Doomed & Stoned continues our week-long retrospective of the music of 2020 with a quixotic selection of records from our favorite Dutch contributor and currator of the popular ‘Doomed & Stoned in the Netherlands’ (2020) compilation, Willem Verhappen. Enjoy! (Editor)

• An Evening With Knives - Sense of Gravity
• Boris - NO
• Celestial Season - The Secret Teachings
• Cirith Ungol - Forever Black
• Dopelord - Sign of the Devil
• Draconian - Under a Godless Veil

• Ecclesia - De Ecclesiae Universalis
• Electric Hydra - Electric Hydra
• Kingnomad - Sagan Om Rymden
• Konvent - Puritan Masochism
• Lord Vigo - Danse de Noir
• Lowrider - Refractions

• Mollo Rilla - Viva el Camino
• My Dying Bride - The Ghost of Orion
• Old Blood - Acid Doom
• Paradise Lost - Obsidian
• Phe - Glooming Dawn
• Sorcerer - Lamenting of the Innocent

• Sun Crow - Quest for Oblivion
• Temple - Funeral Planet
• Triptykon - Requiem: Live at Roadburn
• Various Artists - Women of Doom
• Vile Creature - Glory! Glory! Apathy Took Helm
• Wino - Forever Gone
• Yatra - All is Lost

The 2016 self-titled debut of LA doomers Old Blood (often styled as OLD BLOOD) manages to find its way to my turntable on a regular basis. The well-balanced mix of doom, stoner rock, and jazzy psychedelia pushes all the right buttons and Feather’s vocals makes it a product that is both hard hitting and sensual. The record’s cover, depicting a half naked and face painted Feather on a Ford Ranchero in the Californian desert, shows exactly what you’re going to get.

After that debut, we had to wait almost two years for new music, the almost erotic “Enjoy. The Devil” single. Then last year, Old Blood announced their split with Feather. Many bands might have called it quits after that, but the Los Angeles collective proved to have another ace up its sleeve in the form of Lynx.

The new front woman was introduced one year ago this month, when Doomed & Stoned hosted the worldwide premiere of the most excellent “Bloody Feathers” music video. Lynx proved to have high potential, with even more power and soul in her voice than Feather. Now, almost a year later, Old Blood is presenting us their sophomore record, ‘Acid Doom’ (2020), releasing in various formats via Metal Assault and DHU Records. Once again, the band delivers an honest, transparent performance, brimming with potential.

Acid Doom opens with “Lake Bottom,” an organ-driven psychedelic doom track, reminiscent of bands like Windhand, Mount Salem, and early Jess and the Ancient Ones. The following “Bridge to Nowhere” shows a different, more playful and experimental side of the band. It’s clear the band has grown quite a bit since their debut. Lynx’s full bodied and soulful voice is pulling the rest of the band in a heavier direction, fully embracing the doom aspect of their sound.

The first single of the record, “Veinscraper,” is a good example of that. It starts off as a more traditional slab of doom, with its slow pace and heavy organ sounds, but transitions into more dynamic territory, only to build up again to a suffocating wall of heaviness, with an entrancing solo to boot.

The band keeps up this dynamic of organ driven doom and grandiose psychedelic outings on “Heavy Water” before providing us with a jazzy intermezzo in the form of “Formosa Lodge.” This breath of air is only there to prepare us for the almighty “Slothgod.” This track is big, heavy, slow, and drenched in blues, all the characteristics of the only deity I could ever worship. Lynx seems to be giving her everything on this track, wavering between hypnotizing chants and soulful screams. This track is a personal favorite of mine. Honestly, how could it not be, with a title like that?

The band takes quite a turn on “Orbit,” the second single off of this record. I’m normally not big on power ballads, but if you doom it up like Old Blood does, I’ll happily make an exception. It took me a couple of listens to get into the track, but I’ve fully embraced it now.

The quintet reverts to their psyched out bulldozer doom for “Pentahead” with its almost joyous organ and trumpet sections. As good as the track is, it gets blown into oblivion by the killer “429.” The track moves from doom into stoner rock territory without feeling out of place. It’s one of those songs that will wander into your head, pitch a tent and refuse to leave for days on end. With that, it’s the perfect closer for Acid Doom.

Just like its predecessor, Acid Doom is a highly flammable mix of blues-infused doom, stoner, and psychedelic rock. Only this time, the band turned everything up a notch and gave J.F. Stone’s keys a more prominent role. As much as I enjoyed Feather fronting the band, Lynx proves to be a most worthy replacement. Gunner’s guitar work is more varied and the rhythm section, consisting of bass player Octopus and drummer Diesel, is as tight and heavy as you could hope for.

I’m sure Acid Doom will become as much a regular as Old Blood’s debut and I can only hope that we will not have to wait another four years for a follow up. This band is destined for doom greatness and Acid Doom might well be the vessel that gets them there.

One of the most exciting acts to come out of Los Angeles, California this decade is without doubt OLD BLOOD. The acid-doom female-fronted five-piece has long trafficked in occult retro vibes, much to the delight of our resident retroist Papa Paul who has written highly of them in his quarterly Groovy Reviews.

When I heard that the band was transitioning between singers, my heart leaped into my throat for a split second. Probably the riskiest move any band can take is to replace a departing vocalist, especially with a sound as established as Old Blood. With that said, all my doubts were allayed when I heard “Bloody Feathers,” the band’s new single. It’s one of several fresh tracks you’ll get on the Metal Assault Mixtape: Vol. 1, highlighting the label’s most promising artists – out August 9th (pre-order here).

Now, it’s time to meet the new frontwoman of the band, the mighty Lynx. Not only does she fit the part thematically, donning voodoo-inspired corpse paint, but her voice is simply unmatched – as beautiful as it is powerful. Look for Old Blood on the road, as they embark on a mini-tour. In the meanwhile, take in “Bloody Feathers in this music video directed by Paris Ramirez.

Old Blood On Tour

August 7 – Ventura, CA – The Tavern
August 8 – Las Vegas, NV – Count’s Vamp’d
August 9 – San Bernardino, CA – The Void
August 10 – Pasadena, CA – Old Towne Pub / Metal Assault Mixtape Release Party

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)

Wartime

WARTIMES’s debut album is seven wizened songs of retro doom, proto doom, root doom – call it what you want, but this is serious old school! I’m almost certain the name of the band is taken from the Pentagram song, but it’s only speculation. The main two bands I’m reminded of listening to this are Witchfinder General and Pagan Altar. Pentagram is not far behind. A modern band this reminds me of is the underrated The Saviour which I’ve reviewed earlier.

This album is stripped down to the bare essentials of doom. Even the artwork is indicative of what the music sounds like. Total doom emanating from a black and white drawing.

Hailing from the drug capital of the world, Bogota, Colombia, only adds to obscure feeling. The overall sound is wasted. Wartime Vol. 1 conjures up memories of stumbling home at four in the morning and falling asleep to some hazy music. It doesn’t get more to the roots of doom than this gem. It’s Wartime!

Get It.

Stratus Nimbus

STRATUS NIMBUS sure picked an aptly named label for their self-titled debut. Stone Groove Records specializes in old school stoner doom. That’s exactly what this band from the northern wastelands of Arizona play: stoned grooves of tortured acid rock. Call it stoner doom or, as I have coined for similar sounding bands, demented doom. I say that in a most complimentary way. Status Nimbus reminds me of two other bands I’ve labeled demented doom: Misty Grey and Psychic Dose. Both have very characteristic female vocals, though here the vocals are male, but are delivered with similar effect. Freaky, demonic, and otherworldly, they complement the psychedelic old school doom to perfection.

Influence seems to be drawn from seventies doom and NWOBHM to the current scene. The production is Lo-fi, which is not usually my thing, but here it works effectively to give it that obscure, underground feel. I’m sure I could convince some retro enthusiasts that I unearthed an obscure demo, Stratus Nimbus just has that feel. This is a complete package. It has it all. If you want Sabbathian riffs, fuzzy guitar leads, that stoned vibe, and spooky, ethereal vocals, then Stratus Nimbus is a must-spin.

Get It.

The Rare Breed

It is getting increasingly difficult for bands to make music that sounds both retro and fresh. After all, much to our liking, there’s a plethora of bands worshipping the mighty Sabs. THE RARE BREED manages to inject a boost of excitement into their latest offering. These songs are replete with positive vibes, recalling the Sabbath Bloody Sabbath and Sabotage era of early doom.

I also detect the influence of the eighties Los Angeles metal scene, something I remember well. Aside from a few exceptions like Vitus, Cirith Ungol, et al, the overall feel was an upbeat, enthusiastic form of metal. Even though I was a Vitus-Ungol kinda guy, I had many albums from the L.A. scene. That same vital eighties energy shines through Rare Breed’s sound. This actually reminds of the recent release by Wretch, as well, but with a more positive feel. The original Maryland doom scene sound is alive and well with Rare Breed, too.

Already ‘Looking for Today’ (2016 - Ripple Music) has been well-received by the heavy underground, charting for two months straight on the Doom Charts. I’m sure some of the hardcore doomers out there will be put off a bit by the “brighter” groove of this LP. But for every person who rejects it, two more will be drawn into the menacing world of doom metal. This is a high quality record that should have broad appeal.

Get It.

SVVAMP

As I’ve noted, the seventies retro scene is exploding both in quantity of bands and authenticity of the sound. SVVAMP (yes that’s two v’s) validate this in spades, giving us something authentically psychedelic. From the opening track, "Serpent in the Sky” – a hard driving, heavy psych monster – to the sixth and seventh tracks of blues-folk rock, this is we’re experiencing quite a diverse tribute the seventies. Go ahead wade in this Svvamp of psychedelia, if you like what you hear, I cannot begin to explain what relics are out there waiting for you to discover. For those in the know, add this to your seventies playlist. It will fit right in!

Get It.

Church of the Cosmic Skull

Oh man, is this killer!
Oh man, are these hippie cult jams!
Oh man, is this flashback!

Like wow, man, this is like seventies Jesus Freak music.
Like wow, man, this some wasted music, man.
Like wow, man…groovy stuff, man!

Yeah, we actually talked like that 40+ years ago. That’s the era this reminds me of, actually closer to 50 years ago. All I knew in the sixties music-wise was what mom had on the A.M. Radio. Psychedelic pop tunes dominated the air waves, songs about the “Dawning of the Age of Aquarius,” “A Horse with No Name,” a “Yellow Submarine” and so on are forever etched in my memory. The CHURCH OF THE COSMIC SKULL take the sound of that generation and blend it with stoner vibes to create one of the most unique albums of the year.

'Is Satan Real’ (2016) appears to me to be a kind of religious album. It’s surely not Christian or occult, though it seems to be a take on New Age spiritualism. The esoteric overtones enhance the psychedelic effect of the album. Whether serious or tongue in cheek makes no never mind to me (more seventies lingo) – what matters is the music. This is high quality, organ-driven progressive rock, with cultish lyrics. And, to answer their question, yes, Satan is real! Come freak out on this groovy trip…

Get It.

Baby Woodrose

'Freedom’ (2016 - Bad Afro Records) is the seventh album by iconic Copenhagen retro psych rockers BABY WOODROSE. Their first album was in 2001 and the last before this release was in 2012. Chances are some readers probably never heard of this band lead by living legend Lorenzo Woodrose. Reason being that prior to 2012 the retro movement was still in its infancy and bands that weren’t doom, which a few notable exceptions, were largely ignored by the scene. Something amazing has happened in the last three years or so. As the heavy underground exploded, I was pleasantly surprised to see Freedom get recognition on the Doom Charts these past months.

Lorenzo is a lot like Scott “Wino” Weinrich, in that his career consists of leading or contributing to a wide range of bands. What Wino is to doom, Lorenzo is to psychedelic rock. And like Wino’s projects, each of Lorenzo’s bands is unique and different, yet related. If you dig Freedom check out the rest of the Baby Woodrose discography and his other bands Spids Nogenhat, Dragontears, Pandemonica, On Trial. Hailing from Denmark, these bands have struggled to be known outside that country. Due to a mean schedule of European touring, they have garnered a loyal following there. Spids Nogenhat sung in Denmark’s native language has received critical acclaim there.

As for Freedom, it just might be Baby Woodrose’s heaviest release yet. The sixties garage rock vibe still permeates, but the stoner metal heft is ratcheted up even more. Prepare yourself for a journey through the desert with a mix of heavy guitar licks, sixties harmonies and melodies, space rock and desert grooves. One last note: the band’s name is from the Baby Woodrose seed, which is a hallucinogenic. Come trip out with me on some audible Baby Woodrose!

Get It.

Wight

'Love Is Not Only What You Know’ (2016) is the third studio album from WIGHT. It emphasizes exactly what I’ve been saying about the phenomenon of retro music becoming more authentic. Their first two were very good retro albums, released in 2011 and 2012 respectively. The first struggled to stay focused on the seventies; the second obtained the vibe more so. It was just the times. Wight was one of the early retro bands and I jumped on board early. Now it’s been four years since their last studio album (there’s been a few live releases) and the scene exploded in the meanwhile.

Love…. calls forth the spirit of Grand Funk, James Gang, and Creedence Clearwater Revival, to name a few. The album is set apart by the funky blues rhythms permeated with brilliant lead guitar bursts. There are even hints of rhythm and blues bordering on Motown, and it actually works intertwined in the tentacles of psychedelia. The four years since their last studio album must have been spent studying the musical history of the late sixties and early seventies. With Love Is Not Only What You Know Wight have earned their collective master’s degree.

Get It.

Lord Mountain

LORD MOUNTAIN are a throwback doom band that combine the best of the seventies with the best of NWOBHM and the legendary doom fathers of the eighties. I am overwhelmed with joy at finding this, yet saddened at only four songs.

Fans of Wino should go ape shit over this! It seems he is the biggest influence here. Fans of true metal will delight also, for this is a doomy take on the music of Cirith Ungol, Angelwitch, and obscure legends such as Desolation Angels, Gargoyle, Lords of the Crimson Alliance, etc. I don’t know much about the guys behind this Santa Rosa band, but I’m willing to predict that if they continue to record and perform on this level, we’ll be talking about them in glowing terms for some years to come. (Read our interview with Lord Mountain here.)

Get It.

The Hazytones

THE HAZYTONES lay down riffs a plenty on their first long play. The Canadian power trio adds a special flare to their version of stoner rock. The songs are riff-centered, but incorporate melodies in the riffs. The result is a style that is modern with send backs to the seventies and eighties. There are many bands that I’m reminded of while listening. Probably more than any is early Metallica. But Hazytones is hardly a Metallica clone; heck, they’re not even close to thrash. There are other times I’m reminded of mid-seventies Black Sabbath. For the old time underground doom fans, the melodies bring to mind Quartz, Demon, and Witchfynde. These bands played a mixture of doom and classic rock. The Hazytones are the next level up in heaviness from those underground legends. I highly recommend this album. I am curious to hear about what you’re hearing in this. This is one of those bands that bear the indelible influence of the past, yet are new and fresh at the same time. I even suspect some will hear some nineties grunge.

Get It.

Thee Arthur Layne

You may remember THEE ARTHUR LAYNE from 'That Seventies Compilation’ we released over the summer, which featured the song “Father Friendly” from their first single, released in 2015, which included that excellent B side “Scorpion Crawl.” Both of those songs were protometal gems that sounded liked they’d emerged right out of a time capsule from the late sixties. It brought to mind Blue Cheer, Sir Lord Baltimore, Iron Butterfly, Vanilla Fudge, and the likes.

Their second single, released the end of September, gets even more raw, ballsy, heavy and psychedelic. This time I couldn’t help be reminded of those British legends The Edgar Broughton band, who gave us some of the meanest and nastiest heavy sounds of the late-sixties/early-seventies. Thee Arthur lane lay out two heavy tracks of over the top acid rock and swamp metal, brilliantly uniting the very first wave of stoner rock with the modern scene. I am anxious for a full LP, quite frankly. I’m also curious as to how they would handle a softer track. For now, we have four songs between Volumes I and II of 'HVY DRT’ and with this I am content.

Get It.

Discover more heavy riffage and fuzzed out stoner vibes through our quarterly compilation series.

Old Blood are an extraordinarily band in every way. From their signature acid doom to their rousing stage show, the Los Angeles crew prove to have all the right instincts. Each of the five is known by their stage names: Feathers (vocals), Diesel (drums), Gunner (guitar), Octopus (bass), and Stone (organ). If you ever get a chance to see them, don’t pass it up. The bold sound and catchy groove of their live performances will make you a believer.

Before us is ‘Old Blood’ (2016 - DHU Records), their eponymous debut…and it is breathtaking. The organ play makes this album stand apart from the pack. It’s not a relish hidden in the mix here, but an essential part of the vibrant music-making here. The organ takes an otherwise heavy album and mellows it out with an early-seventies rock vibe. When you pair the organ with the incredible voice of frontwoman Feathers, the overall effect is wondrous.

With that said, this is doom at heart, though not in any contemporary sense. We’re talking seventies-style doom. Observe the slow, plodding bass play, which is some of the best I’ve ever heard on record. Octopus truly understands how to let the bass create its own heaviness. His technique comes from the old school. Not being a musician myself, I don’t want to over analyze here, but his confident approach to the bass seems very similar to the big upright in an orchestra. In collaboration with the organ, the bass really drives the momentum of the songs.

This leaves the guitar player free to let loose on some serious acid leads. The techniques are straight up seventies underground. Key to the success of the album is Gunner’s patience, which seems to be letting the rest of the band develop a feel for each song before stepping in. It is this team chemistry that makes Old Blood such a special project. Each member seems to exercise humility for the betterment of the song.

Let’s not forget the exemplary drumming. Diesel can pound heavily on the bass drums when needed to give that underlying sense of dread, but it is those moments of soft drumming and the use of the symbols that really speak to his artistry.

Old Blood’s songs are send-backs to the exciting live performances and stagecraft of a bygone era. I am reminded of the vaudeville acts that were still around in the sixties when I was a child. This is also a blues album, heavy psychedelic blues, for sure. That’s kind of what early doom was: the blues gone wild.

Check out that early-seventies model Ford Ranchero on the album cover. It’s dark, hulky, and ominous, standing in stark contrast to the soft, spacious white surroundings. As it turns out, this a perfect metaphor for Old Blood. Searching for a word to sum up Old Blood, I keep coming back to smooth or, to borrow from this review’s title, heavy mellow – not unlike the sensuous model on the hood of the beast, who I believe is Feathers herself. Her voice seduces you. It is what your memories will carry away from this listening experience. This album is every bit as dark and heavy as it is soft, warm, and embraceable.

Catch Old Blood’s album release show at Whiskey A Go-Go in West Hollywood on Wednesday, November 30th, 2016. Details here.