DOOM AROUND
THE WORLD
“World’s full of love. Billions of people loving billions of others. All that love will turn to dust when our resources die. I’ve seen what people are capable of when they feel they’re losing everything. Look around…”
This episode of our new, once-in-a-while, hour-something-long broadcast Doom Around The World is inspired by the British television series Utopia (the Channel 4 program from 2013-14, not so much the remake) and its twisted parallels with this crazy, uncanny year that has become 2020 A.D.
🔥PLAYLIST🔥
“We Can Stop This” (00:00)
1. Cirith Ungol - “Doomed Planet” (00:59)
2. The Love Team - “Every Day Is A Struggle” (05:36)
3. Infirmum - “Doomed” (09:53)
“Do You Really They’re We’re Going To Just Share?” (15:12)
4. Goya - “Doomed Planet” (15:31)
5. Demon Lung - “Binding Of The Witch” (24:32)
6. Chronobot - “On The Level” (34:03)
“To Do Nothing Is Insane” (38:27)
7. Vessel of Light - “There’s No Escape” (39:15)
8. High on Fire - “How Dark We Pray” (43:32)
9. Dopelord - “World Beneath Us” (51:39)
“Push The Button” (57:02)
10. Electric Wizard - “Mourning of the Magicians” (57:53)
11. Undersmile - “Killer Bob” (1:09:11)
Just two years in and already Psycho Las Vegas has become one of the biggest and most exciting gathering for fans and bands in the heavy underground. Doomed & Stoned’s second visit to the festival was no less ambitious than our first. Three photographers contributed to our coverage again this year: Sally Townsend, Alyssa Herrman, and Elizabeth Gore. Between them, it’s safe to say we captured damned near every act on the bill. For those who got to attend Psycho ‘17, I hope this series brings back pleasant memories (or maybe fills in the gaps if you were, how shall I say, a bit “fuzzy” over the weekend?). For those who didn’t make the big meet-up in the desert, perhaps this will entice you to the 2018 event, which rumor has it, is shaking up to be something very special.
The first photographer we’ll be showcasing in our Psycho Las Vegas review is Sally Townsend of Sally Townsend Photography, based in Melbourne, Australia. For several years now, she has been flying across the ocean for Thief Presents and Psycho Entertainment events, beginning with the earliest iterations of the festival: Day of the Shred, Night of the Shred, and Psycho California. Sally has a real knack for capturing iconic moments, as you can see for yourself. Since she covered quite a few bands (and has the blisters and callouses to prove it!) and since I’m having such a hard time narrowing down the photos to only one or two per band, we’ll be publishing her work over a series of articles. Enjoy! (Billy Goate)
Pool Party
Thursday, August 17th
Day One
Friday, August 18th
There’s a whole lot more in our Psycho Las Vegas 2017 retrospective, with Day Two and Day Three coming later this week! In the meanwhile, you can check out more of Sally Townsend’s work here. Make plans to attend Psycho Las Vegas in 2018 here.
THE DOOMED & STONED PODCAST
Just in time for the weekend, Doomed & Stoned is bringing you 2+ hours of downtuned devastation and fuzzed-out riffage. In this podcast, BillyGoat’s counting down his favorite tracks from the latest edition of the Doom Charts, sampling new albums from around the world. Lots of great music, including an incredible track from that upcoming 12" split by groovy Portland stoners Pushy that’ll take you right back to the ‘70s, more from The Hobbit themed split between Thorr-Axe & Archarus, and the long awaited return of The Obsessed!
INTRO
1. PUSHY - Salem Man (00:18)
2. BLACK RAINBOWS - The Red Sky Above (04:11)
DOOM CHART COUNTDOWN
3. Spidergawd - “Stranglehold” (#25) (12:00)
4. Super Snake - “Leap of Love” (#24) (17:23)
5. Ordos - “The Infernal God” (#23) (25:36)
6. Earth Witch - “Pilgrim” (#22) (29:41)
7. Thorr-Axe - “Dawn Take You All” (#21) (35:20)
8. Archarus - “Foehammer” (#21) (40:32)
9. Kujara - “Three Days” (#20) (48:23)
10. Cloud Catcher - “Visions” (#19) (52:59)
11. Mage - “Heroic Elegy” (#18) (58:51)
12. Acid Wolf - “White Raven” (#17) (1:04:12)
13. Curse the Son - “Sleepwalker Awakes” (#16) (1:07:50)
14. OHHMS - “The Magician” (#15) (1:13:50)
15. Hyborian - “Dead Lies Dreaming” (#14) (1:22:21)
16. Hark - “Fortune Favors The Insane” (#13) (1:27:04)
17. Spaceslug - “The Great Pylon Collider” (#12) (1:31:28)
18. In the Company of Serpents - “The Middle Pillar” (#11) (1:37:19)
19. Goya - “Misanthropy on High” (#10) (1:46:51)
20. The Devil And The Almighty Blues - “Neptune Brothers” (#9) (1:58:37)
21. Alastor - “Nothing To Fear” (#8)(2:04:52)
22. Devil’s Witches - “Velvet Magic” (#7) (2:14:25)
23. Pallbearer - “Heartless” (#6) (2:20:55)
24. ATTALLA - “Devil’s Lake” (#5) (2:29:10)
25. Forming the Void - “The Witch” (#4) (2:33:25)
26. Mothership - “Wise Man” (#3) (2:39:41)
27. Telekinetic Yeti - “Electronaut” (#2) (2:42:24)
28. The Obsessed - “Punk Crusher” (#1) (2:50:19)
*also streaming at: Mixcloud.com/DoomedandStonedOfficial (where you’ll find a three year collection of podcasts).
Support the bands. Info on the purchase of music in this podcast at www.DoomCharts.com.
Cover art by Mike Lawrence from 'Ain-Soph Aur’ by In The Company of Serpents.
The Doom Chart Countdown!
It’s time once again to count down the Top 25 albums of the month, as determined by a consensus of critics from the Doom Charts. It’s a wild trip around the world this time, from the United States (North Carolina, Tennessee, and Phoenix) to Europe (Belgium, Italy, Norway, Sweden, and Wales), Mexico City to Melbourne. We’re covering a ton of ground in this episode of The Doomed & Stoned Show…
- Witchthroat Serpent - “Lady Sally” (00:46)
- Vinnum Sabbathi - “The Probe B” (07:25)
- Elbrus - “Eyes of the Mammal” (15:55)
- Horisont - “Electrical” (22:09)
- All Them Witches - “Bull” (25:48)
- Dead Witches - “Dead” (33:13)
- HYMN - “Rise” (39:18)
- Bathsheba - “Manifest” (51:45)
- Hark - “Fortune Favours The Insane” (1:03:20)
- Strange Broue - “Seance II” (1:07:45)
- Demonic Death Judge - “Heavy Chase” (1:12:24)
- I am The Liquor - “Destroyer of Worlds” (1:18:01)
- Ordos - “Hounds Of Hell” (1:23:51)
- Unearthly Trance - “The Great Cauldron” (1:30:35)
- The Ossuary - “Witch Fire” (1:40:45)
- The Good Kind of Mushroom - “Enoki Grove” (1:44:22)
- Toke - “Blackened” (1:49:48)
- Goya - “Disease” (1:54:31)
- Super Snake - “Hot Pavement” (2:00:53)
- Buried Feather - “Would I Miss You” (2:06:17)
- Forming the Void - “Unto The Smoke” (2:11:11)
- Dopelord - “Children of the Haze” (2:19:24)
- Stone Troll - “Recoil” (2:26:58)
- Kingnomad - “Nameless Cult” (2:41:53)
- Spaceslug - “Parahorizon” (2:38:31)
This program originally aired live on Sunday, March 5th, 2017 via Grip of Delusion Radio. Archived broadcasts on Mixcloud.
Info about purchasing the music in this ‘cast here.
Still hungry to discover new music? Check out Doomed & Stoned’s scene-by-scene compilation series.
A Chat with Goya’s Jeff Owens
~Interview and Concert Pics by Leanne Ridgeway~
Before we get to the new tidbits, how are you and how are you digging the new Goya line-up?
Hey! Things are going great. We just got done with a short hiatus from shows to record our new album, and we’re getting back into the swing of things. I started Goya when I was in a different band, because I wanted to do something a little heavier and a lot slower. Nick joined a couple of years later and Sonny joined up last year. The first time I met Nick was actually the first time he came to jam with us. Sonny had filled in at short notice on a tour with us in 2014, and we’re very happy to have him as a mainstay, finally. It’s been a long time coming.
For several releases you’ve worked with Laney Oleniczak in creating album artwork – all gorgeous collaborations, by the way. Are there other artists whose work you drawn inspiration from?
Yeah, Laney did a great job on the Nothin’ but Dead Stuff 7” and Obelisk. Nothin’ but Dead Stuff is definitely one of my favorite covers of ours.
Hunter Hancock has been instrumental in crafting the imagery of Goya. He painted the cover for 777, and designed one of our earliest and best-selling t-shirts. We enlisted his artistic talent once again to do all of the art and layout for Harvester of Bongloads, which was definitely the right choice.
As far as other artists, there are honestly too many out there to put in a concise list. If I had my druthers, we would have Skinner and Arik Roper doing artwork for us. Maybe one day!
Last October, Goya self-released a battering four-song EP Doomed Planet through your own label, Opoponax Records, along with three other releases – all in 2016 – and now the new LP, Harvester of Bongloads, which just released. How much pressure do you put on yourselves to record new music?
We’re always trying to move forward. Usually, by the time we have a release out, we already have three or four new songs we’re working on for the next one. Honestly, this is the first time that hasn’t happened. We literally have zero new material at the moment. There’s still a chance that that will change, though!
All that being said, we don’t really put pressure on ourselves, per se; we just work on new material as it comes. I think we all (“we all” being musicians) probably enjoy working on new music the most, so that’s the main pressure. We just want to keep having fun.
Do you and the other guys have a disciplined method for writing new material or do new songs grow fluently from a jam session?
I am a songwriter at heart, so usually I have everything pretty fleshed out by the time I bring it to the band. Sometimes I’ll even record demos on my own and send them out. Things do tend to take on a life of their own, of course, when other minds get involved, which is great. I suck at drums, so when I record drums for a demo, there are a lot of things I can’t do. And with the bass, Sonny and I have a similar bass style, but he definitely plays some things differently than I would, so it really helps to create a sound that is nothing like what I would have done on my own. Now that the band is caught up with where I’m at writing for the first time ever, I’m excited to see where things go!
What do you personally consider to be the most insightful moments while writing and recording Harvester of Bongloads, and what is your favorite moment on the album?
To be honest, I think that there is a lot about this record that is the most dumbed-down, primitive version of Goya, so I’m not sure there is a moment that I can consider to be extremely insightful. One thing I can say is that “Omen” took four years to write and it only truly started to come together in the month or two before we hit the studio.
We were still tweaking things on that tune in the studio, in fact. There is a lot of that song that is very different from the way we were playing it a year ago, and it is much better for it. Originally, the bass and drums were doing the exact same thing the guitar is doing in the beginning of the song, and it was super boring. I have some demos of it, and I cringe when I listen to them.
At one point, I talked to Sonny and told him that he should write a more engaging bassline, one that Nick could write a drum part to. Once they got their parts together, it allowed me even more freedom in my part. Then I started to write additional parts that went with some of the stuff they had added to the song.
The lesson there is that a three-piece is best when everyone is doing their own thing that is engaging, but still goes with what the other two are doing. I hesitate to call that insightful, because it’s sort of a, “Well yeah, duh!” statement.
As far as a favorite song, I think we all like “Disease” the most, though I really enjoy the “Fade Away” section of “Omen,” as it’s the only time we’ve done something like that so far.
Back to the Opoponax Records label, for a minute. Would you share the story on why you started our own label? How do you balance the scale in being both the owner of a music business and a musician? Is it easier or more frustrating to be the one in control of the result?
There isn’t much of a story to why I started the label, honestly. It was out of necessity. I wanted 777 to come out on vinyl. I looked into how much it would cost, realized I could afford it at the time, and started Opoponax Records.
Opoponax is a really small operation, so it’s not too difficult to manage. I don’t even think of myself as a business owner, to be honest. I still have a day job, and that is the most difficult thing to balance in the equation. The hardest thing about balancing Opoponax and Goya is worrying that an unruly customer is a Goya fan. I’m sure fellow record label guys will know what I’m talking about when I say that some customers can be rather difficult and demanding. I’m kind of a take-no-shit type of person, but I also want to keep people happy, especially if they’re fans. That being said, when someone is being a real asshole, I’m not going to cave in to their bullshit, and I imagine that makes Goya lose some fans here and there.
There are obviously things that are easier and things that are harder in taking care of a release 100% on my own. Overall, I think it’s easier, as I enjoy retaining control over the art and packaging as it is. We’ve had some stellar-looking releases come out from other labels that I’m very grateful for, but to say that everything has always gone 100% smoothly with them would be a lie. We’re definitely on good terms with every label we have worked with, but there is always some level of compromise when you work with a label. Whether or not the compromise is worth it always comes down to what the label can offer that I can’t do myself.
At this point in the game, I feel that I can do anything the labels we have worked with so far can, but I am hopeful that the next Goya record (whenever that happens) will be with someone who can bring something new to the table.
Opoponax Records also just released their first non-Goya record with the new Toke 12”. Do you plan to expand the label’s distribution roster or was this a one-time thing?
It wasn’t a one-time thing. I have a Grey Gallows release coming out this year, as well (hopefully in April). However, I am very picky about what I will put out, mostly because I can’t afford to do much. I started this label to release Goya records, so I have to make sure that nothing I put out is going to hold up the Goya release schedule. 2017 is already booked solid, in terms of what I’m putting out, and I’ve had to turn down a few people.
I actually just turned down a release today that I would have loved to do, simply because it would have held them up for a long time. Nobody wants their record put out a fucking year from the day they make an agreement!
I’ve wanted to run a record label since I was young, and I’m finally doing it. I hope things continue to go well and I’m able to sustain this for years to come! Perhaps one day, Goya will be on a better label, and I’ll be able to put out only other bands.
Goya is heading out shortly for an “East Coast Weekend Disaster” tour with Aneurysm, Toke, and several other bands (which us North Eastern people are thrilled about, by the way). What are your touring plans beyond these dates?
We have a West Coast tour this month. Other than that, that’s all we are really able to talk about. We definitely plan on hitting it harder this year than we have before and harder every following year.
What’s been the best show you’ve play so far with Goya?
Psycho Las Vegas, hands down. Crowd response played a huge part in that. There really is nothing like being in a room full of people that are all there to have a good time, and are really enjoying themselves. When the crowd has energy, it’s really easy to feed off of that energy, and it helps our performance a lot. The Vinyl stage at Hard Rock Hotel is a killer venue, as well, and we had people running sound that did a terrific job. We’re so grateful that we were afforded that opportunity. We would be more than happy to do it again any time.
What about the worst, or the strangest, experience you’ve had at one of your own shows?
Hmm, probably a show with Slow Season in Tucson at The Bashful Bandit. That was a few years ago and surely the show would do better now with both bands playing there, but it was a total ghost town, and felt kind of awkward. We really like Slow Season, though, so at least we got to hang out with them and watch them play! Always a pleasure. Get back at us in a few years and we’ll probably have a worse story!
On a personal note, I know you’ve made the choice, somewhat recently, to go sober. Many folks find that a difficult thing to maintain, particularly in the music industry and the “stoner rock” realm. How has this lifestyle change affected your perspective on your music and goals for Goya or Opoponax Records?
It honestly hasn’t affected those things much. Before I quit smoking, I had already decided that we were going to make Harvester our last weed-worship album, but also make it our best one. I have a desire for things to mature. That desire is evident on Obelisk, where there is not a single drug reference. Another thing that has changed is the Opoponax Records weed-a-gram logo. But, again, that is something that I had already wanted to change back when I was still smoking, so it really is all coincidental timing.
I went sober during a bad breakup. I was absolutely crushed and incapacitated for about three days, and it was the first three days I had been sober in a while, so I figured I would just ride it out. I say “sober,” but I really was only smoking weed. I’ve never been a legitimate addict. I just realized that I was always irritable when I couldn’t smoke, mostly because I love smoking so much, so I figured that if I cut it out entirely, I wouldn’t be as irritable. The jury’s still out on that one, to be honest. I think I’m just a pissed off dude, in general.
If funds were no object and Goya had their pick of active bands to play with, where have you always wanted to play and who are the bands you want in the lineup?
Roadburn is probably at the top of that list. Touring that whole area of the world is definitely a goal. There are so many bands it would be great to play with, big and small. High on Fire, Valkyrie, Metallica, Sleep, Ozzy, Baroness, Soundgarden, Iron Maiden, Orchid, and on and on.
How do you think venues, labels, and bands could work better together to get a solid crowd turnout and record/merchandise sales?
As far as labels, just promotion in general. Strong internet presence seems to be the name of the game right now. For bands, I think just doing your best all of the time with everything you do, as though every time you play your instrument, it will be the last time, because one of those times, it definitely will be!
What is the most important thing a newer band should do to get themselves heard?
Put out an album on vinyl, and contact as many blogs as possible with a free digital copy and all of the release info.
Massive thanks, Jeff, for taking a few moments to visit with the Doomed & Stoned readers – and, of course, to Goya for kicking our eardrums into oblivion! Parting words?
Don’t let people waste your time.
Goya On Tour
If you’re lucky enough to be where Goya is playing, get your ass to a show!
March 9th – The Flycactcher - Tucson, AZ
March 10th – Yucca Taproom - Phoenix, AZ
March 11th – Soda Bar - San Diego, CA
March 12th – Complex - Glendale, CA
March 13th – Elbo Room - San Francisco, CA
March 15th – High Water Mark - Portland, OR
March 16th – Funhouse - Seattle, WA
March 17th – The Shredder - Boise, ID
March 18th – Club X - Salt Lake City, UT
March 19th – Beauty Bar – Las Vegas, NV
March 20th – The Green Room – Flagstaff, AZ
Rad Rockers Reveal Righteous Records!
This year, we decided to reach out to some of the musicians that have brought us so much joy with their creativity, passion, and moving performances. We asked, “What were your favorite albums of 2016?” Some preferred to give us records that they listened to most in 2016, even though they were released some years back. We’re grateful for these insights into what gets their buzz on! Special thank you to all the heavy hitters who participated, as well as Stephanie Cantu, Leanne Ridgeway, and Corey G. Lewis for coordinating! Doomed & Stoned eagerly looks forward to what 2017 will bring as the heavy underground continues to errupt with acid-soaked riffs and apocalyptic vibes! Keep on rockin’ and doom on! (Billy)
Sami Hynninen (OPIUM WARLORDS, SPIRITUS MORTIS)
- Helmet - Strap It On (1990)
- Deicide - Deicide (1990)
- Napalm Death - Harmony Corruption (1990)
- My Dying Bride - As the Flower Withers (1992)
- Deicide - Legion (1992)
Mikko Kääriäinen aka Count Karnstein (CARDINALS FOLLY)
- Running Wild - Rapid Foray Great heavy metal, great riffs, great wanking music. Eternal Champion - Armor of Ire (2016)
- Bölzer - Hero (2016)
- Darkthrone - Arctic Thunder (2016)
- Seremonia - Pahuuden Ääniä (2016)
Ole Ulvik Rokseth (HYMN, Tombstones)
- She Said Destroy - Time Like Vines (2006)
- Grand Funk Railroad - Grand Funk (1969)
- Bölzer - Hero (2016)
- Kongh - Shadows of the Shapeless (2009)
- Yob - Atma (2011)
Gregory Meleney (DANAVA)
- Good Rats - From Rats to Riches (1978)
- Acid Wash - Big Heavy World (2016)
- Blue Oyster Cult - Fire Of Unknown Origin (1981)
- Susan Vaslev - Music From Enchanted Forest (1971)
- Fabio Frizzi - Shark - Rosso nell'oceano OST (1984)
Kyle Juett (MOTHERSHIP)
- The Skull - For Those Which Are Asleep (2014)
- Robin Trower - Long Misty Days (1976)
- Deep Purple - Stormbringer (1974)
- Roky Erikson - The Evil One (1981)
- Blue Oyster Cult - On Your Feet Or On Your Knees (1975)
Tony Reed (MOS GENERATOR, STONE AXE)
- David Bowie - Blackstar (2016)
- Motorpsycho – Here Be Monsters (2016)
- Zippo – After Us (2016)
- Whizkey Stik – On The Level (2016)
- Spidergawd – III (2016)
Dustin Hill (BLACK PUSSY)
- Mott the Hoople - Mott (1973)
- Cheap Trick - In Color (1977)
- T-Rex - The Slider (1972)
- The Beach Boys - Pet Sounds (1966)
- Saturday Night Fever - OST (1977)
Tim Peterson (OLD BLOOD)
- Vodun – Possession (2016)
- Mammothwing – Morning Light (2015)
- Egypt – Endless Flight (2015)
- Year of the Cobra – …In The Shadows Below (2016)
- Holy Grove – Holy Grove (2016)
Nighthawk (HEAVY TEMPLE)
- Type O Negative - October Rust (1996)
- Scorpions - Lonesome Crow (1981)
- EYE - Second Sight (2013)
- Hivelords - Tapered Limbs of a Human Star (2015)
- Rainbow - Rising (1976)
Jeppe Wittus (DEMON HEAD)
- Edgar Broughton Band - Edgar Broughton Band (1971)
- Jungle - Jungle (2014)
- Pink Floyd - Animals (1977)
- Second Sun - Hopp/Förtvivlan (2015)
- Creedence Clearwater Revival - Creedence Clearwater Revival (1968)
Jeff Owens (GOYA)
- Leonard Cohen - You Want It Darker (2016)
- Metallica - Hardwired…To Self-Destruct (2016)
- David Bowie - Blackstar (2016)
- Darkthrone - Arctic Thunder (2016)
- The Well - Pagan Science (2016)
Sabine Stangenberg & Joey DeMartini (DISENCHANTER)
- Castle - Welcome to the Graveyard (2016)
- Grand Magus - Sword Songs (2016)
- Mos Generator - Abyssinia (2016)
- Shroud Eater/Dead Hand - Split (2016)
- Electric Citizen - Higher Times (2016)
- Holy Grove - Holy Grove (2016)
- Youngblood Supercult - High Plains (2016)
- Hellhookah - Endless Serpents (2016)
- Brandt Bjork - Tao of The Devil (2016)
- Old Blood - Old Blood (2016)
- The Well - Pagan Science (2016)
- Beastmaker - Mask of Satan (2016)
- Doomstress - Wicked Woman 7” (2016)
- Seritas - Blind to Reason (2016)
- Old Blood - Old Blood (2016)
- Kröwnn - Dracarys (single) (2016)
Jon & Amy Barrysmith (YEAR OF THE COBRA)
- Heiress – Made Wrong (2016)
- Monolord – Lord of Suffering/Die in Haze (2016)
- Mos Generator – Abyssinia (2016)
- Beastmaker - Lusus Naturae (2016)
- Ancient Warlocks - II (2016)
Amanda Howell (PSYCHIC DOSE)
- Comus - First Utterance (1971)
- Fairport Convention - Leige and Leaf (1969)
- Nick Cave and the Bad Seeds - Let Love In (1994)
- Uncle Acid - Night Creeper (2015)
- Trees - On the Shore (1971)
Steve Janiak (DEVIL TO PAY, APOSTLE OF SOLITUDE)
- Brimstone Coven – Black Magic (2016)
- Wretch – Wretch (2016)
- Howling Giant – Black Hole Space Wizard Pt. 1 (2016)
- Beelzefuzz – The Righteous Bloom (2016)
- The Judge – The Judge (2016)
- The Watchers – Sabbath Highway (2016)
- Astral Mass – All Systems Go (2016)
- Zed – Trouble in Eden (2016)
Dan Harrington (FISTULA)
- Church of Misery - And Then There Were None (2016)
- Hierophant - Mass Graves (2016)
- Piss - Stuck In The Gutter (2016)
- Implore - Thanatos (2016)
- Darkthrone - Arctic Thunder (2016)
Marc Gaffney (GOZU)
- Holy Grove – Holy Grove (2016)
- Black Cobra – Imperium Simulacra (2016)
- Nick Cave and The Bad Seeds – Skeleton Tree (2016)
- Elephant Tree – Elephant Tree (2016)
- Gorguts – Pleiades Dust (2016)
Shy Kennedy (HOREHOUND)
- Clouds Taste Satanic – To Sleep Beyond the Earth (2016)
- It’s Not Night, It’s Space – Our Birth is but a Sleep and a Forgetting (2016)
- SubRosa – For This We Fought The Battle of Ages (2016)
- Elephant Tree – Elephant Tree (2016)
- Funeral Moth – Transcience (2016)
Steve Colca (DESTROYER OF LIGHT)
- The Cure - Pornography (1992)
- Ratt - Out of the Cellar (1984)
- In Solitude - Sister (2014)
- Blue Oyster Cult - Fire of Unknown Origin (1981)
- Opeth - Sorceress (2016)
Mike Desertt (HORNSS)
- Swans – The Glowing Man (2016)
- Dinosaur Jr. – Give a Glimpse of What Yer Not (2016)
- Cardinal Wyrm – Cast Away Souls (2016)
- Stick Men With Rayguns – 1000 Ways to Die (Live 1987)
- Profanatica – The Curling Flame of Blasphemy (2016)
- Fatso Jetson - Idle Hands (2016)
- Floating Goat - Spawn Of Poseidon/Suburban Anxiety (2016)
- Hammers of Misfortune - Dead Revolution (2016)
- Eight Bells - Landless (2016)
- Brian Eno - The Ship (2016)
- Geezer - Geezer (2016)
- Necrot - The Labyrinth (2016)
- The Well - Pagan Science (2016)
- Scharpling & Wurster - Live At Third Man Records (2016)
- Darkthrone - Arctic Thunder (2016)
This Path Will Only Bring You Pain: GOYA’s ‘Doomed Planet’
~By Billy Goate (Editor in Chief)~
If you think you’ve heard everything this band has to offer, think again. The new EP by Phoenix doomers GOYA has surprises in store. From the first moments on, it’s apparent Goya is meaner, nastier, and doomier than ever before. ‘Doomed Planet’ shows just how tight the recently gelled team of Jeff Owens, Nick Lose, and Sonny DeCarlo has become.
We pick up on this right away on the record’s namesake track, which was written collaboratively. This is top-shelf stuff. Jeff’s always been a great sound engineer, but I swear this is the best sounding Goya record yet. Each instrument comes across with crystal clarity, the bass, guitar, and drums rumbling together like a fearsome storm, the fuzzy feedback like a swarm of insects flying overhead to escape the torrential rainfall, the riffs (some of the best I’ve heard from Goya) like the pummeling of hail from the heavens. The grizzled old prophet rises from his sidewalk home and, pointing his bony, shaking finger toward the dark horizon, heralds the coming judgement:
This planet’s nothing but a mockery
Mutants and reptiles dance upon the television screen
The leaders of the world long ago led us astray
Their lust for power, ever more
Leaving us the price to pay
The second track, “Hoof and Bone,” was debuted by the band at Psycho Las Vegas in that unforgettable 2 am performance. The song bears extraordinary pain, as Owens sings: “All that you’ve known is dead gone…Welcome to the end of your life. The time has come to say goodbye.” Yet another example of the marriage of anger and sorrow that has worked so effectively for Goya over the years. I’m sure this track will come to hold great meaning for listeners.
After a short instrumental, “Dogma” breaks out of the barn and tramples rabidly through the mud. It sounds completely unhinged and no wonder: this is a cover of the self-same song by Marilyn Manson, from the 1994 album 'Portrait of an American Family.’ As we learned in our August conversation with Jeff Owens (ahead of September’s 'Drain You/D-7’), the early 90’s is an era of music that inspired Jeff to pick up the guitar to begin with.
There’s more good news for you Goya fans, too. As of today, Jeff, Nick, and Sonny have entered the studio to record their third full-length, 'Harvester of Bongloads’ which is slated for release in all formats next spring via Opoponax Records.
Desert Spell: A Psycho Las Vegas Flashback
Reflections of the first annual PSYCHO LAS VEGAS, imagined through the fantasy of a bike gang on their way to the desert in search of truth. Originally aired on Grip of Delusion Radio on Sunday, September 4th, 2016.
Playlist:
- Uncle Acid and the deadbeats - “Desert Ceremony”
- Pentagram - “Be Forewarned”
- Demon Lung - “Pareidolia”
- Tombstones - “Supernoid”
- Spelljammer - “From Slumber”
- BelzebonG - “Witch Rider”
- The Company Corvette - “Stomach”
- Crypt Sermon - “Heavy Riders”
- Disenchanter - “Snakes of the Earth”
- Cave of Swimmers - “The Prince of the Power of the Air”
- Goya - “Night Creeps”
- Behold! The Monolith - “Philosopher’s Blade”
- CHRCH - “Stargazer”
*sound clips from ‘Werewolves on Wheels’ (1971)
- Check out our footage of Psycho Las Vegas on YouTube.
- Back episodes of The Doomed & Stoned Show on Mixcloud
- Explore the heavy underground scene-by-scene through Doomed & Stoned’s quarterly compilation series.
Psycho Las Vegas Preview:
GOYA
In this series of special podcasts, Doomed & Stoned brings you interviews and music from the bands of Psycho Las Vegas, taking place August 26th-28th (www.PsychoLV.com). First up: GOYA from Phoenix, Arizona - one of the wickedest doom bands on this side of the planet. Here are excerpts from my recent interview with frontman Jeff Owens. You’ll also hear a D&S exclusive: Goya’s rendition of Nirvana’s “Drain You,” coming to 7" vinyl for the 25th Anniversary of ‘Nevermind’ and available on Jeff’s label Opoponax Records (opoponax.bigcartel.com) this September.
Sojourn to Psycho:
GOYA
Interview by Melissa Marie
Photographs by Alex Watt
As we draw ever nigh to the great meeting in the desert - Psycho Las Vegas - the must-attend festival of 2016 - Doomed & Stoned is bringing you the first in a series of band profiles we’re calling ‘Sojourn to Psycho.’ First up, Phoenix, Arizona’s GOYA, a band that has distinguished itself as force of reckon in the heavy underground, fusing the best elements of Black Sabbath, Electric Wizard, and Sleep, made all the more compelling by the unmistakable voice of singer/guitarist Jeff Owens. Goya is rounded out by Nick Lose on drums and Sonny DeCarlo on bass. In this interview, Executive Editor of Doomed & Stoned, Melissa Marie, has a face-to-face with Jeff and Nick when their recent road trip took them to Midwest to Indiana. (Billy)
I want to thank you guys for doing this interview. I see you’re touring in the Midwest, it looks like the tour is about up. How’s things been going so far?
Jeff: Ah, really good. Each of the shows has been awesome. Honestly, I think tonight in Fort Wayne was the best show. It’s cool because all these towns that we’re hitting on this tour, we’ve never been to any of them. To have anyone at these shows is just great. We’re happy to play for five people and all of these shows have had thirty or more.
Yeah, I’m really impressed with the turnout, because Clutch and Corrosion of Conformity are also playing tonight in Fort Wayne.
Nick: Man, I thought Clutch and Corrosion of Conformity would be the nail in the coffin tonight.
You guys are a huge hit in the heavy underground, even your demo was really well received, so was that a surprise to you or did you guys recognize that you had something really exceptional?
Jeff: It’s a surprise to hear you say that right now! We love what we do and we have increasing confidence in it. I’m always floored that anyone gives a shit. I’m always flattered, I’m always ecstatic. It’s crazy to me that so many people are interested in it.
Nick: The dynamics have grown and changed a lot too. In terms of the demo, Ben (Clarkson, bassist) nor myself weren’t even on it.
Jeff: “Satan’s Fire” (2014) is the beginning of where we’re at. That was Nick and I working on it and not shortly after, Ben joined the band. Since Nick joined it’s been a lot better, and since Ben came in it’s been the most solid it has ever been.
As far as doom metal goes, you guys to tend to stick close with the formula. But sometimes find myself surprised with certain things like “The Sun” on your 2015 record is very fast paced. It was cool; I just didn’t expect it at all. Do you often consider experiencing with other sounds outside of doom metal?
Jeff: Even on the demo, “God Lie” hints at some of that stuff. Really, it’s just a matter of what comes naturally. I personally have tried to write a lot of fast songs, Nick and I have been in a lot of faster bands playing death metal or grind or punk. We have those roots, but what comes naturally to me is more of groovy slow stuff. For a while we’ve talked about doing a split matched with a lot faster stuff but when I sit down and try to write a fast song it sucks. It just has to come naturally.
I see you guys recently played the Electric Funeral Fest in Denver. How do you compare festivals to typical gigs where you might get to play a little longer?
Jeff: It’s a tough question because we’re still kinda in spot right now where our set list seems to be similar for festivals versus regular gigging. We’re right at that point where we’re not at the top of a festival and we’re not usually headlining our own shows on tour either.
Nick: We’ve also played some smaller fests and typically with smaller fests, generally speaking you’ll get a longer set time. Whereas we did Southwest Terror Fest and luckily, got to play the same day that Sleep played, it was an incredible experience. Just being there was awesome. Sleep, Brothers of the Sonic Cloth….it was fantastic. But with that, You had a set schedule to stick to. You had to start set up at a certain time and tear down at a certain time. So a thirty minute set didn’t necessarily mean you play for thirty minutes. We haven’t had a whole lot of experience with this but whether we get twenty minutes or an hour, we’re just ecstatic to play.
Of course I must congratulate you on obtaining a spot at Psycho Las Vegas!
Nick: Thanks so much.
What a festival! The lineup is just ridiculous. You guys must be elevated to play the same day with bands like Bongripper, Acid King, Electric Wizard.
Nick: Yeah I’m stoked to see the guys in Bongripper again, we actually played with them at a Thief Presents event who’s putting on the Psycho Fest and we got to do a short tour with Bongripper, we did the California coast. It was fantastic! So we’re stoked to see those dudes again and working with Evan is always great. He puts on a couple fests…Day of the Shred and Desert campout last year. It was awesome.
You guys sure stay busy. By my count, you’ve released two records this year - “The Enemy” and “Forever Dead, Forever Stoned”. What inspires you guys to stay so active?
Nick: Well “Forever Dead, Forever Stoned” is a re-release of the demo. Totem Cat Records based in France has been putting that out. It’s been in the works for quite a while. But to answer your question, a lot of that comes right back to this guy, Jeff’s a fucking work horse. He’s writing, working all the time. There’s always something in the works. Opoponax Records, which he runs, is a project that is working for and supporting itself and is able to fund more releases, more material. Well, that’s all we do! We cram ourselves into small rooms and make music. That’s my inspiration. I’ve got band members that are stoked to play music. Jeff writes a ton of material.
The “Forever Dead, Forever Stoned” artwork looks like something you’d see on an Acid Witch cover. Who did the art?
Jeff: Laney Oleniczak, she’s done a lot of our art. She lives in Phoenix. She did the cover art and the interior art for “Obelisk” as well. Also the “Nothin’ But Dead Stuff”, a couple of shirts…a number of things she’s done. She’s a very talented tattoo artist in Phoenix.
I hear a lot of people imply that everyone is illegally downloading, that no one is buying records anymore. I’m not sure if I really agree with that. Many bands are doing reissues just because they know they’ll sell and you guys seem to have a loyal fan base. Did you experience a lot of success from selling your records, especially the STB version of “Obelisk”?
Jeff: Yeah, I think having STB put out our stuff helps a lot. There’s a certain fervor about securing a release like that, just for yourself. They do such a killer job anyway, it’s a great way to get new people to notice the band.
So what’s next for you guys?
Jeff: We’re recording a couple of non-original tracks when we get home. Oh, Psycho Las Vegas! We are in the middle of writing an LP and I’d we just a little bit past halfway done with writing it, but the other half might turn out to be three quarters of the work too. We played half of that album tonight. There aren’t even lyrics for the other half yet, we have a skeleton for it, we know the riffs and that’s about it. So, we’re working on a LP and have no idea when we’ll be done with it. (laughs)
Follow the band here.
Get their music here.
Get tix to Psycho Las Vegas here.
The Doomed & Stoned Podcast
Scars & Crosses
In this edition of the Doomed & Stoned Podcast, Billy Goate catches up with one of the most exciting bands to emerge from the German heavy underground: High Fighter. In his interview with ferocious singer Mona Miluski, the two talk band chemistry, touring adventures, that awesome album art you’re seeing, and more.
PLUS a preview of the Doomed & Stoned Showcase, happening at the World Famous Kenton Club this Friday, July 1st, with music by Swamp Ritual, Chronoclops, Old Kingdom, and Stoner.
Playlist:
- EARTH SHIP - “Castle of Sorrow”
- High Fighter - “Scars & Crosses”
- Mammoth Storm - “Fornjot”
- Black Snake - “Red Eyes”
- Old Kingdom - “Too Many Eyes”
- Chronoclops - “On Wings of Smoke”
- Swamp Ritual - “Tesseract”
- Spiritual Shepherd - “Devil’s Tower”
- Dry Heathen - “Necromancer”
- Oak - “Smoke”
- Witchhelm - “Halvmane (Under The Crescent Moon)”
- COUGH - “Haunter of the Dark”
- Goya - “Night Creeps (demo version)”
- The Drowning - “At One With The Dead”
- Monolord - “Lord of Suffering”
- Wizzerd - “Forest”
- Void King - “Canyon Hammer”
- Ancient Warlocks - “Lion Storm (live)”
- Entierro - “Burying The Shadow”
- Slow Green Thing - “Die Again”
- Demonauta - “Astro II”
- Haast’s Eagled - “Pyaaz Bhonghi”
If you enjoy the music, please support the bands.
Catch our weekly live radio show Sundays at 3 pm PST / 6 pm EST on Grip of Delusion Radio. We archive all our broadcasts and podcasts here.
Explore the Sabbath Sound, the world ‘round, through our quarterly scene-by-scene compilation series (available por nada) on Bandcamp.
Goya Drops ‘Forever Dead, Forever Stoned’
By Billy Goate (Editor in Chief)
Will surprises never cease from these scorched earth Phoenix burnouts? This week, GOYA releases the six-track “demo” 'Forever Dead, Forever Stoned’ featuring the absolutely transfixing artwork of the unstoppable Laney Oleniczak (who I keep swearing is going to ink my virgin back).
Now, I put “demo” in quotation marks because this sound just too damned good to be a demo, you know? In fact, the standard for demos has raised significantly. Long are the days where you can release some boxy recording, at least not in the amp-worshipping audiophile crowd that follows blogs like Doomed & Stoned, right?
This is a winner, whatever you call it (and it is indeed a demo, in the sense that these songs are “early demos from 2012”). The sound, though, is fantastic (mixed by singer/guitarist Jeff Owens and Jirix-Mie Paz, who recorded the vocals in his home and the rest at the band’s AZ practice space). The vinyl will be soon available via Totem Cat Records. A big win all around.
These songs are a nice break from the slow-dance doom numbers we’re used to. They’re vigorous, up-tempo, and - oh wait until you here Owen’ solo for God Lie at the end of the 5 minute mark. God damn, it made me wanna cry.
The April Doom Chart Countdown Show is Here!
This week we’re in for a VERY good time on The Doomed & Stoned Podcast, as I countdown my favorite cuts from the top 25 albums that made April’s DOOM CHART.
Originally broadcast April 10th on Grip of Delusion Radio (we air live every Sunday at 3 pm PST / 6 pm EST), this episode I’m spinning music by Aleph Null, Ancient Warlocks, Beastmaker, Black Rainbows, Blood Ceremony, BUS, Church of Misery, Curse The Son, Deadsmoke, Dunbarrow, Elephant Tree, Graves At Sea, Green Yeti, Greenleaf, Goya, Holy Grove, Hollow Leg, Horehound, Horn of the Rhino (who sadly announced they are splitsville), King Buffalo, Merlin, R.I.P., Son of a Witch, Spiritual Beggars, Valley of the Sun, Witchthroat Serpent, Wo Fat, Youngblood Supercult, and lots more!
Thank you for listening and supporting the bands! OH! And you can now listen to the podcast on Soundcloud.
If you’re interested in helping us out as we grow our vision of “telling the stories of the heavy underground, reported by the underground, for the underground,” grab a Doomed & Stoned T-shirt to show your love here and explore our free quarterly scene-by-scene compilation series here.
And bands, we love hearing from you, so keep writing - and thank you for your patience. The crew is a little thin at the moment, so it’s taking me longer to read all the mail. Love you all and let’s keep the underground dark ‘n’ dirty, low 'n’ slow, Doomed & Stoned vibe going strong the world 'round!
Billy Goate (Editor in Chief)
Goya Deliver Infectious Doom Vibes in New EP, ‘The Enemy’
Review by Zachary Painter
It seems that Goya is becoming more and more of a household name among metal fans, and amidst all the heavy music being produced and pressed at a dizzying rate, that’s saying something. The Arizona doomers latest EP, ‘The Enemy’ (2016), certainly keeps them relevant and is quite impressive considering 'The Obelisk’ (2015) came out just last autumn.
Every track here is solid, averaging at around five minutes per (except for the extended version of “The Enemy” at the end), making the new EP a brisk, enjoyable listen. And, if you’re like me, you’ll find four dollar asking price simply unbeatable.
The Enemy is rich with hooks and good songwriting. That opening riff has been stuck in my head all week at work, and Owens’ savvy pop sensibility when it comes to constructing vocal melodies doesn’t help! I don’t believe Goya will ever truly shake the comparisons to Electric Wizard (an influence they wear quite proudly, e.g. Jeff’s side-project Acoustic Wizard). In spite of that, the direction Goya chose on The Enemy shows them cultivating a sound all their own. Such is the case with “Last,” a song with Electric Wizard leanings and a prominent chorus that is distinctly Goya, or even penultimate track “Light Years,” which features a lead guitar lick that earworms its way deep into your skull.
By comparing the catchy nature of The Enemy to the doomy, dusky riffs that pervade Satan’s Fire and The Obelisk, it is obvious that Goya have a talent for writing true barn burners. After all, the focal point of this EP, in my opinion, is the successful synthesis of pop and stoner. This shouldn’t be seen as a negative thing. Quite to the contrary. When done this well, it’s stadium quality, headbanging fodder and a joy to listen to.
Calvin’s Choice: Best of ‘15
Lists are hardly a conclusive thing. We all have our piles of albums that we want to check out here, but before we notice it the year has ended and our rankings have to be done. I find myself rushing through albums I’ve been meaning to check out, without lending them the ear they deserve. Indeed, some of the best albums of 2014 I only discovered this year (and goddammit 2014 was a great year in the heavy scene!).
Rankings, of course, have their merit. That said, while there are certain albums that I enjoyed more than others (which comes down to personal preference), my own Best of 2015 list should be understood as largely devoid of competition between themselves. The order is pretty arbitrary for the better part of the list. These are simply the albums I enjoyed most and want to recommend to you.
30. High on Fire - Luminiferous
Out of the stoner’s holy trinity that is Sleep, OM, and High on Fire, High on Fire was always my least favorite. And though I still profess my love for Om and Sleep, High on Fire has finally caught my interest with ‘Luminiferous’ (E1 Music).
I suppose this is as fire and brimstone as music can get, with Matt launching one furious riff after another. “The Cave,” especially, is an oddly fascinating song, like a ballad trying to fight its own nature. If you got as much energy as these three gentlemen, low-key isn’t an option.
29. Weedpecker – II
There is something about the Polish heavy scene and the worship of the Devil’s Lettuce. Dopelord, Belzebong, and Weedpecker, they all hail the Sweet Leaf (fittingly, Weedpecker cover Black Sabbath’s stoner anthem this year). With songs named “Fat Karma” and “Flowering Dimensions,” you know you’re in for a trippy ride. Weedpecker’s sound is pretty unique, relying on serene soundscapes and fat, fuzzy guitars alike, and sometimes I get an almost grungy feeling from the vocals. Light a fat one and lay down at the top of a grass covered hill in summer and enjoy the sun on your face while listening to II. Day done.
28. My Sleeping Karma – Moksha
If Sleep is the music for getting stoned, then My Sleeping Karma is the equivalent for a shroom trip. After all, the cover of 'Soma’ (2012), Moksha’s predecessor, was filled with all kinds of trippy champignons, and “Ephedra” has become a defining song for the German instrumental psych-rockers. If there is no second “Ephedra” on this album, “Prithvi” and the title track will certainly burn themselves into your memory, all the same.
Even in the interludes, My Sleeping Karma know how to surprise people, from Buddhist chants to almost David Gilmour-esque guitar passages. The artwork by Sebastian Jerke is an eye catcher, to say at least, and it seals the deal on 'Moksha’ (Napalm Records).
27. Kowloon Walled City – Grievances
Another last minute addition for me, but how could I keep such an impressive album away from my list? 'Grievances’ (Neurot Recordings/Gilead Media) isn’t an easy listen. Though it is sludge metal, the vocals aren’t very harsh; but the tired shouts of Scott Evans convey more agony than any other harsh vocalist could. 'Grievances’ stems from the idea that pain is power, and Kowloon Walled City’s first record in some three years is powerful. It is not a pleasant experience, but a soul’s journey you should dare to take.
26. Weedeater – Goliathan
'Goliathan’ (Season of Mist) is a more than fitting name for the newest slab of filthy, cough-syrup fueled, southern fried sludge by Weedeater, but below that primitive surface lies a more playful record than you’d think. Of course, there are still the songs we’re used to from Weedeater, but Dixie Dave and the boys keep things interesting, whether in the 2-minute long cackling punk explosion “Bully” or the spacey “Benaddiction.“ The sound is as fuzzy as a Flokati shag, and you’ll feel right at home. Not a groundbreaking record, but definitely a fun one!
25. Kadavar – Berlin
Kadavar is back with their new album, 'Berlin’ (Nuclear Blast Records), and it will come to no one’s surprise that it is great. The German three-piece find themselves at the top of the retro-rock movement and Berlin does nothing but further harden the foundation on which they built their reputation.
Now, if only they had kept that really “retro” sounding bass. I used to call Kadavar the last true retro band, because they still had that pre-1980 bass sound that wasn’t as full, but way more pronounced than their competitors. But, as it seems, everybody has to move on at some point.
24. Tombstones – Vargariis
I’ll admit it, I didn’t pay much attention to these guys when I saw them on tour with Egypt, but 'Vargariis’ (Soulseller Records) turned out to be a real gem of misanthropic blackened doom/sludge. Tombstones completely overhauled their sound on this album and now they can reap the fruits of their efforts. Vargariis was a real surprise for me, especially the Conan-on-codeine opener "Barren Fields.” If you’re looking for something heavy and cannot wait for the new Conan album, then you’re at the right address with Tombstones.
23. Kamchatka – Long Road Made of Gold
Kamchatka was among the first bands that I discovered for myself, and I always held them in high regards. Thomas has got to be one of the most likeable guys in the entire scene. You’ll always find him with a big grin on his face while he is playing. You can tell how much he loves it. And this joy also translates into the music.
Kamchatka play a blues-heavy type of stoner rock, but I wouldn’t go as far as calling Kamchatka’s music gloomy. And as much as I like Kamchatka, I felt like the previous two releases somehow fell short of their brilliant 'Vol. 3’ (2009). However, with 'Long Road Made of Gold’ (Despotz Records) they are back on the track, and even brought in some new sounds. There are dashes of country to be heard, and it works very well. I am glad to have you guys back.
22. Cleopatra Records – Sweet Leaf: A Stoner Rock Tribute to Black Sabbath
There is ton of Sabbath cover albums around, all of varying degrees of quality, luckily 'Sweet Leaf’ is one of the good ones. The range of bands, known and unknown is quite impressive. Cancer Bats and Pentagram alike give their stand-in, Ulver delivers a very interesting take on “Solitude” and Weedpecker gets ultra-hazy with their great cover of “Sweet Leaf.” Hell, even William Shatner (yes, Captain Kirk) gets involved with a cover of “Iron Man” with the help of Zakk Wylde (of course). Yes, it’s a bit goofy, but in the end this 'Stoner Rock Tribute to Black Sabbath’ is a very fun record that helped me discover some exciting new bands.
21. Belzebong – Greenferno
The purveyors of rare herbs and prescribed chemicals are back again for their second album, 'Greenferno’ (Emetic Records). Same recipe and I am still not immune to the unholy grooves of the Polish quartet. Four new heavy-psych doom songs that make you feel like you’re drowning in a purple haze.
There isn’t really much that has changed. Belzebong’s riffs are still instant ear-worms, they still use a plethora of cheesy B-movie samples, and the band still relies on a lot of puns. I certainly won’t complain about more music when it is as fun as 'Greenferno.’
20. Uncle Acid and The Deadbeats – The Night Creeper
Uncle Acid don’t just meddle in retro rock, they have their very own style of it. Though I was never a big fan of The Beatles, the band’s mixture of Black Sabbath and Beatles works better than you’d imagine. Well, the riffs certainly help at that, as does the lo-fi approach to the sound, to get that retro feeling (although, I can’t shake the image of the vocals being recorded with an empty soup can).
Still, 'The Night Creeper’ (Rise Above Records) is a great album with a unique vibe that deserves to be heard.
19. Ahab – The Boats of the Glenn Carrig
Ahab’s newest album was one of the most anticipated releases for me this year. I wasn’t sure where they would go from 'The Giant’ (2012) as they progressed with each of their previous releases and found 'The Boats Of The Glen Carrig’ (Napalm Records) to be highly inaccessible in the beginning. The riffs didn’t feel as powerful as they used to, the gutturals not as deep as they once did. However, 'The Boats…’ grew very strongly on me. Even if the experience doesn’t reach the oppressive atmosphere of Ahab’s brilliant debut, 'The Call of the wretched Sea’ (2006), the new record has a lot of it going for it.
The impressive maelstrom-riffage of “The Thing That Made Search,” for example, must be one of the most evil sounding pieces of music of the entire year, or the very short but powerful “Like Red Foam.” Daniel Droste’s clean vocals get better with every album and Sebastian Jerke’s cover art has got to be one of the most beautiful (and unusually colorful for a funeral doom release) of the year.
18. Lucifer – Lucifer I
The breakup of The Oath saddened a lot of people. Luckily, the ever charming Johanna Sadonis couldn’t keep silent for too long. Assisted by Cathedral riffmeister Gaz Jennings, the entire project seems to be something of a family affair. After all, it all takes place on Lee Dorrian’s excellent Rise Above Records label and, fittingly, Lucifer’s music is a like meeting an old friend. Occult rock of the best kind.
While it may not be the most “original” release of the year, one cannot deny that it is highly enjoyable. Johanna’s mysterious vocals fit perfectly. Neither does Lucifer have the NWOBHM quirks of The Oath, but the band’s highly polished debut is a prime example of well-executed (and recorded!) occult rock, leaving me wanting for more.
17. Ghost – Meliora
At this point I won’t even bother to discuss Ghost, and no matter what you think of their gimmick (nobody complains about GWAR) they have proven again and again that they’re most proficient musicians and songwriters. The odd mix of Satanism-infused Blue Öyster Cult and ABBA kitsch (no more apparent is the nod to Sweden’s pop giants than on the center track, “He Is”) will not appeal to everybody, but there should be no doubt that this album is highly polished and very effective.
The songs are catchy, as usual, and you can tell that Ghost had a lot of fun in the studio and don’t take themselves too serious (goofy, cheesy Theremin? Check). Even in a riff-oriented genre like occult rock, Ghost manage to convince us of the virtues of pop songwriting in 'Meloria’ (Loma Vista Recordings).
16. Magnetic Eye Records – Electric Ladyland Redux & Best of James Marshall Hendrix
I was hesitant to induct cover albums into this list, but this year has seen a lot of great cover albums, and these two, dedicated to one of the guitar gods is definitely worthy of a spot on the list. One has to give credit to the label’s founder, Mike Vitali (Magnetic Eye being a one-man operation out of Albany, New York), because as far as I can tell it must be a hellish endeavor to coordinate 20 bands across two albums with 23 songs, all the while trying to keep up a relatively consistent standard of production and sound.
Legendary underground names like All Them Witches, Elder, Wo Fat, next to lesser known bands such as Origami Horse, Child, or Tunga Moln, give us a unique take on these classic songs. David Paul Seymour’s album art is stunning, as usual. Grab this up if you haven’t already!
15. Goya – Obelisk
2015 really seems to be the year of psychedelic doom. Goya has a strong competition with Windhand, Belzebong, and Monolord, but like all the other bands, they have a unique style and the fans of this genre can count themselves happy that doom-psych comes in many shapes and colors this year, Goya’s being an especially peculiar one. There is something genuinely unsettling about Jeff Owens’ voice. It isn’t soothing like Dorthia Cottrell’s croon, nor is it spine-chillingly evil like Thomas V. Jägers half-wail, but it definitely leaves its mark on you. Goya take no hostages on this album, and especially their triple-barrage of “Obelisk,” the furious “The Sun,“ and “300 Eyes” (that voice again, with those lyrics - contender for the best ballad of the year). It’s like one big, bad shroom trip, but one you just can’t resist joining. Look for it on vinyl soon via STB Records!
14. Freedom Hawk – Into your Mind
Small Stone Recordings has a knack for really good retro rock (casual reminder: the most excellent 'Spirit Knife’ by Jeremy Irons and the Ratgang Malibus last year) and the competition with all the big players releasing new albums in the genre this year is stronger than ever. And though they may enter the ring as underdogs, Freedom Hawk have proven they are champions. The songwriting on 'Into your Mind’ is a clear standout; in fact, the entire album has a great continuity, each song flowing like oil. Throw in some proto-metal, space rock, and a very Ozzy-esque singer in T.R. Morton and you have a record ready to take on Graveyard and Kadavar!
13. Pentagram – Curious Volume
Can’t stump the veterans. I’m more than happy that the American traditional doom scene is finally getting the credit it deserves. Thus, we are graced with a new Pentagram record…that has hardly any doom on it. Weird move, you’d think, but nonetheless 'Curious Volume’ (Peaceville Records) is a highly entertaining album, and it rocks hard enough to teach younger bands a lesson or two.
You can tell that Bobby is missing a tooth or two and you’d expect him to crumble to dust at every given moment, but he is as much of a showman as ever and, together with Victor Griffin’s amazing guitar work (these solos!), they show us that age is of no concern when it comes to producing high energy, heavy hitting rock 'n’ roll!
12. Windhand – Grief’s Infernal Flower
I had my fair share of conflicted feelings about Windhand. I was one of those who didn’t “get it.” I suppose everybody has those experiences with bands, but 'Grief’s Infernal Flower’ (Relapse Records) marked the turning point for me. How could you not love the massive fog of guitars that engulfs you and the distant crooning of Dorthia Cottrell? And the solos in songs like "Two Urns” enrich the ultra-heavy psychedelic vibe of the record. The hype around it has been big (with Seattle legend Jack Endino sound engineering this one), with Windhand finally getting the recognition they deserve, even outside of the scene. For me, this made the experience all more satisfying. I am on the fan train now, and cannot wait for the next offering.
11. Elder – Lore
'Lore’ shapes up to take the top spot on many Album Of The Year lists, and deservingly so. Progressive stoner-doom is a pretty rare ware in a genre that focuses on the constant repetition of a song structure. Elder takes the best of both worlds and combines it into a sprawling musical journey with countless twists and turns; akin to climbing a mountain-sized full stack. If there is one minor criticism I hold towards Elder, it is that I feel like the voice of frontman Nick DiSalvo is not melodic enough for the overall sound of the album (and he’s sounded better in the past, take a fresh listen to 'Gemini’). However, this comes down to personal taste and the fact is the album stands very well on the strength of the musical ideas and songwriting. Lore is a masterpiece, by any measure.
10. Dopethrone – Hochelaga
When one of your music videos inspires fans to do a drunken Russian home video version, you have done something right. 'Hochelaga’ (named after Montreal’s trashiest ghetto, where the band resides) is a baked ode to their home turf: nasty, ugly, and inebriated. The band doesn’t deviate from their established recipe of dank riffs, hazy solos, and Vince’s awesome blackened snarl. Luckily so, since we all can’t get enough of this unholy brew! 'Hochelaga’ (Totem Cat Records) revels in its own filth and we wouldn’t have it any other way. “Smoke, drink, die.” Now those are words to live by.
9. All them Witches – Dying Surfer Meets His Maker
No year is complete with some psychedelia to relax to. Not that Belzebong and the like aren’t enjoyable, but sometimes you really need those relaxed jams, and seeing as Brant Bjork won’t ride from the desert this year to save you, you have to look elsewhere. Nashville, Tennessee, perhaps? Yup, All them Witches are back! It’s hard to describe the sound of 'Dying Surfer Meets his Maker’ (New West Records), but I suppose this is the audio equivalent to being loaded on peyote and dying of dehydration in the desert, whilst the heat slowly takes your sanity. It is painless, beautiful, and deeply introspective. You accept your fate and welcome death with open arms, embracing it like an old friend.
Classifying All Them Witches’ style is a futile task, but they masterfully mix folk, psych, Americana, desert rock and blues (after all, they’re from Nashville). It is unlike anything I have ever heard before and probably nothing like it will ever be created again, after all ATW is the kind of band that constantly evolves their sound. This album should be mandatory for any desert-trip list in the years to come.
8. Space Bong – Deadwood to Worms
Australian six-piece Space Bong are an odd affair: blackened psychedelic doom-sludge with classic rock guitar work, an attitude crustier than a two-week old scab, and vocals (two singers) that match the attitude. This either turns out to be a full-on hit or a complete failure. Luckily, Space Bong bestowed the latter upon us with 'Deadwood to Worms’ (Art As Catharsis), including a bombastic production and a Betty Davis cover. Original and heavy as a brick, this album deserves your attention.
7. Goatsnake – Black Age Blues
“Coffee, Whiskey. Baby, don’t you miss me?” Oh, how we missed you guys. Eleven years after their last release, Goatsnake return with 'Black Age Blues’ (Southern Lord Recordings). Doom n’ Roll is back on the menu! Though not all songs pack the same punch, it seems like the band isn’t suffering from any major stiffening after such a long hibernation. The riffs are still those beloved southern grease slabs and Pete Stahl’s unique vocal approach still searches its equal. Let’s hope that we will not have to wait as long for the next album!
6. Stoned Jesus – The Harvest
Stoned Jesus seem to be the kind of band that cannot stay in one place for too long before feeling the urge to move along. After the Sabbathian 'First Communion’ (2010) and the psychedelic 'Seven Thunders Roar’ (2012), 'The Harvest’ (Інша Музика) proves to be a whole different breed of stoner rock and doom metal. They could’ve easily recycled the formula of 'Seven Thunders Roar’ for even more success, but instead they decided to blaze into uncharted territory. Incorporating even more prog than ever and showing no fear in embracing poppy songwriting is a risky undertaking, but the result is a thoroughly fun record, full of surprises and joyful experimentation. It’s plausible that Stoned Jesus may have lost some fans with this release, but it is a price you have to pay from time to time as you live in harmony with your artistic vision.
5. Baroness – Purple
I could never get into Baroness, but whenever a band that is not on my radar releases a new album I do try to give it at least one listen. Sometimes it pays off. 'Purple’ (Abraxan Hymns) is a last-minute addition to this list, but the band earned their spot and make for a nice change in sound between all the beloved doom and gloom.
Though positivity and sludge seem to be oxymoron, 'Purple’ is indeed a “light” album. I hear hints of Pink Floyd and even a bit of Queen, and sometimes that underlying pathos akin to Godspeed You! Black Emperor on standout-tracks like “Shock Me” and “Chlorine & Wine.” Purple may came late to the party, but it won me over in a heartbeat. My lesson learned: always give a band a second chance.
4. Khemmis - Absolution
Khemmis is one of those bands that you hear people talking about but you never get the chance to check out. Luckily, I decided to work on my pile of shame and was greeted by one of the best doom metal records of the year. There are precious few bands that truly manage to bridge the gap between traditional and modern doom, and you cannot avoid to draw comparisons to bands like Pallbearer and Warning.
The riffs are fantastic (can I hear some NWOBHM twin leads in there?), but the real star is the crystal clear echoing wail Phil’s vocals, a baffling performance from the opener “Torn Asunder” to the closer (and highlight) “The Bereaved.” To call this album a pleasant surprise would be an understatement, and Absolution (20 Buck Spin) is a very strong debut. Make sure to keep an eye on Denver’s Khemmis from this year forward!
3. Egypt – Endless Flight
Though I am more of a modern doom guy, it is hard to say anything about Egypt’s music that does not come in the form of praise. These guys have upped the ante again in their newest release, and they have truly become a paragon of what modern traditional doom (I hate using that term, incidentally) should be about. Everything on this album swings with a tantalizing groove, and if you cannot mosh to “Tres Madres” you should go see your doctor. A must own, that may come late, but it comes in all the harder.
2. Monolord – Vaenir
I wouldn’t dare to call 'Empress Rising’ (2014) a one-trick pony, but the title song on Monolord’s debut was just so damn good that it overshadowed the other tracks (but props for using Angela Merkel with creepy crawlies as cover). Luckily, 'Vaenir’ (RidingEasy Records) turned out to be a much more consistent and balanced album. And it sounds evil. Thomas V. Jäger’s voice, as cold as the water of the lake the album is named after, floats above the ridiculously distorted, toxic bog o’ riffs and one wonders if they are able to recreate this sound live. Yes, they do, and their pedal boards are a sight to behold. This is not only one of the heaviest and trippiest albums of the year, it is also one of the best. You’d have to think that this kind of fuzz should scorch you alive, but instead it will freeze you to death.
1. Clutch - Psychic Warfare
If you know me, you know this was going to be my album of the year. After all, I pretty much owe my love for music to discovering Clutch. Coming from a band that has been making music for almost 25 years without any line-up change (apart from the addition of Mick Schauer for two albums) and sporting a pretty much flawless discography, you should expect nothing less than excellence from Clutch.
They fully deliver. Still thriving off the drive of 'Earth Rocker’ (2013), 'Psychic Warfare’ (Weathermaker Music) is an expertly crafted piece of hard rock, with welcome doses of funk and a whole lotta blues. Neil’s lyrics and performance are a joy, as always, and though Clutch truly unfolds its potential on stage, you can already grasp Neil’s crowd control skills as a seasoned rock preacher in the studio. Round it off with a super crisp production, courtesy of Machine, and you have your Album of the Year Stew ready. Second servings highly recommended. Chances are, that already own it anyways.
HONORABLE MENTIONS
Wino & Conny Ochs – Freedom Conspiracy
Heaviness comes in many shapes and forms. Usually it is conveyed via monolithic riffs and massive distortion, but sometimes all it takes is two musicians and two acoustic guitars. 'Freedom Conspiracy’ (Exile on Mainstream) is an intimate, haunting mix of Americana, blues, and folk and is the second collaboration between Wino and German singer/songwriter Conny Ochs. The strong contrast between their voices works like magic on this album. Truly, you must be dead inside if “Forever Gone” doesn’t send a shiver down your spine.
Dorthia Cottrell – S/T
Seeing as the two genres go hand in hand, Wino is not the only one to meddle in dark folk this year. Windhand’s own Dorthia Cottrell demonstrates how her croon is fit for both massive walls of sound and the twang and somber minimalism of a single acoustic guitar. The album, out on Forcefield Records, is already worth checking out for her wonderful cover of Townes van Zandt’s “Rake.” And if you’re wondering about the strength of Dorthia’s own compositions (simple, yet powerful songs like “Perennial”) the balance of the record should fully seal the deal.
Vhöl – Deeper than Sky
It is hard to ignore how much the music press is enamored with Vhöl’s second album, 'Deeper than Sky’ (Profound Lore Records) - and rightfully so. The super group (consisting of members of Agalloch and Hammers of Misfortune, with Yob’s Mike Scheidt leading the charge) have moved somewhat away from the black metal elements on their debut, though they retain their curious mix of psychedelic, old school trash and still have some aces up their sleeves (like “Paino,” a D-beat instrumental piano piece!).
The Sword – High Country
Even now, I am not sure what to think of The Sword’s 'High Country’ (Razor & Tie), as it certainly has been a polarizing affair. Despite stylistic differences between this and previous records, one has to appreciate their vision in going for something completely different (stoner rock, rhythm & blues, with heavy use of synths - all in the same album?).
Even if it wasn’t a complete commercial success, I am fascinated to see what comes next in the band’s evolution.
Tome of the Unreplenished – Innerstanding
I still cannot remember how I came across this little gem, but you could see it as a twist of fate considering how obscure this one-man atmospheric black metal and ambient project from Cyprus is. I am not exactly and avid black metal listener (the genre is largely inaccessible to me), but this album is more on the mellow side, with practically no harsh sound to be found on the length of it. The record is largely instrumental, with majestic leads and the most intimidating tom I’ve ever heard. Ambient moments work very well, too. “Take me to the Stars” is the best track on 'Innerstanding’ (I, Voidhanger Records) and is a perfect example of these mysterious, larger than life soundscapes. If you’re looking for something that will certainly broaden your horizons, give Tome of the Unreplenished a listen.
Plainride – Return of the Jackalope
Subtlety doesn’t seem to be one of Plainride’s virtues. In fact, they have the understatement of a cinder block to the face. It begins with the cover art and ends with the music. 'Return of the Jackalope’ is their debut, released through their own BeerFuzz Records imprint. Evil tongues would call this album the embodiment of stoner rock clichés, but I see it more as an archetype of stoner rock. Booze, women, muscle cars, it’s all in there. Max’s vocal performance is over the top smoky, the riffs are fat and so is the production. You can’t quite shake the feeling of it being a bit cheesy, and towards the end of the 67 minutes runtime the album begins to drag on, however Plainride do their thing with an unabashed confidence that is very sympathetic. 'Return of the Jackalope’ is a promising start, they just need to trim off some of the fat to make full use of their potential.
Graveyard – Innocence and Decadence
Graveyard seem to suffer a bit from the high expectations that an album like 'Hisingen Blues’ (2011) breeds. Lights Out was a fun album, but no match to the unbridled retro blast of HB. So, now, three years after Light Out we’re graced with 'Innocence and Decadence’ (Nuclear Blast). And Graveyard is not shy to try new things.
You can hear some Dire Straits in their sound, and they aren’t scared to make use of female background singers and blast beats. Though not as gripping as ‘Hisingen Blues,’'Innocence and Decadence certainly has its own virtues, as it finds Graveyard at their most soulful.
Gurt – DIYMCA
I was once told that the London scene is oversaturated, so I can only imagine how hard it must be to make a lasting impression with so much concurrence. For Gurt however this seems to be an effortless task, which is even more remarkable if you consider that there is nothing incredibly special about Gurt on first sight. But there is something special about Gurt. They got everything on the sludge list checked, from the savage vocals of Gareth Kelly, that are about as pretty as the famed British smile, to heaps of groove and a bombastic production. Its catchy stuff, but Gurt use this already solid foundation to make their winning leap with a healthy dose of humor. Despite their very serious sound they don’t take themselves too serious, and I think that’s where their effortlessness stems from. In an attempt to keep the master list to 30, I decided to file this one under my honorable mentions, but make no mistake: this is as worthy as many of the others mentioned above.
EPILOGUE
So, that’s it for the year! I’m excited to see what comes next. I, for one, am excited as hell, with albums from Conan, Wo Fat, Valley of the Sun and Gozu ahead. Let’s see what the New Year will bring.