Heavy sludge from Philly, featuring a two-piece band with a provocative name: RED BRICK. Mag Stephens tackles the strings and Chris Penrod the drums, trading barbs on vocals. It’s an all-out assault on the senses, carrying all the contempt of a brick thrown into a glass window.

The band sheds some light on the motives driving the new album, their first full-length following a 2021 EP:

Anchored in real-world despair, class violence, and moments of seething clarity, the album navigates themes ranging from substance abuse and queer trauma to dead-end jobs, burnout, performative activism, blind consumerism, and the failures of authority.

Combative and in your face, ‘Thrown’ (2025), is a wrecking ball of power and emotion blending elements of sludge, death, and grind into a caustic boiling cauldron. “The Price” is their second single and hits you with the force of a seismic wave. Out July 25th on Horror Pain Gore Death Productions.

Give ear…

SOME BUZZ

Horror Pain Gore Death Productions is set to release Thrown, the new album from Philly’s destructive hardcore/sludge/grindcore/death metal act Red Brick. Scheduled for July 25, the album will be available on CD and digital formats, along with merch.

Red Brick is made up of two violent homunculi grown in Petri dishes in the bowels of Philadelphia for the dual purpose of suffering and playing false sludge. They arrived upon the world in 2021 AD with the EP Gastric. Operating as a trio until about a year before the debut album, Thrown, was slated for release, Red Brick eventually condensed into a two-piece. That shift birthed a new dimension for the band, as vocalist/guitarist Mag Stephens states: “Through all our various trials and tribulations, we feel like we’ve truly found our sound on this one.”

Recorded in the dead of winter as they mourned the living, Thrown is a testament to their nature, blending sludge, hardcore, grindcore, and death metal sensibilities seamlessly for a soundtrack befitting only the most destructive crash-outs imaginable. Anchored in real-world despair, class violence, and moments of seething clarity, Thrown doesn’t simmer, it erupts. Substance abuse, queer trauma, dead-end jobs, burnout, incompetent authority, performative activism, blind consumerism — it’s all here.

If you see Red Brick, do not make any sudden movements and back away slowly.

I first encountered THE COMPANY CORVETTE at the inaugural Psycho Las Vegas. A lot of people were talking about that set in the Vinyl room of the Hard Rock Hotel & Casino. I was won over by their sludgey disdain and fucked-up jadedness. That was way back in 2016, and the band was fronting their 3rd album, Never Enough.

Now, seven years and three albums later, the Philadelphia, Pennsylvania band returns with their 4th LP, ‘Little Blue Guy’ (2023). A lot of life has gone by between records and I was curious how the band sounded now, and in the back of my mind wondered whether I would still be into it. Turns out Little Blue Guy is a grunge and doom lover’s fever dream come true.

“We work real slow,” says the band, “far slower than any of the songs on this album. This one took some sauntering. Hearing the drums and all the tones dialed in just right in the studio made us feel real good. And all the beers… Our constantly re-upped cooler worked as hard as we did. The heavy songs came out sounding massive, and the rocking stuff was fun as hell. We really love this album.”

There is indeed much to love here. The band makes a bold choice in giving us a thick slab of red meat right from play, with title track “Little Blue Guy.” It’s about 8 ½ minutes in length and I was expecting the other tracks to follow suit, but the numbers get lower from here, with the next songs clocking in at 5:45, 3:04, and 2:17, then back up to 3:38, 4:36, and 7:06. So there’s plenty to check out before you form an absolute opinion on the album, or the band if this is your first time hearing them.

Singing is Ozzyesque (shades of “Iron Man”) and the atmosphere is warm and dark, with hints of danger lurking. The guitar is in the mood for trouble, and belts out some pretty riffalicious moments here. The bass gets its moments to shine, as well.

“Marshmallow” takes us down into the very depths of dank, where menacing trills and rainy tremeloes rumble all the graves in the yard. Vox are deranged and harsh, and the guitar returns the ire with a shrieking, maniacal solo that scrapes fingernails on the doors of dissonance. There are some unnerving, but totally cool, pedal effects, as well.

The raunchy Nirvanaesque pipes on “Out of Control” had me thinking of what zombie Kurt Cobain would sound like were he to suddenly come alive in the present day. Imagine how pissed he would be, then take heed to vocalist/bassist Ross Pritchett and imagine no longer. At times, the singing feels emotionally shaken, teetering on the edge of psychosis. There’s an awesomely spaced-out solo in this one, so don’t miss it. The drumming is wild and rambling, too, giving it plenty of character.

“Brain Cells… But Who’s Buying?” begins the B-side, conjuring weird Melvins vibes (even the song title has a King Buzzo humor to it), but once again ultra sludgey, tuned down, at a slow headbanger’s pace. Guitarist Alexei Korolev takes every song over the top with his own brand of smart, punky commentary. Lyrically, it seems to be about someone deleting their brain cells by inhaling a rag full of fumes. But the chorus (particularly the singular use of “brain cell”) made me think that it’s a double entendre referring to someone trapped in a prison of their own making. While this is sung, the guitar tickles our brains with sardonic arpeggios, giving me the impression of rocking back and forth in a straight jacket.

“Stupid” is a good, old fashioned grunge rocker with a stinging riff and stinging words. The shortest of the 8-song set, it bleeds right into a speed/thrash rocker “Drag,” which this time made me think of zombie Lemmy! It’s good to hear a balance of tempos on the album, without feeling like you’re hearing an altogether different band. There’s a cohesiveness of style that holds up with considerable strength when stretched across genre boundaries.

“Ted Teddler” is well-placed at this point in the record, and it comes as soothing medicine with a funky stride. The guitar has a dual role with rhythm and riff, vocals are dead-pan and apathetic, and the drums-bass combo relentless. It made me think of driving in a pick-up truck down a dark, forested road in the middle of nowhere, with only headlights to make sense of it all. “We just spent on” goes the refrain, and it’s one of several lyrical references to spending throughout the album. It doesn’t seem to be in reference to money, either, but the literal tendering of one’s life, which I found to be interesting.

The record ends strongly with “Lit The Wrong End”. There’s a subtle Mark Arm flair to it for about three minutes, then at 3:49 it turns into an amp worshiping droning dirge of doom, with tangly psychedelic guitar riffing on top of a oh-so-dirty bass groove. The band says they improvised this one in the studio (see below) and I rather like the result, especially its midsection.

I haven’t said much about drummer Zach Price, but he’s one of the big reasons why this album succeeds, with his unusual patterns, fills, and filigrees. He makes every song interesting to listen to, especially when the overall rhythm might be slow and doomy. The band shows good instincts and chemistry all the way around.

The Company Corvette’s Little Blue Guy is coming out Friday, December 1st, on Strange Mono Records in vinyl, cassette, and digital formats (pre-order here). Stick it on a playlist with Mudhoney, Melvins, Sleep, and early Clutch.

Give ear…

The Company Corvette’s Guide to Little Blue Guy

  Words by guitarist Alexei Korolev
   Photos by Nelson Carlson

1 - Little Blue Guy: Doom as fuck. Slow and heavy as we can stand it, with a slab of minimalist psychedelia in the middle - a vacuum of sorts to suck out your brain and then slowly regurgitate it back in. Lyrics stem from that time we ate mushrooms in my shitty old tiny apartment and Ross saw something, or someone.

2 - Marshmallow: This one punches you in the gut real slow. We LOVE Cathedral and old school doom metal - it’s in our blood, we can’t help it. I tried to hurt my ears with the guitar “solo”. I’m no Dave Chandler, but a fellow can try, right?

3 - Out of Control: Kind of like a fast song played slow…. Or a slow song played fast. Still heavy and with “just let it loose” shredding and banging drums (I’m no Matt Pike and Zach may not be Dez, but a fellow can try, right?) Everyone kicks ass and is ‘in your face’ on this one!

4 - Brain Cells… but Who’s Buying: This one felt too different and we almost abandoned it. But sometimes it felt just right and once we named it, we had to keep it.

5 - Stupid: A Ross riff, if you ever heard one. He’d wanted to say ‘fuck’ in a song for a while, and finally we let him. The guitar lead was played through a little old amp with busted tubes and it sounded weird as hell. Good tubes are overrated.

6 - Drag: Loosely played thrash metal with a super fun-to-play guitar solo and lyrics about getting dosed.

7 - Ted Tedder: Driving around with a buddy named Ted Tedder, remembering the good times and doing the wrong things. Our attempt at a disco part. Still not sure it worked.

8 - Lit the Wrong End: We like a loosie-goosie to cap the album. That one had some loose ends, so we just winged it in the studio. Psychedelic jam turning heavy - yep, that’s us!

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

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

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

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

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

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

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

Give ear…

SOME BUZZ

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

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

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

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

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

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

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

Armageddon, religion, technology, shame and greed – here’s a band dealing with some heavy lyrical themes, and doing it with excellence. It’s prog-stoner metal trio MELT from the Steel City, and today they’re giving us an advance listen to the upcoming album, ‘Replica of Man’ (2023)

The album opens with narration from an interview long past from the incredible age of Pandora’s Box tampering that the 20th century was: “The concept of the thinking machine has been man’s dream for centuries, also his nightmare.” To accompany this roving commentary on creeping technocracy, the bass slaps out a wicked jazzy stoner groove with vivacity and conviction. By the time drums join in earnest, it feels like we’re in Prodigy territory, with metal vocals and doomy riffs. Recording engineer Nate Campisi takes great care in capturing a lusty sound from all of the instruments, and this serves as a captivating vessel for the message:

It fulfills the prophecy
Unstoppable technology
Steel has seized the upper hand
We concede as it commands
It’s too late to intervene
Mating man with machine
No forgiveness for the damned
Heed the replica of man

Indeed, we are several chapters deep into a fledgling Technological State and already the human animal is being stretched and contorted in ways that are alien to his nature, but somehow pleasing to the great labyrinth of circuits that make up our computers and smartphones. It’s no longer fodder for fun sci-fi blockbusters like Terminator, but an urgent question for our time as to what makes us truly thrive as human beings and how technology can assist us toward that end, not hurt us. Obviously, the band struck a chord with me straight away!

“It isn’t passive music,” remarks frontman Joey Troupe. “It has weight, inertia and leaves a mark. We are writing the soundtrack to global annihilation. That includes elements of destruction, despair, gratitude and sometimes, hope.”

Elsewhere on the album, the band conjures Lucifer’s Friend vibes on “Problem Child” and “Skeleton Girl” exhibits an infectious nu-metal energy – both captured within a cocoon of fuzzy low-end and performed with all the vibrancy of the garage experience. “Swamp Water” is a good, old-fashioned swampy stoner romp that would make a good companion to Weed Is Weed’s “Alligator Crawl.” And “Shame” would fit in great with the likes of Mudhoney and Coal Chamber.

The album closer is bathed in dank, watery shadows, with a grungy, forlorn bass groove. It’s called “Hive Mind” and lives in the neighborhood of Black Sabbath and Electric Wizard. The song is about how the secrets of life evade us because we’re stuck in rigid mindsets (“Sacrament is our demise”), and struggle to find a meaningful role in this artificial maze of concrete and asphalt (“Disguised by life, destroyed by time”). At least that’s my interpretation. As I said, the lyrics are thought provoking – but there’s no mistaking the last lines of the track:

We all seek a higher mind
So take your breath and blaze a fire
Take flight. Ignite. Leave them all behind

Melt’s Replica of Man is a virtuosic blend of influences, captivating themes, and crisp, joyful musicianship. Out Friday, July 7th (pre-order here). Stick it on a playlist with Snail, GoodEye, Rickshaw Billie’s Burger Patrol, Null, and Deep Purple.

Give ear…

SOME BUZZ

Melt is a Pittsburgh-based fuzz rock band formed by Joey Troupe, J.J. Young, and James May – three seasoned musicians with a diverse range of experience in the music industry.

Joey Troupe (lead guitar/vocals) has played in various bands around the city since 2007, including Blackbird Pie, The Electric Pear, and Paddy the Wanderer — which released several LPs and EPs, toured regionally, and had a song featured on a Netflix series.

J.J. Young (drums) has played in or appeared with over 10 different musical projects, including Fortune Teller, Daisy Chain, and his own solo project, BITE. He is also a co-founder of Steel City Death Club, a Pittsburgh music multimedia collective.

James May (bass/vocals) started Aberrant Kingdom in 2008 and has also played with Spare Arrows. In July 2021, Melt released their self-titled debut and performed live for the first time, quickly making a name for themselves in Pittsburgh music for their lively stage presence and unique extraterrestrial-inspired aesthetic.

Since, the band has headlined shows across the region, been named the WYEP Artists of the Week, held a featured spot on the Deutschtown Music Festival mainstage, and opened for Silver Synthetic of Third Man Records. Their second studio album, Replica of Man, will be released July 7, 2023.

The Philadelphia stoner merchants in HIGH LEAF are preparing to drop their debut album on May 5th! The band, whose lineup consists of lead guitarist Patrick Fiore, Corey Presner on vocals and guitar, bassist Brian Schmidt, and drummer Dean Welsh, have created eight tracks that are influenced by grunge, stoner metal/rock, heavy psych, etc. These songs have all of the traits that are commonplace in the genre while still offering up something that feels fresh and exciting, yet familiar as well. That album is called ‘Vision Quest’ (2023), and it is the reason we’ve gathered here today.

Their first single ever is “Green Rider”, opening the proceedings with a big bong hit followed by a long exhale. The fuzz factor of that first riff may make you think of a hazy, smoke filled room containing four stoners creating music for other stoners. There’s an obvious Sleep influence going on, though with a vocal approach that is varied and incredible. Corey has bits and pieces of his influences that come through in his vocals, but he turns them into his own style without mimicking any of them.

“Vision Quest” sees High Leaf delving into their more psychedelic side for a great majority of the song, fortifying it with bluesy stoner sections, a Pink Floyd-esque feel, and ending the track with a grungy stoner metal vibe that features vocals influenced by the legendary singers that came to prominence in the '90s.

“Subversive” has a vocal style that will appeal to fans of Alice in Chains and Soundgarden, while the music pulls from both stoner and grunge genres. This is a powerful track that is packed with beefy riffs, and a solid rhythmic backbone. It is one of, if not the best song on Vision Quest, so anyone with an ear for this genre will absolutely love what High Leaf laid down here!

“Dead Eye” marks the halfway point of Vision Quest, steamrolling its way in with a fat sounding riff that is superb! As with the other tracks, this features more of Corey’s excellent vocals, and the ultra thick riffs that are a staple of the High Leaf sound. It’s not the best song on this record, but isn’t weak in any way either.

“Hard to Find” continues on with the high quality music that the first half of the record displayed, with the difference being that there is a hard rock vibe that harkens back to the '80s and '90s. Corey also brings in an even more diverse display of his talents, and while this isn’t my favorite track, it is my favorite performance of his. Pat pulls off a perfect lead on this track too, it’s completely suited to the song and shows that he’s got the chops needed to create memorable solos.

“Painted Desert” begins by briefly showcasing the drum and bass skills of Brian and Dean before the guitars enter. There’s a serious Layne Staley meets Scott Weiland sound within the vocals, while the music is the stonerized version of Pearl Jam-esque grunge that you didn’t know you needed, but will want more of after you get it. It’s a quick track that’s absolutely killer from beginning to end.

“March to the Grave” and “The Rot” are the final tracks on Vision Quest, and they both have all of the elements that High Leaf has given listeners since the “Green Rider” single started playing. Of the two I found that I prefer “The Rot,” it’s a bit more diverse sounding musically and vocally, but both songs are excellent examples of what this band can do.

Vision Quest is a stunning debut record in every way. These Philly stoner diehards are as talented as their music exhibits, and are sure to win over even the most stubborn music fan with their take on the genre. This simply means that you will find something to love even if you aren’t totally sold on stoner music, as the fuzzed out riffs will work their way into your subconscious and refuse to leave. So head to Spotify to check out their lead off single as you wait for it to become available on Bandcamp. Enjoy!

Here’s an album that’s well-suited to the cold wave that many of us are starting to taste as October marches to an end, leaving us with piles and piles of leaves or needles to rake. Both hail from the frost belt, BUZZHERD from Bethlehem, Pennsylvania and PALE HORSEMAN from Chicago, Illinois. Both have been around about as long as this publication, as a matter of fact. One band is among the more elusive in the stoner-doom universe, the other prolific with a whopping handful of albums.

I don’t think I’ve ever heard Buzzherd this riled up before. Get ready to fuck shit up while listening to the A-side. Unless you’re one of those people who likes good walking music, then you can appreciate the music’s idiosyncrasies as you improve your cardiovascular health. The interplay of riff with rhythm really is something to behold, a weave of heavy influences from thrash to death, groove to extreme.

“PxBxPxTxBx” calls to mind early Mudvayne, with a propensity for frequent tempo changes, flirtations with atonality, and absolutely ruthless verses. “Menstrualcity” is frightening and ravenous. “Leave a Little Room for Jesus” has the band grinding their heels into the earth while fire and brimstone rains down from On High. Guitar licks scrape at those tickly places in your eardrums during “MoufTrix,” while “Pinworm Quinceanera” features a rapid-fire drum beat that you’ll feel right down in your gut. Those damning final minutes are not to be missed.

On the flip side, we’ve got Pale Horseman poised to raise havoc in the Windy City. Their sound is epic in its own sludgy way, taking doom forms and tricking them out with a sludge, death, and progressive metal edge. The band is like a classic car suped up under the hood with way too much horsepower to be street legal. You’d have to visit the Domkraft/Slomatics split from earlier in the year to find music this volatile or the output of Serpentine Path for a sound as densely dark and poignantly sorrowful.

There’s nothing stodgy about these songs, either. “Grigori” presents as restless and stubborn, with vocals that both soar and roar, riffage touched by mystery and tragedy, and a rhythm section that is unrelenting. “Exile” is a brooding, jet-black storm cloud. “Release the pestilence…ravage humanity” it chimes. “Orisons” goes a shade darker and is a slow-churning whirlpool of bass, drums, and crunchy guitars.

“These chains will fall” declares “Legions,” a terrifically spirited song I’ll be counting among my playlist favorites in the future. Bonus track “Vimanas” features guest vocals from Suzi Uzi of Chicago’s Black Road, and the harmonies between she and Pale Horseman singers Andre Almaraz and Eric Ondo venture into Alice in Chains territory by the song’s dank conclusion.

It’s been almost a decade since I started writing for Doomed & Stoned and it’s been a real delight for me to watch heavy music flourish underground as a real cultural phenomenon, evolving into so many brilliant variations independent of the machinations of the big music industry. Fittingly, ‘Split’ (2022) will be an independent release.

Buzzherd’s side was recorded, mixed, and mastered by John Rupp at Soundmine Recording Studio in East Stroudsburg, Pennsylvania, who’s also done work with Ghost and Gojira. Pale Horseman was committed to the capable hands of sound engineer Pete Grossman of Bricktop Studio in Chicago, who is guitarist in the band High Priest. Justin Broderick from the iconic band Godflesh hones his mastering expertise via Avalanche Studios to bring out the unique dimensional colors of each of the B-side tracks.

Buzzherd and Pale Horseman’s Split emerges Friday, October 28th in digital format and vinyl orders ship out October 31st (pre-order here or here).

Give ear…

SOME BUZZ

The brutal Bethlehem, PA, based Buzzherd and Chicago sludge lords Pale Horseman are preparing to release the new album Split celebrating a wealth of fierce, heavy music.

Emerging in the early 2010s with a sludgy/doomy sound, the Buzzherd have evolved to create a death and sludge hybrid, with a dose of grind. During their career, the outfit have performed with the likes of Eyehategod, Today Is The Day, Hooded Menace, and Secret Cutter. With six full-length releases under their belts, Pale Horseman have also shared stages with the likes of Eyehategod, Crowbar, Bongripper, and Coroner, and performed at several festivals including Doomed & Stoned Festival, Beard Metal Fest and Full Terror Assault.

Initiating proceedings with an aggressive intensity, Buzzherd’s “PxBxPxTxBx” is fuelled by groove rhythms, thundering percussion and guttural vocals, while “Leave a Little Room for Jesus” delivers driving guitar riffs and fast-moving motifs. The quartet unleash a fury of heavy atrocities across the first half of the album. Deliciously distorted guitar tones carry a razor sharp edge, and the vocal delivery appears to rise from the depths as the bass and drums ground deeper into the earth.

Honing a nightmarish atmosphere, Buzzherd unleashes an unceasing assault on the senses. Pale Horseman emerges out of the gloom with an advancing eerie fuzz inflamed sound through “Grigori”. Creating a striking mood through dynamic guitars, compelling vocals and ferocious percussion, “Exile” is a poignant exploration of a dark subject, aptly conveyed through the intense instrumentation. Pale Horseman’s bonus track “Vimanas” ventures through a smorgasbord of instrumental and vocal harmonies that produces an immersive effect.

Split combines the sheer anguish from Buzzherd with the moody experimentation from Pale Horseman. The new album is filled with colossal sounds from both bands as they venture unafraid into the murky depths. Hard-hitting and unforgiving, Split is a powerful offering.

I’ve been a fool for vocal harmonies since my first time hearing Queen as a kid. As I look at the present landscape, I see AC/DC-style rock ‘n’ roll exuberance bubbling up from the tired landscape of grey misery, doubt, and death. We’re ready for a little optimism in our music again, and few do it as joyfully as LIMOUSINE BEACH. We reviewed their first EP in these pages back in 2020, and now the Pittsburgh group is about to drop a bundle of good times.

Says frontman Dave Wheeler:

I’m unbelievably proud of what we created together as a band and humbled to be doing it all with Tee Pee Records again after the work we did with my previous band, Carousel. The fact that the record is almost out, is just a great feeling as I believe in every single note contained within it, and no one can ever take that away. And the response to it all so far has been overwhelming. Everyone who has heard it has immediately run out and bought a WaveRunner so I fully expect that to continue.

With the days getting longer, the sun shining, flowers in bloom and blue skies for miles, you can’t help but get wrapped up in the upbeat verve of 'Limousine Beach’ (2022) – out Friday, April 15th on Tee Pee Records (get it here). The action just does not stop on this 13-track joy, making me think Limousine Beach could well be the hedonist band of a new era. Stick 'em on your next playlist with Thin Lizzy, Danava, Hot Lunch, Pushy, Fever Dog, and The Hawkins. This is the Doomed & Stoned world premiere.

Give ear…

Some Buzz

New York’s legendary underground label, Tee Pee Records, is thrilled to announce the signing of Limousine Beach and the release of the rising hard rock quintet’s debut album this April.

Fronted by towering singer and guitarist, Dave Wheeler, Limousine Beach is a thrilling new guise for the former Outsideinside and Carousel frontman. Especially considering that under the hood of this mighty new beast lies an impeccable assembly of individuals, all of whom are no stranger to acclaim. Formed in Pittsburgh in spring 2018, Wheeler is joined by three members of the metal band Cruces (guitarist Evan Mitchell, bassist Dan Hernandez and drummer Dan Bhutta), along with guitarist Jason Sichi of Fist Fight in the Parking Lot.

Creating a devastating trifecta of proto-glam guitar play, the band makes no bones about wanting to spark a sizable “no nuance” impact on people’s first impressions and second-hand record collections. We’re talking Kiss, The Sweet, Thin Lizzy… Limousine Beach are the swaggering, bastard sons of rock excess.

Following the release in 2020 of the band’s Stealin’ Wine + 2 EP on the digital-archive imprint, Tee Pee Annex, teaming up with the label for their self-titled debut was something of a no-brainer.

“Limousine Beach is arena rock without the cheese,” explains Tee Pee Records’ founder, Kenny Sehgal. “Plenty of loud guitars. Big sounds. We’re psyched to be working Carousel main man, Dave Wheeler again. He’s very much a part of our Tee Pee family.“

Instrumental metal has always been with us, though it was often confined to an interlude between otherwise traditional voice-centered tracks. Occasionally, we might have encountered an album sans voix with the likes of Aphex Twin, Frank Zappa, and Mahavishnu Orchestra all presenting intriguing possibilities early on.

A switch was flipped after the turn of the new century, however, and we began seeing heavy music presented as long-form art with the monumental output of Earth, Pelican, Russian Circles, Godspeed You! Black Emperor, Monkey3, and Karma To Burn igniting the medium as never before. It was arguably Nine Inch Nails that brought the approach to the average listener’s consciousness with Ghosts I-IV in 2008.

Bands such as BelzebonG, Bongripper, and Clouds Taste Satanic proved instrumental rock and metal lacked no shortage of power, depth, or creativity in the decade that followed. And with the democratizing effect that platforms like Bandcamp brought to the internet a definable new subgenre of heavy music was born (something we attempted to document last year with our four-part series, Doomed & Stoned: The Instrumentalists).

Preambles aside, you’re about to encounter a Pennsylvania act whose name is worthy of standing alongside the greats mentioned above. Allow me to introduce you. THE LONG HUNT is a heavy trio comprised of Trevor Richards on guitar, Allison Kacmar Richards on bass, and Mark Lyons on drums. They have several records to their name already, but my journey to the Pittsburg evocateurs began with the picturesque ‘Threshold Wanderer’ (2022).

The Long Hunt’s conjurings are entirely convincing – so organically instrumental that not once did I miss a traditional singer narrating the action. In fact, vocals might just spoil the experience altogether, as something very important would be lacking from the equation: your imagination.

Enter the grim, fascinating world of The Long Hunt as Threshold Wanderer spirits you away to a fantastic underworld of damning doom, wistful psychedlia, visionary post-metal, and joyful prog. The tracks don’t need lyrics, for the band succeeds in fully convincing us of these six lieder ohne worte.

The Long Hunt’s new spin sees the light of day (along with a string of music videos comprising a single film) on April 1st (get it here). This is the Doomed & Stoned world premiere.

Give ear…

A Listener’s Guide the The Long Hunt

  By Trevor Richards

'Threshold Wanderer’ has been a long time coming. Listening through old practice recordings, we were working on a skeletal version of “Procession of Dust” as early as December 2017, just before going into the studio to record our second album, 'All Paths Lead to Here.’

The song “The Tower” came next in August 2018, followed by “Night Falls on Black Wings” and “The Golden Bough,” both nearly finished around May 2019. Final versions of “Prelude” and “Crossing the River” came about in October 2019. By the time we entered the studio in January 2020, many songs had already made appearances in our live set and were held up to the scrutiny of a live audience.

Stylistically, the songs on 'Threshold Wanderer’ are generally diverse. Each one offers up a specific side of the band’s musical personality while still hopefully sounding cohesive as a collection of songs on an album. The theme of “traveling through different musical worlds” was already starting to take shape and is indicative of the name of the album itself.

In addition, I had already been thinking about an “underworld journey” style story arc surrounding the album, though what form that would ultimately take was unknown at the time.

Final mixing and mastering were completed by February 2020, with a tentative release date by mid-year. We were starting to get back to playing shows and booking additional spring and early summer dates. When the pandemic hit, we decided to hold off on the release, mainly for fear that the album would just get lost in the noise of everything else. We spent the summer writing new music—fast forward a few months to October.

The idea of making a music video for the record was always in the cards. I’ve done video and photography in the past and am generally comfortable in that medium. I initially thought we’d do more traditional video footage, maybe mixed with some animation. I started messing around with rotoscoping in photoshop and the program’s minimal 3D capabilities. This process eventually led to discovering the Blender software. I spent the rest of 2020 learning the basics of the program through both trial and error and YouTube tutorials.

By January 2021, I was getting decent enough results in Blender to make the idea of animating a music video seem like a doable proposition. Little did I know that this “doable proposition” would take eight full months and about 1000 hours of my time to complete. I have a hard drive with 350 gigabytes worth of exported still frames to give an idea of this project’s scope. My computer was basically rendering animations 24/7 from January to August. My brain was definitely working overtime as well. The finished video represents the hardest “creative thing” I have ever done. The second “hardest thing” being the notion of sitting on a finished album for two whole years while the world burned around us.

As alluded to, the theme behind the video falls pretty comfortably into the “hero’s journey to the underworld” variety. There is a lot of symbolism tucked in throughout without spoiling anything that might only come out with repeat viewings. In many ways, the story represents the journey that many of us have traveled ourselves these last few years. What type of world awaits upon resurfacing when swimming in the depths and darkness for so long? I’ll leave that part up to you. We are undeniably happy to finally get this album and video out there. Ecstatic, really. We hope you enjoy it.“

The Long Hunt On Tour

• May 06 - Canton, OH @ Buzzbin
• May 12 - Pittsburgh, PA @ The Government Center (w/ Stander, Fuzznaut)
• May 28 - Youngstown, OH @ Westside Bowl (w/ Blackwater Holylight, Divide and Dissolve, Frayle
• June 04 - Pittsburgh, PA @ Cattivo - DESCENDANTS OF CROM Day II

I’d like to introduce you to one of my new finds. Hailing from Pennsylvania, this BOOZEWA. “Born in the basement during the great year that was 2020,” this sludgy trio features Rylan Caspar on guitar, Jessica Baker slinging bass, and Mike Cummings commanding the drumset. All three of them are credited for “hollering” as they put it, which is quite remarkable in that verses are sung in unison, giving a blended vocal sound that seems to really work for the band.

Their new two-track EP, ‘Deb’ (2021), casts off with a heavy, if hungover, stride. A three-note motif is established, and we join the grim dirge through the muddy waters of the opening track. The band projects a grungy, hypnotic sound as it trudges on. No wonder they’ve been described as “the Valium version of the Pixies and Sonic Youth” by listeners and “deeprest” music by the band itself. This is not to say the tone is entirely dour, just that it gives off a sort of jaded air. It’s also the first taste we get of the band’s collaborative approach to singing, and it entirely works.

By contrast, “Now.Stop.” taps Mike Cummings (if my ears serve me faithfully – he, along with Jessica Baker, are members of Backwoods Payback) to lead the charge with those gnarly vox of his. After hearing this one, I longed for at least one more song from the band, so hopefully this is a foretaste of a more expansive recording to come.

All in all, Boozewa’s Deb is a fascinating window into the creative urges that emerged from the frustration, uncertainty, and social distancing of the Great Lockdown. Good sonic medicine for the weary soul and worthy of joining the company of the choice bands in your pandemic playlists.

Captured at the band’s Coatesville compound, Deb was placed into the most capable hands of the legendary Tad Doyle for mastering. Look for the new record to drop on Friday, August 6th, which also is being issued as a 7" vinyl record, limited to just 200 copies (pre-order here).

Give ear…

SOME BUZZ

‘Deb’ is a two song 7-inch single that will see release on Vinyl and digital formats on Friday August 6th. Recorded and mixed on a Tascam 4 Track Cassette machine in early 2021, it was mastered by Tad Doyle of the legendary band TAD at Witch Ape Studio in Seattle, Washington.

Their upcoming single follows the debut demo ‘First Contact’ which released in February of 2021 and sold out on tape in a month, spawning two more limited pressings of it. Bringing a distinctive sound, Boozewa draws passionately from the heaviest of the heavy through to the mellowest of the mellow. Emphasised by their unusual recording method, the vintage touch produces a unique tone with a dynamic, atmospheric quality. Dark, gloomy sounds are encountered in the opening track ‘Deb’ with heavily distorted guitars creating an aptly ambient level of noise. Combined with a slow tempo and soaring vocal harmonies it’s a startling contradiction. The B-side ‘Now Stop’ delves brings rhythmic, traditional heavy metal inspired instrumentation and edgier vocals.

For a project formed in the summer of 2020 by three musicians stuck locked down, in a house, with nothing else to do, Boozewa is an agent of creativity and innovation from composition to production. Versatile and progressive, ‘Deb’ is an experience for the senses that is not to be missed.

~By Tom Hanno~

Album Art by Drahma R.

This solo project has one of the coolest names I’ve heard in a while, and the music matches that coolness before multiplying it tenfold. That project is manned by Alex Parkinson, goes by the name of MOTHMAN AND THE THUNDERBIRDS and the debut album, ‘Into the Hollow’ (2021), drops on May 21st.

One of the biggest things that I hear is a Mastodon influence, and that rides throughout this album. However, there is so much more than just the Mastodon influence, creating an extremely diverse album that effortlessly blends several genres into one.

On top of me hearing great music on this release, I also am attracted to the name for reasons other than coolness. Breaking the moniker down, we discover that there are the names of two cryptids contained therein.

First, we have the Mothman, which is a cryptid seen in the West Virginia area of the United States starting in November of 1966. It is heavily believed that a Mothman sighting is the precursor to some kind of tragedy, which began after the December 1967 Silver Bridge Incident The bridge connects West Virginia and Ohio, and it collapsed under the weight of rush hour traffic, killing 46 people; thereby instigating the bad omen myth that follows the Mothman to this day.

Second is the extremely dangerous Thunderbird, which dates back to the Native Americans, and are capable of altering the weather; creating storms and lightning. Both of these cryptids still have sightings, and captivate the imaginations of many people across the globe.

The first track is called “Mothman Takes Flight”, and the layering of the vocals in the intro section are extremely cool sounding; not to mention that the first riff has a slight Slipknot vibe to it. Those layered vocal parts really grabbed my attention, and that attention only grew stronger as this track moved forward.

One of the elements that I really latched onto was the diverse feel of each part of the song. It seems as if everything has its own influence, but they all fit together perfectly to create this awesome piece of music.

As we move onto track number two, we get a Mastodon-heavy song called “Hollow Earth”, which gets my nod for best vocal effects for a verse; they really bring to mind Static-X’s “Chemical Logic” from the Cannibal album. I asked Alex how he was able to create that sound, and he told me this; “For Hollow Earth I did the regular clean vocals and then ran them through a Korg vocoder a few times, so it’s a couple different vocoders on top of each other, on top of the clean vocals.”

“Indrid Cold” is another banger, and keeps the Mastodon vibe alive and well. The main riff has a gallop and a well placed emphasis on the right notes to make this track sound even better. The vocals are executed with a burly rasp, and an almost agonized tone in certain spots; they match the heavy feel of the music expertly, and the lyric that says, “Smile through the pain” helps add to that agonized idea even more.

Up next is possibly the best track on the album, “Infinite Ocean”, which features Breaths’ Jason Roberts on verses 3 and 4. I love everything about this song, but it’s the vocal melody and performances that really stick out; they are perfectly executed, well written, and memorable.

The section that hits around the 2:30 mark is very interesting, almost progressive in nature. The guitars display a lot of movement, and the bass just hangs back to subtly hold the whole thing together. I really love this one, it’s my personal favorite in the album.

One of my other favorite tracks is called “Cloud Giant”, which could have just as easily been on the latest Devin Townsend album. His influence is very strongly felt in the music, as well as the flow of the vocals; which are performed by special guest vocalist, Joe Sobieski. Even with all of that I think my favorite aspect is the tribal nature of the drumming, which makes perfect use of the toms to really propel things forward. The whole vibe of this song is positive and uplifting, which fits the lyrical context nicely.

Before I end this review, I’d like to include Alex’ thoughts on his record:

I started Mothman and The Thunderbirds in the middle of 2020, when quarantine-pastime curiosity in cryptids and conspiracy theories came to a head with my creative indecisiveness. I think Into the Hollow is a strong first outing at that, showcasing a range of styles – some metal, some not – that I had been itching to record. Rather than starting several different “solo” projects, I decided that this album was going to be a vehicle for all things weird and wonderful.

While the album deals in cryptids and conspiracy theories, I’ve tied in many real-world themes of war, global warming, anxiety, paranoia, and manufactured consent. But to transport the listener in and out of the world of Mothman and The Thunderbirds, the album is bookended by two songs that deal in pure escapism. I think my varied approach to both vocals and song styles helps convey the dichotomy between the real and surreal.

I’d like to thank the four Guest Thunderbirds (in order of appearance: Jason, Kirby, Sam, and Joe) for their guest contributions, which make this album truly special. And I’d like to thank you, the listener, for embarking on this crazy journey with me Into the Hollow!

In closing, as I quote from their press release, “If anything, Into the Hollow is a stoner metal album for people who are bored of stoner metal.” That line really sums up why I love this album as much as I do. The amount of eclectic diversity in the songwriting really helps to set Mothman and the Thunderbirds apart from other bands in the genre, not to mention that Alex has been able to obtain guest musicians that really add their own spark to the tracks they’re featured on.

May 21st is coming soon, so go to Bandcamp, hit that pre-order button, and feel free to let us know what you think of this excellent recording. Enjoy!

We’re seeing more and more international collaborations over the course of the pandemic, with its frequent regional lockdowns around the globe (see: The Crooked Whispers). Now Puerto Rican progressive metal outfit MOTHS and Philly rockers THE STONE EYE have combined talents to bring us a four-track EP split. On the one hand, you’ve got a very experimental band breaking conventional structures, coupled on the other hand with a band that’s not afraid to make us question what we know to be true about those conventional structures. In other words, stoner rock meets Alice in Wonderland.

Moths

Moths are a progressive/stoner metal band hailing from San Juan, Puerto Rico that blends powerful riffs with unexpected with progressive tendencies along the lines of Frank Zappa and Mr. Bungle. The band is made up of Weslie Negrón (bass), Jonathan Miranda (lead Guitar), and Omar González (rhythm guitar) in 2016, with the later addition of Damaris Rodríguez (vocals) and Daniel Figueroa (drums).

Moths released their debut, self-titled EP just two years ago and wisely embarked on their first mainland tour shortly thereafter, with a brief stint of dates in the northeastern US, where the band was well-received by new audiences. Just this summer, Moths contributed a track to the Stimulus Swim mixtape curated by Adult Swim.

The press clippings are right: “With Damaris’ aggressive but melodic vocals, Omar’s catchy riffs, Jonathan’s unorthodox leads, Weslie’s solid bass lines, and Daniel’s at times extreme drumming, Moths has marked out a sound that is anything but conventional.”

“Intervention” showcases Moths’ songwriting tendencies which kept me engaged throughout (if only occasionally troubled, not only knowing what the song was up to). This means, of course, that their Black Sabbath cover “Hand of Doom” will be a must-listen. The atonal fringes of the composition alone make it unique among other renditions of the song, not to mention the band’s tendency towards mind-wandering psychedelic meandering. We also get to hear the upper reaches of Damaris’ vocal technique in this song, which was quite impressive.

The Stone Eye

The Stone Eye is an electrifying rock band from Philadelphia, no stranger to these pages. Combining elements of stoner, garage, and alt rock comes a hard-hitting yet catchy style. Following a plethora of releases dating back to 2014, The Stone Eye recently treated us to their latest Doom Charts ranking spin, ‘Ventura’ (2020).

The band’s contribution to this split marks The Stone Eye as heirs to the grunge legacy, with “Presence of the Mind” giving off a strong Alice in Chains/Godsmack vibe, at least vocally. The EP concludes with another cover, this one a version of “Wayfaring Stranger” a traditional folk song.

Look for the Moths/The Stone Eye split on Electric Talon Records this weekend, August 21st (pre-order here).

Give ear…

I usually don’t bother reviewing singles or releases with a very short runtime because it takes me longer to think about what I want to say about said release than listening to it. Enter Pittsburgh’s LIMOUSINE BEACH. With a runtime of less than 7 minutes, their debut EP ‘Stealin’ Wine + 2’ (2020) got me hooked within minutes and kept me pressing the play button, again and again.

So what is it that made me fall for this band’s charms, you ask? Easy, their secret weapon, a triple guitar attack. They use that secret weapon to play what they call “sizzle rock.” I call it an understatement. This record is just one big bang of everything I like about hard rock, compressed in the time it takes you to figure out what you want for dinner tonight. I get flashbacks to the glory days of bands like Thin Lizzy or The Sweet, but with a full, modern sound. And three guitars, did I mention that?

The title track, which is based on true events, involving an 8 hour flight and an unattended beverage cart, will get you out of your seat and on your feet within seconds. After an acapella intro, the aforementioned triple guitar attack leads into an exciting hard rock track with positive party vibes. By the time the chorus comes along, you’re already singing along, shaking your ass along the way. In bleak times like these, that’s a welcome surprise.

'Hear You Calling’ is the kind of track many a radio friendly hard rock band from the late '70s and early '80s would have killed for. It has a nice balance of heavy and catchy, which makes it all the more disappointing that it’s over so soon. Just when you think the band is going to go all out, it’s over.

Just like that, you’re listening to 'Tiny Hunter’. This short burst of rock 'n’ roll shows that less is not definitely not more. Even though the track clocks in at just one minute and fifty seconds, it gives you everything you could ask for, from over the top solo’s to cheesy choirs to a shout along chorus.

With (former) members of bands like Outsideinside, Fist Fight in the Parking Lot, and Cruces, there’s no lack of experience in Limousine Beach, but that does not make Stealin’ Wine + 2 any less impressive. You get the full hard rock experience, but in a mere six minutes and forty seconds. Make sure you’ll give this record a spin, you’ll probably manage to do so during a prime time commercial break.

Upon first blush, I thought GRAVE BATHERS might be some kind of caustic death-doom outfit (not that I dislike that sort of thing), but then I hit play on their new spin and wowsers did that classic doom and early stoner vibe grab me. “We all grew up on The Mars Volta and Thin Lizzy alike,” the band says, “and continue to nerd out over music history, compilation albums and ‘70s hard rock style. We are constantly sharing playlists with one another, studying mythology, and most importantly, we all drop acid and worship the devil.” All of that brings us a sound that shuffles well with the rockier side of Pentagram, Black Sabbath, and Portland street doomers R.I.P.

The band really began after a shared motorcycle ride when vocalist Drew Robinson moved from Brooklyn to Philly into Bassist Davis M. Shubs’ Cadaver Club Funeral Parlor on a whim, with the sole purpose to create this band. It was like fucking magic. They shared books, studied cinema, and wrote an entire album with the band between the Parlor and the studio.

Guitarist Jaret 'Paisley Papi’ Salvat-Rivera and Davis have been making music together for more than half of a decade long friendship, and 'Stoner Steve’ Capitano is a fucking warlock who never puts down his guitar (Davis once had a side project with Steve making '70s porno music called ‘Sexecutioners’ with original Grave Bathers’ drummer Barret May where they all wore gimp masks). The final puzzle piece, Cliff Albert, fucking rips pinball and shreds the drums like an octopus.

Man can these guys jam, too! The Grave Bather’s debut is just two tracks: 'Feathered Serpent/Death Hand’ (2020), but they’re both quite beefy, generating the net effect of making you want to simultaneously bang your head and shake your money maker. Look for the new EP to release via Seeing Red Records on 7-inch vinyl and in digital format this Friday, February 28th (pre-order here).

Give ear…

If there’s anything ALMOST HONEST can be counted on for it’s a strong beat, driving bass, and steady riff, a good deal of humor, and a penchant to tell it like it is.

Today, the Pennsylvania band lay it all out in their single and music video, “Dancing Shaman and the Psychedelic Cactus,” a surprisingly nihilistic number given its bright tone, but one which I readily identified with, as I did the album it came from, ‘Seiches and Sirens’ (2019).

It’s a great record that fans of QOTSA and Toadies won’t want to miss (read the Doomed & Stoned review). You can get the track here and the album here.

Give ear…

Some Buzz

With the release of their second full length studio album 'Seiches and Sirens’ (2019) and their appearance in the esteemed Classic Rock Magazine the groovy sexy viking funk doom rock trio Almost Honest have made quite a name for themselves.

Born in New Cumberland, Pennsylvania in 2013 these cats have been bringing energetic and memorable live performances across the east coast. Shayne Reed lays down the thundering vocals and groovy guitar while Seth Jackson brings the funky rhythm with his bass. Lastly, Quinten Spangler is the time keeper and beat god.

Fans never leave a concert unsatisfied and with a sound as unique as there’s, who can blame them? They have been featured in such publications as Classic Rock Magazine, Doomed & Stoned, and The Obelisk. They have cemented themselves as a force to be reckoned with. This doom rock group have also played with such amazing acts as Revocation, Astronoid, and Moon Tooth. These guys are the ones you will want to keep your eyeballs on because they are carving there own piece of music funkery and they want you to be apart of the ride.

If you read the name MORGANTHUS, a few of you may think first of the science fiction film Galaxy of Terror by Roger Corman, produced in 1981. At this point, I’m as unsolved as you whether this movie plays a role in the name choice by the three guys from Warren, Pennsylvania. But we will figure it out in the course of the interview that follows! What I can say with complete conviction is that this trio have a massive load of Black Sabbath blood running through their veins! If you have ever taken a listen to their first 4-track EP, ‘Darknaut’ (2017), you will recognize them as “one of the best sounding Black Sabbath inspired bands you‘ve heard” (Outlaws Of The Sun).

These three down-to-earth neighbor boys, who maybe once fell into a cauldron filled with Sabbath vibes, are riding a worship of heavy traditional old-school metal riffs and “back-to-the-roots” doom of the '70s and '80s and create with it their very own Ozzy-meets-Candlemass-meets-Iron Maiden sound. It’s almost impossible not to like them, if you have an affinity towards pioneering doom metal.

Listeners, Doomed & Stoned has some great news for you: Morganthus is back with an even heavier and meaner record, the brand new six-song album, 'Mortal’ (2019). We’ve packed it with us today and are pleased to give you an advance listen to “Mortal Master,” which will emerge with the rest of its counterparts in the days ahead (available soon for digital pre-order).

With the first sounds of Mortal circling through our earspace, let’s take the opportunity at hand to catch up with Doug Miller, voice & guitar of Morganthus, and ask him about the upcoming release.

I really enjoyed listening to the new album in advance and we all are really looking forward to the whole album! How does it feel to release your new baby to the public?

It feels like a bit of a psychological release at this point, as much as a musical release. Recording even an EP can get pricey, so I elected to do as little in a professional studio as possible, and take on much of the mixing, recording, and mastering on my own home equipment which has been a time consuming challenge.

So the release for me is going to feel like a long road coming, since Dustin (drummer) and I have been playing these songs live and at rehearsal for the better part of two years now. We’re quite excited to have it ready for the public, especially those who have been following us closely for the last couple years.

We’d love to become better acquainted with Morganthus, so please start with giving us some basic and background information of everyone who is in the band and how you got together.

Sure! This thing all started about 5 years ago, with Dustin and I jamming in my basement, riffing and putting music together with the idea of forming a band, and recording and doing live shows.

It’s been a challenge to keep bassists for various reasons, none of which pertained to their talents or personalites. Either the timing wasn’t working, or circumstances beyond their control prevented them from keeping up with Dustin and I. So we regrettably had to move on without them.

But we recently got my friend Colby Neukem off the bench to play bass with us, and it’s working out great! Only a month of jamming and he was able to lay down bass lines with us for the new record, as well as play a couple live shows.

All of us work full time jobs in the Northwest Pa/Southwest NY area, and I’ve known Colby and Dustin each for over 12 years now. Colby has always been a noodler on guitar, and Dustin has been playing the skins since he was a kid. We all share an interest in various genres and eras of metal and hard rock, and each contributes to the music with their own skill sets and styles.

Dustin just seems to always know what to play at this point, and what you hear on the drums is what he gives without any input from me. I hope to develop that kind of musical relationship with Colby as well. He has a lot of ideas to bring to the table.

I’ve racked my brains for getting the special meaning of your band name, Doug! Does the science fiction movie 'Galaxy OF Terror’ relate to this? Please tell us the story of how you get your band name.

Yes! Morganthus was the name of that horrifying planet in the Roger Corman movie, Galaxy of Terror. I’ve always had an affinity for B reel horror movies, and sci fi in general. It just seemed to fit the cosmic, sometimes horrifying themes that dominate much of my lyrical prose.

Now, let us take a deeper look in your sound. How would you describe it to new listeners, especially in conjunction with your latest stuff? Are there special inspiration maybe to film, art, literature or something else? Please share all you get in your mind about it with us! - we are pry!

Okay, this is where things get a little tricky for me. My musical influences, first of all, are firmly rooted in '70s metal and hard rock, and early to mid '80s power metal and doom music like Iron Maiden and Candlemass. Black Sabbath’s influence on me however, can’t be understated. The grunge era gave me Alice In Chains and Soundgarden to chew on, while the stirrings of Stoner Doom/Desert Rock music was beginning to crawl from the depths to my eagerly awaiting ears. I think Electric Wizard is brilliant, and certainly has a musical influence on me.

Personally speaking, I’ve always been interested in philosophy, the human condition, the cosmos. How it all ties together. The darker aspects of those disciplines and ideas especially reach me. Historical atrocities and horrors weigh heavily on me as of late, and how we as human beings have dealt with them, but can’t seem to rise from under the thumb of politics and it’s destructive nature.

I’m not a cynic, I don’t think. I rather love people. But I am frustrated by our species more often than not. The new album echoes these sentiments on each song, in fact.

You gave us the song “Mortal” as a preliminary audition, for our listeners here. What is the meaning behind the lyrics of this song and the special characteristics in the sound? Compared to your previous album, the heaviness seems to be more in the foreground?

Live revolving, mortal man
Strands of spider web
A universe for those who plan
For gods to rule from heaven

This is a heavier, darker release. Each song is a different take on the struggle for humanity to surface, to survive. It wasn’t purposely written that way, more of a consequence of my current state of mind, and what things have attracted my mind to analyze, or try to rationalize them. Some things are so horrifying to conceive of. But if you dig deeply enough, you can generate quite a lot of sympathy for things our long deceased ancestors have gone through, and even love and hurt for them because of it.

This is the feeling behind the lyrics of the song Mortal. It’s about human hubris, exposed through religious, political, scientific and corporate machinery. Each of those disciplines is easily corruptible, and has been so for centuries. The world doesn’t revolve around us. It’s provisions aren’t there for us to place profit and power over our humanity. It’s an outrage.

Sound-wise, we wanted to get the instruments more to the forefront with heavier tones all around. And to reinforce that you don’t need a ton of post production to do so. I want this record to sound like you’re right in the room with us playing.

Morganthus is back and we are all waiting eagerly for the official release of your complete album! What else do you have in the works? Are there any future plans floating in space?

At this point, we just want to put our record out and see what comes of it. I very much believe that will give us the direction we need to move forward. Not based on sales, or anything so trivial as that, but on it’s growth. And what can we do to help it grow. We’ll focus on our live show and becoming more independent. Our last EP did quite well with next to no promotion, and no radio play. It made a couple podcasts. Ranked fairly high on them. This record will be promoted more heavily for certain.

If you had a wish free, with which band or musician would you like to share the stage with?

The obvious answer would be Black Sabbath, haha. But in all honesty, I’d be immensely happy to share a stage with Electric Wizard. I love their show, their sound, and Jus seems a fascinating fellow to meet, along with Elizabeth.

Thank you for bringing us a little closer to the world of Morganthus. Best wishes for you as a band, we’ll keep an eye on you!

Keep on rocking. The commercialization of rock and metal music sifted a lot of the pretenders out, and made true rock and metal an underground form of entertainment again. Be proud of this. Find good music on your own. Treasure it. Keep it sacred. The more support you can give, the more underground bands can give back. Peace, and Love to all of you, and I hope you’ll give our new record a try!