have in one another, if we will only open ourselves up long enough to being truly human. To give and in turn receive. It also seems to speak of a hope beyond this life, at least in some ethereal, metaphysical sense.

“Looking Glass” unloads a spitfire of “Say hello to my little friend!” style riffage that rips open into a chorus I could definitely take with me to salsa lessons, if I were to dare return. Remind me to tell you about the time I accidently cracked a partner’s nose with my elbow while trying to pull off one of those fancy turn-and-swing maneuvers. Sigh. Some of us have no rhythm, whatsoever. But I recognize a good slam-dancing song when I hear it!

Which leads me to talk “Dirt.” Much more gritty than its predecessors, accompanied by a spooky synth of the kind Rob Zombie or Acid Witch are apt to toy with. Even as the mood turns grim, it’s a foot shuffler nonetheless. And there’s no denying the power of those soaring, falconesque vocals. Guillermo seems capable of transporting listeners to a higher plane of consciousness. Good thing, too, because the message is that we’ve all been living in our mental prisons for far too long, reinforced by “pride and ego trips.”

Billions of us
Where are we going to?
Chasing our tails around the sun
Bleeding our hearts
Divided and conquered, too
Buy us for sale at the dollar store
Raised like pigs on dirt

It’s time to break free. The song ends with a section of flamenco-style guitar executed with deft classical technique. It reminded me a bit of Psychroptic’s “Euphorinasia” – another song that makes brilliant use of acoustic guitar.

“C.S.” is Cave of Swimmer’s swan song – a send-back to their earliest work. Their reprisal reminds me of something Metallica would do. There’s a certain “Nothing Else Matters” mood about it all. Then out of nowhere, a spurt of volcanic riffage and mad drumming breaks out into a Gojiraesque hoe-down. Oh yes, and there’s another celebratory trve metal guitar solo lodged in there juxtaposed with complex rhythmic percussion.

I’m telling you, Cave of Simmers cannot be beat. The game belongs to them. Their time is now. Give ear…

Last year, Doomed & Stoned published a compilation focused on two-piece bands. Of course, that 39-tracker just focused on the Latin American scene. Were we to widen our scope, I think you’d be surprised at how many duos there are around the world – from well-known acts like Black Cobra to some of my favs: Swamp Ritual, Cave of Swimmers, and Hymn. Even more so that your preconceived notions will be shattered when it comes to imagining what just two band members can do when they bump heads together.

The latest case in point, Finland’s DESOLATE REALM, formed by talented vocalist Matias Nastolin of Decaying and Altar of Betelgeuze (a band I’ve long championed, whose past singer Otu went on to form the mighty Kaiser) and fierce drummer Olli Törrönen Chalice and Decaying. The two are well-matched, with a large presence, bravura, and plenty of fire to melt what remians of winter.

Helsinki’s Desolate Realm, the press clippings tell us, “combine the epic grandeur of doom-metal acts like Candlemass and Solitude Aeturnus with classic heavy-metal of Savatage and Metal Church and the mighty groove of Black Sabbath – with epic melodies and gripping, heavy riffs.”

The hype is right. As I listened to their forthcoming full-length debut (follow-up to the 2020 EP Unleash The Storm), I found myself in full agreement. I’ve been blasting these eight songs over and again, and after repeated listens even found myself starting to sing along.

“This is doom-metal that leans on old-school and classic influences,” the band says, “so you won’t find fuzz or psychedelic textures here, instead, the epic melodies, heavy riffs and belting vocals are the driving force of this album.”

“Spire” is the opening number from ‘Desolate Realm’ (2021), out April 23rd (pre-order here). The vocals remind me so much of Morgoth, especially the Feel Sorry for the Fanatic era, when I first fell in love with the band. Right now, there aren’t a lot of vocalists with this kind of heft, tone, and range, so Matias stands out entirely from the pack, especially in the doom metal scene – as does Olli’s full-bodied, red-blooded drumming.

While “Spire” is more up-tempo than many doomers have come to expect from “traditional doom,” there is plenty to please fans of Grand Magus, The Gates of Slumber, and Solitude Aeturnus alike on the new record. All in all, Desolate Realm presents a fierce, but well-balanced record brimming with the spirit of trve metal and the icy atmosphere of the Finnish heavy music scene.

Give ear…

France has just been killing it lately, with some of the finest metal and rock in recent memory. Meet CONVICTION out of Normandy, four acolytes of the slow n’ low whose authentic songcraft is as baleful and compelling as you could ask for.

Now eight years and running strong, the band are gearing up for the release of their first full-length, ‘Conviction’ (2021), featuring seven tightly crafted songs of traditional, sorrow-laden doom. Right away, “Voices of the Dead” woos you with a warbly guitar lead that draws upon one of my favorite riff-motives in all of doom metal. Oliver Verron’s singing is clean, in the upper-register, but not operatic.

Never overplaying their hand, Conviction begins “Through The Window” in quiet fashion, gradually adding a soft, amiable vocal line, building and building to mass effect, with axeman’s Frédéric Patte-Brasseur’s busting out a stinging solo at the most climactic moment. The song settles back into the shadows, ending with a whisper. It’s harmonious chorus is one I definitely see myself singing along to in the days ahead!

“Curse of the Witch” really brings out Conviction’s stylistic versatility, with a faster stride, clean and harsh vocals, maniacal laughs, plus a guitar that can really croon (then shred!). Up to now, I’ve said nothing of the rhythm section of Rachid “Teepee” Trabelsi (drums) and Vincent Buisson (bass), but suffice it to say it gives sturdy wheels to every song. The drumming is neither boring nor overripe.

We’ve now reached the album’s midsection and the almost hymn-like “Outworn.” Oliver and Vincent join together in plaintive sound, calling to mind the harmonies of Jerry Cantrell and Layne Staley of Alice in Chains (always a good thing), with Frédéric joining Oliver for a dual guitar theme that’s soaked with grief. Lyrically, I got really caught up in this one, as it seems to voice the nihilism and despair I’m sure I’m not alone in feeling due to the present state of our plagued world.

Guitarist Frédéric Patte-Brasseur is to be credited for making an somewhat plain song (“Wrong Life”) into something truly memorable with leads that serve almost as a second voice. “Castles Made of Shame” provides some much needed contrast with a heroic tone and tempo and a beautiful marriage of primary and backing vocals that join in harmony at just the right moments. Yes, this one I can see being a real fist-raiser at festivals, with fans chanting along in loud unison at just the right moment (you’ll recognize it when you hear it).

At last, we reach the album’s conclusions, an 11-minute behemoth that showcases the many talents of the band we’ve witnessed here and there up to now. Conviction demonstrate here that they are masters of songcraft, allowing a song to really breathe as it builds in epic fashion. The singing reaches for something almost worshipful, reminding me of some ancient monastic choir. The devastating riffage and glacial chord progression reminds you all the while that this is doom, through and through.

Look for the full release of Conviction on Argonauta Records this Friday, January 22! For fans of Pallbearer, Trouble, Apostle of Solitude, Count Raven, and Gates of Slumber. And now, Doomed & Stoned brings you the record’s world premiere.

Give ear…