H.P. Lovecraft has done more to ignite the imaginations of musicians, artists, writers, and filmmakers than possibly any other single writer of the past 100 years. Before him, H.G. Wells and Jules Verne opened up the popular consciousness to the idea of visitors from other planets and worlds within worlds beneath our toes. Lovecraft, however, seemed more interested in exploring the darker recesses of our collective unconscious. It was something Carl Jung found embodied in our myths and legends.

For Lovecraft, the primitive mind represented an entire universe of Jungian potential locked away to all but the mind’s eye. The truth, if we could ever know it, was revealed in hints and shadows, voices speaking in strange tongues, occult symbols etched in stone, and forbidden rituals so secret that they could scarcely be discovered by intent, only by accident. Thus, Lovecraft chiseled away at a rich mythology of his which, if fascinating or even familiar to us in some uncanny way, owes to our inborn fondness for stories that explain the strangeness about us.

Portland-based SPACE GOD RITUAL (who we’ve featured on The Doomed & Stoned Show and our Doomed & Stoned in Portland compilations) have long expressed their affection for the labyrinth of Lovecraft lore over the course of five albums, the latest of which represents one of their most uniquely conceived and cohesive efforts to date. ‘The Unknown Wants You Dead!’ (2019) strings together excerpts from some of Lovecraft’s most notable works like a dark musical, the band helpfully setting the stage for us:

From the street, one may hear the muffled chanting of our congregation from within the crumbling structure that is Olaff’s Antiquities. Many avoid our humble abode; those who enter of their own free will are often never the same again. Do you dare cross the threshold and suffer the tales we tell? Yes? Good! You will hear across eleven hymns, tragic yarns of science and magic, of hubris and horror, of man and monster! Along with this music of madness you may also come across our tome of terrors, a book brimming with hideous secrets and the most profane of incantations! Come inside, let us regale you!

It is this Olaff, presumably, who introduces these songs to us in the prologue, “Miskatonic 1927.”

Tales of the Eldritch you have heard
Journeys from the void and endless oceans you have traveled
The Tentagram you have waylaid
But to what end?
You think you have escaped
But your descent into madness has only just begun…

Each of the numbers that follow carry on in its own unique narrative style – some spoken, most sung. It’s tantamount to a multi-act operetta scored with the ominous sounds of doom, topped by synth-filled atmospherics, and searing, blues-touched solos that slay me every time. This is literary horror transformed by the magic of music into a powerful medium of expression that engages both mind and emotions. If you’re at all like me, you’ll be singing along with it in no time (the album’s namesake track is perniciously addictive).

As a matter of fact, I’d love to see this record turned into a cabaret performance. You know, one of those visual spectacles that encourages liberal participation from the audience. It’d be so much fun. In the meanwhile, the spirit of such a multifaceted performance is embodied well in the The Unknown Wants You Dead.. My favorite track? “The Mansion in the Mist.”

Give ear…

It’s Doomed & Stoned’s sixth anniversary! To celebrate, we’re partnering with bands to give away Bandcamp download codes all this week and through the weekend. If you’re one of the chosen few to successfully acquire one, beware: the latest offering from Space God Ritual has Cthulhu’s tentacles all over it. With that in mind, you can redeem your code right here.

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STATE OF THE SCENE

Last summer, Doomed & Stoned released the sequel to our first compilation, ‘Doomed & Stoned in Portland’ (2013). Both attempt to capture the characteristic styles of heavy music germinating in the soil of the Rose City. 'Doomed & Stoned in Portland II’ (2016) shifted focus from the established bands of the first comp, to the underdogs and rising stars. Our hope is to give people outside of the area a good snapshot of our mushrooming scene.

As Portland, Oregon’s diverse portfolio of achievements in sustainability, business, and the arts has gained a greater profile, more and more are moving here to partake in the eclectic, innovative spirit of the area. This migration and outside investment has led to a growing footprint, with inevitable changes to the Old Portland landscape. A few years back, Lord Dying captured the “anti-yuppie” sentiment of many native Portlanders in a hilariously subservient music video that had them bringing down those towering waterfront condominiums that tend to obscure the view of the mighty Willamette River and Mount Hood. Generations before, there was a notable anti-California sentiment, best voiced by Governor Tom McCall: “Come visit, don’t stay.” While that attitude has softened considerably, there is no mistaking the impact of gentrification on both community and culture.

In recent years, we’ve seen venues such as East End, Slabtown, and Red Room all close down. Branx/Rotture and Tiger Bar soon followed. Ash Street Saloon will by year’s end. Other venues (Bunk Bar, Katie O'Brien’s, Sandy Hut, and White Owl Social Club) seem to no longer host heavy music. We had a near scare with The Know, but it is re-opening. The Tonic Lounge went through an identity crisis, becoming Panic Room and now The Raven. Thankfully, we still have several go-tos like Analog Cafe & Theater, Dante’s, High Water Mark Lounge, Hawthorne Theater, Star Theater, Turn, Turn, Turn, Twilight Cafe & Bar, and World Famous Kenton Club, to name a few top of mind.

Perhaps the biggest challenge to the Portland heavy underground is maintaining a sense of community, which at times feels diluted by the urban sprawl that keeps bands more and more spread out and isolated. That presents real obstacles when it comes to getting to know and trust one another, not to mention collaborating on projects and making the scene more visible. Much of this fragmentation is made up for as bands encounter each other gigging across the four corners of the city. Social networking has also helped to bridge the sprawling geographic divide by facilitating new relationships.

It doesn’t help that the music and the stories of the heavy underground often go unreported. Even our stalwart Oregonian and faithful street periodicals Willamette Weekly and The Portland Mercury can miss the wealth of inspired music-making coming from the names we’ll be exploring in parts one and two of this year-in-review.

Beyond the hype and behind the scenes, this place is teeming with activity. You’ll find ambitious guitarists, bassists, and drummers jamming away in garages, people in back rooms tinkering with old amps and tubes, and upstarts playing hard in dive bars. These bands are joyously crafting their sound, patiently honing their songwriting, and pooling their money to finance a cassette release, press a 7", or maybe just rent out a hall for the night to play for friends.

Doomed & Stoned has chosen to narrow its focus on just one aspect of this subculture: the “Sabbath Sound” – bands rooted in the doom-stoner sound of the seventies, eighties, and nineties. I’m easily over my head trying to keep track of it all. Will the bubble burst in this buyer’s market? Not so long as this hunger to listen to and play heavy music continues. Portland could very well remain a hub of creativity for musicians, artists, writers, and entrepreneurs into the foreseeable future.

Local bookers Nate Carson of Nanotear, Chris Trumpower of Soundcontrol PDX, and Joey DeMartini of Mad God Booking come to mind as champions of new voices and unsigned bands. A mighty handful of Northwest record labels have added Portland acts to the roster, namely Devil’s Child Records, Eolian Empire Records, Good to Die Records, and STB Records. In addition, we have some damned fine radio shows and podcasts advocating for Portland’s music, past and present. I’m thinking of Nate Carson’s Heavy Metal Sewïng Cïrcle, Urb Thrasher’s Flower Hour, Pacific Stoner Time, The Haute Garbage Podcast, and our own Doomed & Stoned Show. Let’s not forget to acknowledge those devoted DJ’s, sound engineers, vinyl and CD makers (Cravedog, I’m looking at you!), graphic designers, t-shirt makers, and all you fine folks spreading the gospel of doom!

Album Art by Thäedra Clare

When out and about, I frequently run into local photographers who cast a striking vision of our scene – people like Alyssa Herrman (Foto Phortress), Stephanie Savenkoff (Savenkoff Photography), and Colton Bills (Marrow Photography). Portland Heavy Seen, Blue Heron Video, and Doomed & Stoned continue to document live performances. I see Mike Kilgore at every single damned show I film (he’s got an archive of material dating back to the '90s), as well as the unassuming but incredibly prolific Shelby Kray (Blue Heron Video). The Slayed in Oregon television program airs live rock and metal performances each week and in 2016 produced a documentary on trash metal band The Mentors. Speaking of docs, Ryan Sutherby and Bob Hannam directed and produced an epic one of their own last year. 'The Colossus of Destiny: A Melvins Tale’ (2016) received its premiere at Psycho Las Vegas, and both Mike Kilgore and I contributed footage to this tremendous effort.

We have a number of homegrown festivals for the heavy music of Portland, most notably Ceremony of Sludge and Stumpfest (which we gave full spreads to here and here), along with Festicide and Fall Into Darkness. Hoverfest and the Portland Winter Metal Olympics have been two of my personal favs, where I cut my teeth capturing great bands like Atriarch, Danava, Disenchanter, Holy Grove, Rabbits, Sons of Huns, Witch Mountain, and Yob. This year saw the second rendition of Portland Hesh Fest, organized by Jonathan Galyon of American Icon Vintage (a promoter with Portland roots). Doomed & Stoned has been experimenting with one-dayers, like the Doomed & Stoned Summer Showcase., which brought us the stellar line-up of Stoner (one of the bands I’m most enthused about these days, featuring the founding member of Black Snake), Old Kingdom, Chronoclops, and Swamp Ritual.

Art by Thäedra Clare for the Doomed & Stoned Summer Showcase

With all that as preface, let’s get into the biggest releases from P-Town in 2016. Between part one and part two, you’ll get the depth and the breadth of the heavy scene here. One reminder before we proceed: in these days of information overload, we’re back to trading tapes (80’s children know exactly what I’m talking about). Put simply, give these bands some love, get out to shows, and share the music around! Only by supporting one another generously can the scene grow strong and united.

Ok, speech over, diatribe done. Let’s hit the highlights of the heavy underground from January to December of 2016. I’ve likely missed something, so feel free to school me in the comments. Otherwise, I’m confident you will enjoy the discoveries that follow over the next two articles.

NEW SOUNDS FROM
FAMILIAR FACES

It was an exciting year for riff-mongers and amp-worshippers in PDX! Here are some of the standard bearers that have earned recognition and respect in their hometown and points beyond. They brought us an exciting array of new music in 2016. The next installment in the series will introduce some new kids on the block (Ape Cave, SAOLA, Troll, etc.) who made a big canon ball splash during the craziest twelve months in recent memory.

ATRIARCH

For almost a decade, Atriarch has been a staple of the scene and a band that defies classification. Not that this keeps Relapse Records (who recently re-released 2014’s An Unending Pathway ) from trying: “Blending death rock, doom, black metal, punk, and psychedelic drone/noise, Atriarch immediately establish themselves as one of the most creative and compelling heavy-music bands of the 21st century.” If you’re wondering how all that meshes (or how, say, drone can be psychedelic), pop that new cassette 'We Are All Dead’ (2016 - Devout Records) into the deck and play it until the tape gets good and tangled in the wheels and snaps violently in two!

I’ve had the honor of filming Atriarch twice now and there are few bands more captivating. Lenny Smith’s fanaticism is at once frightful and magnetic. Even with my eyes concentrating intently on the lens, I felt my body being pulled into the whole performance. It’s a very physical show, but not in the way you expect. Take a look-see and try to avert your gaze from this show at the Raven.

BLACKWITCH PUDDING

When those mysteriously cloaked 500-year old Wizards of Blackwitch Pudding take the stage, the theatrics are always a treat, landing somewhere between outlandish and awesome. Their antics recall the beer-fueled fun of arena hair metal. A light show hosted on your sneakers? Oh yes, we’re doing that! Add those badass, evil vocals and we’re in business.

For those who can’t see the fun close-up, the music is by no means a second choice. The latest Blackwitch Pudding record has the boys teamed up with none other than Uta Plotkin of Witch Mountain fame (oh, excuse me, Soul Wizard ). We interviewed her ahead of the release of their twofer, 'Betty Kougar/Herman The Worm Man’ (2016). Everything from the album art to the lyrics to the composition of the music has Portland wit and weirdness written all over, with “Herman The Worm Man” being one of the best hell yeah! songs of the year. I think I speak for many when I say it sure is good to hear the mischievous voice of la coquetera again. I hope Soul Wizard surprises us some more in '17.

CAMBRIAN EXPLOSION

Cambrian Explosion is the closest thing to a psychedelic trip without the magic mushrooms. As the name implies, this is an all-encompassing sonic experience, delivering some of the most enlightened, post-seventies prog rock I’ve heard (and filmed) in some time. Nori Lockhart (guitar/vocals), Ben Dorothy (drums/vocals), Derrin Twiford (keys/percussion/theremin), and Archie Heald (bass) are no newbies. Their last EP, 'The Sun’ (2013) received wide acclaim and now has a fitting sequel in 'The Moon’ (2016). The whole vibe really is out of this world.

DANAVA

2016 did not short us on surprises. Danava made overtures of returning to the recording studio, a long five years after 'Hemisphere of Shadows’ (2011) became a genre classic. Now back in the public eye, Danava teased us with two never released songs in an EP titled, 'At Midnight You Die’ (2016). It was issued as a 7" on Tee Pee Records, the same label that brought us the debut of Rose City rebel scum, R.I.P. earlier in the year.   With Greg Meleny’s outspoken Rodney Dangerfield-style denouement of “doom metal” at Psycho Las Vegas in August, it was clear the bad boys of rock 'n’ roll were back in form. One month later, they would dedicate a performance at Northwest Hesh Fest to the recently disbanded Swedish bluesers Graveyard. At Midnight You Die has Danava charging out of the gate like a band suddenly transported back to the heyday of punk rock in New York City by way of the California stoner scene.

DIE LIKE GENTLEMEN

When people hear Die Like Gentlemen for the first time, they are hung on the horns of a dilemma: are these well-dressed gents a rock band?   Wait, maybe they’re metal?   Possibly both?   Definitely both!   If you’re a fan of the Melvins, these four could well be their offspring. We have Shawn Boles’ disciplined beat, the commanding vocals of Adam Alexander, Sean Rodgers’ sweeping bass gestures, and those searing lightsaber leads so deftly wielded by axe man Matt Wieber.

Die Like Gentlemen is a hell of a band and 'The Quickening Light’ (2016) may be their best effort yet. It’s also something of a departure from the military form of 2015’s Five Easy Lies and their earlier material (some of which I filmed last January). The Quickening Light has them venturing into fantasy and courageously experimenting with new tones, textures, and compositional techniques…and it absolutely works.

DISEMBALLERINA

If ever a band represented the unbound spirit and creative ethos of Portland’s Bohemian culture, it’s Gothic chamber group Disemballerina, founded by Ayla Holland and Myles Donovan. Though I’ve not interacted much with Ayla, I have exchanged words with Myles and he’s quite the character. Among his artistic endeavors? Sneaking into Kinko’s with dead birds and making color facsimiles. One even wound up on the cover of Drunk Dad’s 'Ripper Killer’ (2014), while another dons the cover of Disemballerina’s last album. Once I got past my initial surprise, I had to admit it was a very cool concept. That’s just the way Myles rolls. He and Ayla have a knack for clever band names, too, in the gruesome but entirely amusing Disemballerina (Ayla’s other band is Wizard Hits, a play on doom metal’s obsession with wizards).

Disemballerina unites the dark spirit of metal with another one of my passions, classical music (I’m an amateur pianist who relishes the original doomer, Beethoven). And even if Vivaldi’s Four Seasons and Mozart’s Eine Kleine Nachtmusik aren’t your thing, this you will enjoy.   'Poison Gown’ (2016) is heavy in its own right (“This Is The Head of the One Who Toyed With My Honor” is a great point of entry for the newcomer). We’ve heard bands like Alice in Chains and Metallica unplugged (even with the accompaniment of violas), so when you think about it (and Disemballerina did) there’s no reason why the deep, resonating power of metal can’t be carried by alternative instruments, even harps. Yes, I said harps. Now, I don’t want to give you false expectations – this is no Apocalyptica. These are original instruments sans électricité exploring esoteric realms in forms that are neither strictly classical nor metal. Yet it effectively evokes a mood, an atmosphere, a story that casts a spell on the imagination and conjures shadows of the preternatural.

I carry a couple of big regrets from the year past. One was missing Scott Reagers hop back into the saddle of Saint Vitus. The other? Missing out on one of Disemballerina’s candlelight rituals. With any luck, 2017 will bring new opportunities and smarter choices. Until then, Poison Gown is something different for more adventurous listeners to dive into.

EIGHT BELLS

Landless is among the very best albums to grace 2016. An effective genre blender, one might best describe Eight Bells as progressive-blackened-esoteric…oh forget it. I’m done with labels! New Year’s Resolution (well, it should be, anyway). Their approach is at once frenetic and beautiful, building an atmosphere with snowy tremolos and natural harmonics that’s oh so easy to get swept away and lost in. Eight Bells has come a long way since we featured them in our Doomed & Stoned in Portland compilation three years ago. As with many other fine releases from the Rose City, Billy Anderson had a hand in helping Melynda Jackson (guitar/vocals), Haley Westeiner (bass), Rae Amitay (drums), and Chris Van Huffel (additional percussion) communicate the record’s vision with such clarity. The ambience is positively ghostly.

GRAVES AT SEA

Nathan, Nick, Sketchy, and Bryan really brought the mother lode in 2016, with their ambitious double album, ‘The Curse That Is’ (2016 - Relapse Records). Most of us have gotten to know Graves At Sea through shorter collections of songs, be it demo, split, or EP. I don’t think it occurred to me that the Portland-by-way-of-Phoenix-and-Oakland sludgers were indeed gifting us with their full-length debut.

Some on my team found the album a little too taxing to review within that coveted timeframe the labels push for, during which there are records to be sold and tours to be promoted. It didn’t help that I was reading hyperbolic soundbites like, “The grand wizards of blackened doom are fucking back and knocking out the teeth of the weak hearted with every riff…and every minute of it is fucking classic.” Really? Every moment? All hype aside, I needed more time with this one. You know, to really soak it in. Some albums are late bloomers that wreck you over the course of months, even years.

That said, there were moments that distinguished this album from the first spin. We’ve not heard the fiddle take a prominent role before in Graves At Sea (unless my memory fails me) and I think it adds tremendous value to the new songs. Its first appearance comes in the closing minutes of “Dead Eyes,” then it opens “The Ashes Make Her Beautiful” and carries the shortest number of the record, “Luna Lupus Venator.” The fiddle is not only very metal, it’s the instrument of the common man, carrying the folk songs of generations from house to street corner. This touch of reality really heightened my esteem for The Curse That Is.

“This Mental Sentence” is the real gem of the lot, executing the unique Graves at Sea sound brilliantly. That familiar rhythmic progression joins a fascinating renaissance-style motif that contrasts so effectively with Nathan’s vocals (which I’ve always found terrifying in live performances, with or without the help of a beard). As always, his lyrics are fiercely honest: “Existence has become a monotonous routine…to deviate from the plan is never encouraged.” It’s bitter, but strangely comforting medicine for the damaged soul.

HOLY GROVE

The big story out of Portland in 2016, as far as I’m concerned, was the eagerly awaited debut LP by Holy Grove. For well-nigh three years, I have been documenting the band at dive bars, big stages, and festivals. It’s not hard to pinpoint the magic of Holy Grove, be it Trent Jacob’s electric stoner riffs, Greg Emley’s groovy bass work (and hair), and Andrea Vidal’s fiery vocal prowess, which embodies all the feistiness of Grace Slick or (even better) the raspy singing and infectious verve of Janis Joplin.

My first Holy Grove encounter took place at Ceremony of Sludge in 2014. I immediately fell in love with everything about them, not the least of which was the heart-racing excitement their music sparked. From then on, I desperately wanted the world to hear their sound. I raved about Holy Grove every chance I got, like that annoying friend who wants to turn you on soooo bad to that one album, book, or movie.

When their demo came out, ears started perking, and more still with the release of the Joonior Studio sessions. It was only a matter of time until we’d get to hear what magic Holy Grove was cooking up at Type Foundry Studio with Billy Anderson. After shopping the record around, Holy Grove landed a brilliant deal with Heavy Psych Sounds that included a European tour with Gozu, which kicked off with a Day I opening slot at Psycho Las Vegas. What a way to make an entrance! The icing on the cake? That gorgeous cover by Portland artist Adam Burke.

HUNGERS

My first encounter with Hungers was in the basement of the Wisp House in Salem, Oregon, a residential home that was hospitable to heavy music until the city shut it down with zoning restrictions. Hungers played a set with Shrine of the Serpent and I sat on the cold, hard basement floor capturing it all.

More recently, I filmed the band at The Raven performing songs from the new album Ascesis, right on the tail end of a rewarding album release tour (van breakdowns not withstanding). On that occasion they shared the stage again with Shrine of the Serpent, joined by Sól and Atriarch. The guys are a little self-conscious about their visage on film and would much rather you focus on the music without them distracting from it. This is probably why they prefer to go by initials, rather than full names: A.M. (guitar/vox), N.H. (drums), and K.L. (guitar). While I have some friendly disagreement with their insistent modesty, I do heartily testify that the new record is an animal – one of their best productions to date.

Ascesis is an unrelenting rager, with a tight, driving beat that brings a nice discipline to the compositions, which otherwise would risk being ripped to shreds by those menacing, blackened vocals. A storm of tremolos pepper the listener with a sense of dread and with every song that Hungers feeds us, it feels like we are living in the moment, experiencing something monumental. Ascesis stirs emotions of driving along in the dark, foggy midnight, travelling further and further along forested Oregon roads that lead across the pass, eyes streaming with tears as the driver swears off his allegiance to this world.

My flight of fantasy may not be far from the sentiment of the album’s namesake, which alludes to cutting oneself off from the trivialities and attachments of the world, stripping down to the bare, naked essentials to find purity of the soul. This is Hungers’ third record and I’ve never heard the band more together than this. They’re focused, with a raging fire in their bellies, ready to take matters by the throat. Check out “Eyes of the Sea” if you still require convincing, and don’t you dare shuffle your playlist before listening to the closing track, that 13 minute terror called “The Hallowing.” Ascesis is a cathartic release.

OLD KINGDOM

Another PDX hard hitter that have yet to get its due, riffing now for seven years, is Old Kingdom. If I could describe Old Kingdom in one word, it would be SMASH! Like Thor’s mighty hammer, Old Kingdom ventures forth showing no fear, dealing out songs that purr like a suped up big block firing across a roadless desert. Last summer, Old Kingdom played the Doomed & Stoned Summer Showcase at World Famous Kenton Club and we got to see some of that sweat and spleen in action.

Coming from the Helmet, Unsane, Melvins, and Tad Doyle school of heavy music, Old Kingdom’s sound is gloriously fuzzy, the playing is tight, and their anger is unbridled. That balance of control and capriciousness makes Old Kingdom an exciting act to watch. Oh, did I mention they’re equipped with some fearsome amps and stacks to match?

Having previously contributed their signature hit “Too Many Eyes” to our 2013 comp, Jonathan Andersen, Aaron Powell, and Adam Jelsing issued their second recording, Magic Closet in 2016. The new EP gives us an even greater sense of the trio’s potential, though like many fine Portland bands (Holy Grove comes to mind) seeing them live is an exhilarating experience that’s quite challenging to capture in the studio.

RED FANG

Sometimes you fear that a band will run out of ideas. What more can a High on Fire, Baroness, or Mastodon say without sounding formulaic and redundant? Yet these bands continue to express endless and interesting variations of their style in album after album. With 'Only Ghosts’ (2016 - Relapse Records), we can safely add Red Fang to that elite list of creators.

For a decade-plus, Aaron, John, David, and Maurice have become diplomats for Portland’s laid back culture, which might look something like this: party hard on Friday with a couple cases of beer; walk out your hangover at a few rummage sales on Saturday, then head for the hills; watch Kung-Fu reruns on Sunday while smoking a bowl and tinkering with some odd contraption; back to work on Monday.

While nothing quite matches the inventiveness and humor of their self-titled debut and the masterly 'Murder the Mountains’ (2011), it doesn’t take long to get into Only Ghosts…not long at all. In full disclosure, I was prepared to hate it; but I’ll be goddamned if that first track didn’t grab hold of me in seconds with a characteristically Red Fang take on some familiar guitar tropes. That kind of innovation is important to me, especially as a band hits the ten-year mark and produces more and more records (which, if we’re honest, quite often results in diminishing returns). I listen to so many new records each year and you have no idea how bored and jaded I get hearing the same thing over and over and over. Do it well, do it differently, or hit the road, Jack.

Only Ghosts does indeed resurrect the spirit of those coveted early LPs, with pleasant variations that will keep a seasoned listener engaged in their favorite Pabst-drinking rascals. Of course, a fun music video never hurts the situation and Red Fang gives us a dandy in “Shadows.” By a long series of farcical circumstances, I have yet to see a single Red Fang show live. Not one! So close, so far, so mellow…

R.I.P.

Perhaps the most talked about export last year from PDX was R.I.P.. I caught these villainous looking dudes at a kind of Saturday market in the fall of 2015, held in one of the local VFW lodges. An odd venue for underground art and metal, but what the hell, you know? Let’s add USNEA and Hound The Wolves to the bill, while we’re at it. At least R.I.P. remembered their fog machine and I had my camera poised to capture the unknown. With a scythe-cum-mic and chest hair rivaling Tom Sellek, frontman Fuzz gave a sinister cry. I realized then that R.I.P. could be nothing less than the real thing. I defy you to listen to “Brave in the Grave” and not throw up devil’s horns.

Their demo songs were enthusiastically shared on social media and a beautiful vinyl release on Tee Pee Records soon followed, bearing possibly the most iconic album cover of the year (an oil painting by Adam Burke).   Angel Martinez’s guitar picking will remind you of some strange Halloween ritual, while Jon Mullet and Willie D’s rhythm section proffers a NWOBHM vibe. One thing, however, stands out distinctively: the vocals. I’m sure I’m not the only one who’s reminded of Ozzy when Fuzz gets good and revved up. Give 'In The Wind’ (2016) a spin, and don’t forget your switchblade and chains. This is street doom, baby…and it’s the real deal. In a word: wicked!

Doomed & Stoned is proud to present the R.I.P. vinyl release party on Sunday, February 12th, 2017 at High Water Mark Lounge, featuring Witch Ripper from Seattle and an exciting band we’ll be covering soon, Demon’s Bell. Event details here.

SONS OF HUNS

No sooner had the year begun than Sons of Huns were treated to a surprise, the 7" 'Kiss The Goat’ (2016 - Gigantic Brewing Company/It’s Gonna Be Huge Records), which came just six months after the release of their second album, 'While Sleeping, Stay Awake’ (2015 - RidingEasy Records). The band is fronted by a southern gentleman and honest to goodness shredder named Pete Hughes of Danava.

Pete was to join Danava on the road once again in 2016, but not before he and bandmates Ryan Northrop and Aaron Powell dropped the new EP, which just so happened to coincide with a knock-you-off-your-britches black Doppelbock beer from Gigantic Brewing called (you guessed it) Kiss the Goat. If it’s anything like that sassy opening jam, I’ve got to get me a big ol’ frosty mug full. For those who relished the take-no prisoners riff razing of the previous three albums (and their last 7"), this disc will make a swell addition to your turntable. By the way, I’ve had a chance to film Sons of Huns on at least three occasions (including brilliant openers for Saint Vitus and Truckfighters) and can say their live shows absolutely do not disappoint.

SPACE GOD RITUAL

Lovecraftian occult doom! How can you say no, right?   You can’t – and if Cthulhu has anything to say about it, you won’t!   Longtime riff-tinkerers, tube-twisters, and horror fanatics Brendan Butler and Alexander Olaf have created one Frankenstein of a project that continues to mold the monstrosity one album at a time. Truly, there is nothing that sounds quite as demented as the voice declaring, “You now live in utter madness!” Space God Ritual belong to an elite group of weirdos, which I would put in the company of Kansas City’s Merlin, North Carolina’s Bloody Hammers, and Detroit’s Acid Witch, to name a few horror rock acts off hand.

Space God Ritual’s fourth record has been compared to Pentagram, Candlemass, Cirith Ungol, and King Diamond, but 'Tentagram’ (2016) stands well on its own merits without any external points of reference. In Tentagram the boys have taken a notion to create another superb concept album. Lovers of Lovecraft’s universe, down to the very prose he employs, will have a ton to geek out about. Nice to see Brendan branch out into album art, as well. The album cover is well suited to the temperature of these songs.

TSEPESCH

Last year saw the shuttering of one of the most frightful bands I’ve ever witnessed live – not owing to costumes, make-up, pentagrams, or evocative imagery of the devil, but by the sheer magnitude of the music itself. There are a few films of Tsepesch on my YouTube channel, but nothing can ever translate the power of the live experience. The unassuming lighting of candles and incense, the rising build-up of feedback, the ritualistic passing of the horn full of mead (which audience members were encouraged to share in). It was more than a show. Tsepesch invited you along for the ride. The final cassette houses their most apocalyptic work to date: 'A Curse For The Living, A Blessing For The Dead’ (2016). I will sorely miss these guys.

WITCH MOUNTAIN

Witch Mountain is one of Portland’s original doom-blues bands, dating way the fuck back to the late 90’s, when founding members Rob Wrong (guitar) and Nate Carson (drums) were playing clubs with an obscure band from Eugene called Yob. Witch Mountain achieved international acclaim with the addition of bluesy singer Uta Plotkin. After Uta’s resignation in 2014, the band was determined to go on, holding auditions with all the possibility that they could go back to being a three-piece again. They struck gold with the discovery of Kayla Dixon, who was plucked from obscurity with a powerful voice and all the attitude and theatrics to match. Kayla proved her chops on the road covering the Witch Mountain standards with fiest, but the world was itching to hear what the band would sound like with an original Kayla number. We got our answer this summer with the release of the double single, 'Burn You Down’ (2016).

Last week, I received my copy of the 7" and couldn’t be more thrilled. It was pressed by a local Portland operation and features a cover by yours truly, taken at Witch Mountain’s homecoming show at Star Theater, following their first tour with the new line-up. In “Burn You Down” we have all the magic you could ask for vocally, another brilliant collaboration with producer Billy Anderson, whose chemistry with female vocalists by now is legendary. The record also includes a Kayla-style interpretation of 'Hare’s Stare’ from 2011’s South of Salem.

I got to audit both songs in Nate’s living room after an interview. Hearing those siren-banshee vocals for the first time was chilling. If there were any doubts about what Kayla has to contribute to the Witch Mountain sound, this recording should lay all of that firmly to rest – at least it did for me. If you’re a Witch Mountain fan, you will enjoy my sit-down with Nate, which includes a walk-through of his record collection.

The new release led up to a Fall tour with The Skull and Saint Vitus, but not before kicking things off with this livewire of a show on Day III of Psycho Las Vegas (with Kayla giving, I do believe, her first public performances of “Burn You Down”).

YOUNG HUNTER

Ah, now we come to one of the real surprises of 2016. I wrote my review of this record during a power outage in Guarulhos, Brazil (long story). Young Hunter, a transplant to Portland from Arizona led by Benjamin Blake, delivered one of the most enchanting records of the year.

The photograph of the amp covered in ivy in the middle of the Oregon woods captures the sentiment of the album perfectly, which is both heavy and mysterious. Should you have occasion to see this troupe live, don’t pass it by. You’ll be in for one special night, as you’ll see in this tour kick-off show I filmed back in April. Every single song on this record is a classic, in my book. I dare you to listen to “Nothing Shakes The Void” or “This War” and not feel the needle prick your heart.

Doomed & Stoned’s Winter Showcase will feature Young Hunter, along with Disenchanter, Die Like Gentlemen, Ancient Warlocks, and Year of the Cobra, on Friday, January 20th, 2016 at Ash Street Saloon. Details here.

NOW ON VINYL

DISENCHANTER

It was a huge year for Disenchanter, as well, who continue to expand their fan base on the road, traveling north and south along the I-5, reaching out toward the desert sands, and playing fests left and right (including a very moving finish to Psycho Las Vegas). People are really digging their back-to-basics sound. Disenchanter is led by the skillful playing and earnest storytelling of Sabine Stangenberg, who is backed by the earnest clockwork of Joey DeMartini’s bass play and a new drummer, Douglas Jennings Barrett (of Stone Elk). Perhaps the biggest highlight of the year for Disenchanter is the gorgeous double vinyl release of 'Strange Creations’ (2015) with new art by Sabine Stangenberg, along with a pressing of the band’s popular EPs – both on DHU Records.

MAMMOTH SALMON

Hard-giggin’ heavyweights Mammoth Salmon have been through a lot of hardship and line-up changes in recent years, yet it hasn’t slowed down this rocketship. With the release of 'Last Vestige of Humanity’ (2015) on Devil’s Child Records, the band’s traction outside the Portland market has definitely taken hold. Last year also saw the completion of the new Mammoth Salmon line-up with Matt Howl on bass and Chad Walter on drums. Matt, who also does some amazing graphic design and video production, put together a wonderful promo for Doomed & Stoned Festival, as well.

In part two of 'Portland: A Year in Heavy Music,’ we’ll take a look at some of the most exciting new bands of 2016, plus glance at what’s on the horizon for the heavy underground in 2017! Stay tuned. While you’re waiting, get to know players in the scene through our compilations Doomed & Stoned in Portland and Doomed & Stoned in Portland II.

The grooviest reviews on space station Earth return! This week, expect lots of good vibes of the Doomed & Stoned with new music from Electric Citizen, Limestone Whale, Space God Ritual, The Golden Grass, and Leif Edling’s new project The Doomsday Kingdom. I’ll also be introducing you some of my favorite new finds, including Acid Carrots, Fox 45, Istvan, Mokomokai, Sage, Stoned Spirit. Plus, my thoughts on Witchcraft’s ‘Nucleus’ – will it survive 2016 to be our album of the year? Ladies & gents, get your virtual turntables ready for some serious spinning!

Limestone Whale

A little over two years ago, LIMESTONE WHALE burst onto the scene with an outstanding four-track EP of seventies style retro rock that still stands as one of the leading examples of the genre.

In the two years since, the scene has witnessed an ever increasing number of bands joining the movement, many of which I’ve reviewed in these pages. Now, it is my great pleasure to review Limestone Whale’s debut full-length album, which surpasses their great 2014 EP by a measure that surprised even me. Limestone Whale will appeal to fans of Brimstone Coven, Demon Head, Dunbarrow, early Pentagram, and followers of late-sixties, early-seventies underground acid Rock.

I am constantly on the lookout for bands that remind me of Toad, Tractor, Andromeda, Jerusalem, Leafhound, Buffalo, and so on. One famous album I must compare this modern classic to is Cream’s Disraeli Gears, the 1967 album that shook the world with heavy psych and hard blues, not to mention lyrics that spoke frankly about drug usage. The overall feel of that album is present here, 49 years later, with Limestone Whale infusing it ever so subtly with touches of doom (proto-doom, I suppose - remember, I come from an era when doom was still being defined).

One of the keys to this album’s greatness is that the band recorded the songs live using analog equipment. This gives it a real warmth and freshness, even a certain freedom. Modern production is anathema to my ears. A true retro rock masterpiece should be on analog with minimal overdubs and production.

Outstanding musicianship is another key to Limestone Whale’s success, made all the more remarkable by the fact this is a live in studio production. I’m not saying these guys are Eric Claptons or Ginger Bakers, but they all hold their own very well - even stand out - in a scene that is more crowded than it’s ever been (and growing exponentially year over year).

Ultimately, it’s the songwriting that makes this album great. Of the seven songs featured, one that could be a hit is “Paralyzed in Paradise,” which is at least as strong as Cream’s “Sunshine of Your Love.” If there was any sanity in today’s music industry, this would be receiving radio play. A great sing-a-long with a groovy riff, well-timed short guitar bursts and a catchy chorus, and ending in a lead that should put a smile on Mr. Slow hands himself. This is a defining album of the retro genre. A record like this has the potential to do for retro rock what Ride The Lightning did for thrash. This will surely be in consideration for my album of the year and should serve as inspiration for the budding new generation of musicians who believe there is still much left to be said in the stoner-psych genre.

'Limestone Whale’ (2016) releases on May 27th. Get it here.

Mokomokai

I have no idea how to pronounce the name, but MOKOMOKAI’s ‘Poison Whiptail’ (2016) EP is beyond amazing! This is seventies metal with the edge of early thrash. Let me explain. Thrash was known for sharp, crisp notes. That intensity is here, but the songs are written with a vintage vibe. The first song, “Poison Whiptail,” is in contention for song of the year. I’m serious! It will resonate in your brain for hours and hours. Think Judas Priest, Scorpions, Rainbow, and Deep Purple. This song would have been a classic on your favorite album by any of these bands. Everything from the riffs to the chorus is instantly memorable, but the Halford/Gillan-style vocals are what make this a true stand out.

Next song is an impressive cover of Deep Purple’s “Bloodsucker,” one of the early-seventies’ heaviest tracks. Very few vocalists could hit the required notes that Ian Gillan reached, but all the energy of the original track is present in this version (that thrash crispness is evident in the guitars). These first two tracks are just incredible.

The third track doesn’t let up on the throttle, either. “Heavy Metal Sky” could easily have been on Judas Priest’s ‘Hell Bent For Leather’ LP. It is truly hell bent by seventies’ standards. The fourth track, “Walking Boss,” eases up a just tad. While it maintains a similar feel to the others, the thrash aggression is not quite there, making it more in line with Rainbow or a heavier number by Triumph. The fifth and final song returns with that crisp bite we’ve come to love by now. It is classic metal in the vein of Spooky Tooth or Trapeze…on steroids. These five tracks down memory lane pave the way for a bright future for this Canadian band with a Japanese looking name. Actually, I’m told Mokomokai refers to the ritual of preserving the heads of New Zealand’s indigenous people, the Māoria, making it a rather macabre collectible. Perhaps now I should go back and give those lyrics a second look, eh? ‘Poison Whiptail’ is recommended not only for the retro rockers among us, but for fans of heavier metal.

Sage

The Papa Paul jukebox flips records now, spinning a rather captivating demo by a band that has burst upon the UK scene: SAGE. Any of these three tracks would have fit comfortably on our Enchanter’s Ball compilation. You could compare Sage to any of the doomier bands in the collection (you must forgive the shameless plug), only Sage come at it with a singer whose lower tones seem ripe for slow doom. I am reminded of the band Stars That Move from Georgia, as I drift off into a relaxed state that this style of doom puts me into. Sage are a very haunting and beautiful blues-flecked doom band that allows you drift off into that special place in your mind. I cannot wait for their debut album.

The Doomsday Kingdom

THE DOOMSDAY KINGDOM is the pet project of living legend Leif Edling, of Candlemass fame (and lately best known for his work with Avatarium). Listening to the debut EP, you would not think his solo project was recorded thirty years after the legendary Epicus Doomicus Metallicus. In fact, The Doomsday Kingdom demo sounds more like a band Leif would have been in prior to Epicus. This is pure early-eighties heavy metal of the highest caliber. Doom fans won’t be disappointed, either, for there are enough of its textures woven into the fabric of these songs to keep you warm on a gloomy, rainy night. If this was released in the eighties, I’m convinced it would have been one of the classics.

The main band I am constantly reminded of is Sweden’s Oz. Give 'Turn The Cross Upside Down’ (1984) a listen. I’m reminded of so many of the early-to-mid-eighties underground acts while listening to these four stellar songs, including Axewitch, Metal Church, early Savatage, Cirith Ungol, the first Heavy Load LP, the first two Living Death albums, and some band named Trouble.

The Doomsday Kingdom EP is now out on vinyl and Leif has informed us there is a LP in the future. The Father of epic doom metal plays an awesome tribute to the metal underground he was such an inseparable part of while helping give birth to epic doom metal. And yet, every track sounds fresh and inventive, with Leif continuing to wow us with his mastery of song. There is indeed much rich ore to still be mined in the genre. The Candlemass bassist and songwriter brings his A game to Never Machine, which will leave your earspace vexed for days, nay weeks, with its haunting choruses.

Space God Ritual

Just when you think you are on top of the stoner-doom scene as an avid listener and music reviewer, expect to be humbled. Even though this is SPACE GOD RITUAL’s fourth album, I feel I am only now really discovering them. I knew of their existence, but I had misconceptions about the Portland band. When I played Tentagram, I was sufficiently impressed to purchase their entire discography.

A cult of university professors seeking to rebuild the world.
A virgin trapped in their nefarious scheme.
A psychic fighting for his sanity.
A crumbling house harboring an ancient evil.

Here is a concept album that is the perfect marriage of King Diamond’s Abigail and Pentagram’s Day of Reckoning. Yes, two classic mid-eighties albums. Abigail was itself a power metal horror album with the outrageous vocals of King Diamond, while Day of Reckoning was the legendary second Pentagram album that marked their descent even deeper into realms of doom. Of course, that album featured the sinister voice of one Bobby Liebling. Tentagram marries both the music and vocals of these two legendary LP’s, with the characteristically maniacal singing of Alexander Olaf joined by the power and aggression of Brendan Butler’s down-tuned guitars.

At times, the guitar tones are reminiscent of Victor Griffin’s brilliant axe-wielding in Pentagram. Then there are those wonderful, nasty demented vocals that make you swear Bobby is singing while high on helium. Alexander Olaff doesn’t come close to the falsetto highs of King Diamond , but the theatrics he delivers are quite convincing to pull of an album of this magnitude.

Tentagram is a wild ride that fans of the aforementioned bands, as well as followers of newer acts like Psychic Dose and Misty Grey, should really dig. Step back in time and experience some mid-eighties style majesty, while allowing your imagination to take you to bizarre, Lovecraftian dreamscapes. If this was actually from the mid-eighties it would bear the coveted classic tag. You know what? It’s still going to be a classic.

Stoned Spirit

I have been a doom fan since it really came into its own as genre, 30-40 years ago. I would grab every demo I could find. In those days they were few and far between, but nowadays it is impossible to keep up with them all. I grab up the ones that stand out from the crowd. STONED SPIRIT is one such band. You can get creative and add retro, progressive, and traditional elements to your songs, but make no mistake: this is pure doom! The Greek foursome are part of a burgeoning scene, which for years has distinguished itself by its stoner rock and only recently seem to be tipping the scales towards doom.

The first thing that jumps out to me are the all-important vocals Personally, I only like “clean” singing. What can I say? I’m a product of my time. So after an introductory riff that I’m digging, I await with fingers crossed. Gratefully, I am greeted by vocals that are clean, but unique, with kind of Bon Scott edge to them. It’s an instrument that their frontman knows how to use in clever variation – sometimes soft and melodic, other times gruff and cruel. The songs on Spirits of Zos also vary in the variety and depth, sometimes leaning towards doomy eighties power metal, especially the song “Finally Harmony,” which hints at Piledriver’s doomier side. Songs like “Titos” touch into some progressive Rush-like harmonies with Dio-like doom. I would not be surprised if Dio is an influence, even on the vocals. But to our singer’s credit, he chooses to stay within himself and not try to be the next Ronnie James. No need for that. He and the whole band stand on their own merit. Give Spirits of Zos a listen. There’s a lot of diversity here, so it will take several spins to fully digest and appreciate.

Acid Carrots

Night in Berlin is the second record by ACID CARROTS, a hard-rocking foursome headquartered in Linköping, Sweden (where it must still be 1976). This go ‘round, the band’s gone strictly with female vocals. Everything about this is EP takes me back to the Feel Good Decade: the Grace Slick-style vocals (I’d love to hear Aurora Dimitrij sing “White rabbit”), the progressive psychedelic rhythms, the jazzy acid rock leads, and even some acid folk vibes. This is a true psychedelic journey! Don’t expect stoner rock or doom metal, but experience one of the most authentic retro albums to date.

Take it from me, you can experience something of what it was like to be a hippie by playing these four grooves. The peace, the love, the freedom, it’s all there. You’ll be taken back to the beginnings of countercultural ideology and when the trip is over, you’ll have one thought on your mind: “Wow, man. That was groovy!” I didn’t want to come down from this trip, so I played it over and over again in one sitting.

Istvan

Next up, a 30-minute, mostly instrumental, release from Forli’s ISTVAN. I very rarely get off on an instrumentals, but when I do, I go straight for Istvan. Ok, so I’m not the most interesting guy in the world. This record, however, is very interesting. The skill level of this Italian trio and the high level of artistry that accompanies their songwriting makes this a strong entry into the annals of the underground. At its core, this is psychedelic doom, highlighted by guitar leads that tap into Robin Trower’s acid blues and Tony Iommi’s doom riffs. But Istvan venture even further into experimental realms, taking us into krautrock and progressive territory. Like I said, this makes for one very interesting album. Art rock lives!

Electric Citizen

You can’t imagine how much I was looking forward to hearing and reviewing the second release by ELECTRIC CITIZEN. I loved their first LP, saw them live, even got chat with the lovely Laura Dolan. Let me tell you, the Cincinnati quartet’s second effort, Higher Time, exceeds all expectations with thoughtful songwriting, searing leads, tasteful use of the organ, and the oh so soulful vocals. The maturing that happened between the two releases is astonishing. I’m guessing maybe that extensive touring knitted these four together, solidifying the band’s chemistry and taking Electric Citizen from an interesting novelty act to a band in demand. I hear elements of Rainbow, early Scorpions, Budgie, and Sabotage-era Sabbath throughout.

The opening track, “Evil,” leads you to think this is going to be a straight up doom number, but what you’re hearing could actually be a popular hit song with its fantastic sing-along chorus. The searing guitar lead by Ross Dolan (Laura’s hubby) assures us this will never go pop, opting to keep its roots tightly in the heavy underground. “Social Phobia” is organ-driven rifforama (let’s call it: 2016 is the year of the organ), enhanced by passionate, bluesy vocals. “Misery Keeper” is a real shaker that falls somewhere between Deep Purple and Heart, with seventies-style beats accompanied by well-placed guitar licks and Andrew Higley’s organ magic (he guests on all tracks, but “Ghost of Me,” where Yusef Quota steps in). “Devils in Passing Time” is a modern occult tribute to the likes of Uriah Heep. “Golden Mean” is built around a killer bass riff by Randy Proctor, with savvy organ play and subtle guitar chops.

“Ghost of Me” somehow reminds me of Motörhead, with drummer Nate Wagner really turning it loose on this track. “Higher Times” is a more melodic track that quickly turns into a kind of Hawkwind tribute. “Natural Law” is doomy hard rock in the order of Sabbath and Budgie. “Crux” opens with some nice, jazzy guitar work before traveling into Thin Lizzy terrain in both riffs and melodies, but this is pure Electric Citizen and Laura really shines by doing her own thing, rather than trying to pull off Phil Lynott vocals. Although they remind me of so many great bands, Electric Citizen always remain true to the identity they’ve worked so hard to forge over the last three years. I think they saved the best for last with “Two Hearted Woman,” though it is the shortest number of the record, with funky riffs and vocals a la Budgie. You’ll not regret taking this magic carpet ride.

'77

Being I’m the so-called seventies expert here (only because I’m old enough to have lived through them - boy, did I), I love everything about this record, from the band’s name to the album title ('21st Century Rock’), and especially the music. Ok, so it’s neither Doomed nor Stoned, but it sure is fun. The band’s name is '77 and they sound exactly like AC/DC’s 1977 album Let There Be Rock, which was one of the great rock 'n’ roll albums of the twentieth century.

In order to review this, let’s flashback to 1977. It may have been 1978 until I actually heard from this band with the strange name of AC/DC. News traveled slowly in those days. Imagine being junior in high school on the cutting edge of the heaviest music of the day. I was just discovering Judas Priest, Rush, Scorpions, and unknown bands like Moxy, Legs Diamond, and so on. AC/DC was totally unknown in America at the time (they were gaining popularity in Australia by then). Most of the readers of our bitchin’ lil blog can’t imagine a world without AC/DC, who have shaken the world for decades now. When my ears heard the energy of this rock for the first time, I was shocked, amazed, blown away, whatever metaphor you can think of. They weren’t Sabbath or Priest, but I had never heard pure rock and roll played with such energy. It was exciting and I love it, explaining likewise my enthusiasm for '77’s 21st Century Rock. In short, an absolutely stunning, high-energy rocker that fittingly carries the spirit of rock from Sydney to Barcelona.

Fox 45

FOX 45 are a four-piece all-female fronted occultish blues rock band from Rochester, which just released their debut LP on Twin Earth Records. The overriding feel is fuzzed-out, bluesy stoner doom, but the ladies call upon an array of styles as needed - jazz, rock, a touch of punk, you name it - often in the course of one song, bringing to mind Girlschool or even Wendy O Williams. They’re all very skilled in their craft, with their choice of melodies, harmonies, and rhythms of a caliber worthy of the term art rock. Ashes of Man is a noteworthy release in every respect.

The Golden Grass

Doomed & Stoned has been chronicling the retro revival, intrigued with how rock and roll has evolved in the almost 50, 60 years of its existence into various styles and stylistic extremes, only to return again to the roots from whence heavy rock originated. THE GOLDEN GRASS, who we have reviewed and interviewed in previous years, are without doubt one the most authentic of the retro bands. On this, their second full-length (aptly titled Coming Back Again), they draw upon the seventies sound, spanning the full decade. It is safe to say this release is virtually void of any “modern” influence. The beloved underground sound of the era that is probably more appreciated now more than ever is prevalent throughout, blended with a more radio friendly sound bringing to mind the Allman Brothers, Blackfoot, a little Fleetwood Mac, even hints of Stevie Wonder. The Golden Grass has blended what was great from the seventies and created a very enjoyable psychedelic hard rock album that our readers can enjoy, while at the same time not scaring the dickens out of your parents, neighbors, etc. Currently, they are on tour in Europe.

Witchcraft

The Swedes’ great comeback album was already reviewed wonderfully by Gram Pola here, who rightfully hailed 'Nucleus’ (2016 - Nuclear Blast Records) as one of the all-time greats. In fact, many were hailing it as 'Album of the Year’ right from the start. Now that some of that fever has passed, I thought I’d weigh in - especially given the record’s great significance (and possibly its historic importance) to the ongoing evolution of the heavy underground.

Needless to say, Nucleus was hotly anticipated, it being the mighty WITCHCRAFT’s first album in the some four years. Their last, Legend, had been controversial in marking a new direction for the band. The doom element was diminished, with a greater emphasis on a seventies-style psychedelic sound. Opinion was divided about whether this had been was the band’s best or worst album. Everyone had an opinion and the debate continued right up to the January release of the new LP. I was perhaps in the minority by wishing Magnus Pelander & co. would continue in that controversial direction. The two songs I heard leading up to the full release (“Theory of Consequence” and “The Outcast”) left me hoping this was the case, but neither really settled the question one way or the other. Both were outstanding samples of the traditional Witchcraft sound and could have easily fit within any of the bands previous four albums.

When I finally got to hear the entirety, I was astonished - truly. With Nucleus, Witchcraft had crafted an album that simultaneously amped up the doom and the retro elements, more so than previous efforts. I don’t think anyone saw that coming, and I can almost assure you no one anticipated the progressive, Floydian elements that permeate this 70-minute gem. The fact that the band has married these sounds together with such precision and brilliance had me, too, declaring this one of the great albums of all time, worthy of standing alongside the early masterworks of Black Sabbath, Saint Vitus, Pentagram, and Candlemass - the standard setters of what would become known as doom metal. Not only that, but Nucleus needs to be mentioned with heavy progressive rock legends like Pink Floyd and Gabriel-era Genesis (as well as numerous underground bands too good for their time) due to the intensity and complexity of the record’s emotional expression. Nucleus is in essence the marriage of the first Sabbath album and Pink Floyd’s Wish You Were Here. No one saw this coming.

When I finally got a chance to touch needle to wax, I was anticipating more of that Legend sound, but the first song “Malstroem” was crushing, heavier than anything Witchcraft had previously done. I wanted to be disappointed by the fact it wasn’t retro, but I couldn’t be. “Malstroem” is top drawer epic doom. Upon subsequent listens, the song actually hints at what is to come later in the album, with its proggy intro (flute and all), through the song moves into the direction of emotional epic doom metal in the vein of early Candlemass.

The 14-minute title track is indeed the centerpiece of this album, during which we enter uncharted waters for Witchcraft and, for that matter, possibly doom itself. After a progressive rock intro, the song launches in heavy doom, with vocals both haunting and desperate (a sentiment replete throughout the record). At around the 6:15 mark, the tune changes and we are introduced to a fascinated fusion of acoustic guitar, wind instruments, and vocalizations that would fit easily into Pink Floyd’s Dark Side of the Moon.

“An Exorcism of Doubts” starts out mellow enough, but builds and builds, with some of Pelander’s most intense vocals to date at 7:39. In time the song goes back and forth between Floydian moments and heavy doom, toggling between acoustic and electric guitars.

“The Obsessed” is shorter than the previous two, designed as a rocker sure to please those looking for a return to the early Witchcraft we all love. “To Transcend Bitterness” delivers more of that classic Witchcraft, bringing to mind 'Firewood’ (2005) or 'The Alchemist’ (2007). Another short track, at only four minutes, it plays like an epic, such is its power of expression.

“Nucleus” and “Exorcism” took us on an almost 22-minute journey into uncharted waters, and we’re about to go there again. “Helpless” is a psychedelic trip-and-a-half, fashioned around some swirling leads, a cool riff, and passionate vocals. What Pelander lacks in dynamic range he more than makes up for it in pure emotion.

“Breakdown” really takes this album over the top. Even without the aptly named 16-minute track, Nucleus stands as a great album, but “Breakdown” is a journey into the mind of a madman that is too good to be missed. I am presuming this to be a song Magnus wrote about himself. Even before this LP, I considered him a musical genius. He issued those first three albums in an era where the seventies sound was considered dead; they are classics in any decade of music history. Then there was Legend, with a completely new band he carved out a new direction for Witchcraft. The debate was on some were disappointed that the doom element diminished, others praised it for its musical integrity and further returning to the seventies. One thing no one seems to want to talk about is the following tour and his performance on stage. For the first time he was without guitar in hand. He held the role of lead singer and his singing was amazing. What was shocking was his (for lack of a better word) gyrations on stage. I have never seen anything like this. Now, as I said I consider him a genius, but it seems there’s always that fine line between genius and insanity. The song “Breakdown” - to whatever extent it is biographical - will always be for me of the greatest songs I’ve ever heard.

After forty seconds of a strange sound, we are introduced to four notes. These four notes possess the song. Warning: they may cause psychosis. I believe that is the point, to bring you into a place where you can experience this breakdown. These four notes take me back to Pink Floyd’s epic song, “Shine On, You Crazy Diamond.” That song also was built around four similar notes and was about a breakdown, a breakdown of a musical genius, Syd Barrett (who lost his mind to extensive LSD abuse). I would be interested in hearing Magnus’ story, if indeed there was influence from “Crazy Diamond.” For seven minutes those four notes continue amidst some of the most dark, obscure progressive rock you can dig out of the quarry called the seventies, with soft vocals and bizarre lyrics. Then, we are introduced to spoken word, as if from a movie clip. I usually find this annoying, but it is pure genius here, transitioning into some of the greatest doom ever laid down. The central theme for the remaining nine minutes is a variation of those four notes that twisted your mind for seven minutes. The singing throughout the remainder of “Breakdown” may be the best ever, insofar as it portrays desperation, psychosis, and pure hopeless doom. The lyric that hits at the peak of the four note psychotic riff screams, “Ten thousand demons, one thousand devils calling my name, SCHIZOPHRENIA!” With that, Witchcraft have settled any questions about where they stand or who they are. Make no mistake, this is fundamental doom metal.

The album closes out with a simple rocker called “Chasing Rainbows” (bonus track on the limited edition vinyl and CD releases). At just shy of four minutes, it is a great song, but after “Breakdown,” it is perfectly placed as the album ender. It’s an easy song to listen to and helps bring us out of the psychotic state the previous song took us to. The only thing left to say is, thank you and welcome back, Witchcraft!

Doomed & Stoned is thrilled to be able to bring you the first single from a brand new album (that’s right, a full-length) by Portland’s sci-fi-horror doom adventurers: SPACE GOD RITUAL! Over a year in the making, the four-piece band will release the fruit of their labor on November 10th.

“After having spent sanity draining months in Carcosa, after reading the pages of the fabled Necronomicon and after spending weeks, studying the Cultes De Ghoules in the Miskatonic University Library. Space God Ritual have managed to collect enough material to record their sophomore release!”

I’ll be interviewing Space God Ritual later this month and sharing even more strange and twisted stories of the unknown with you, so you’ve got that to look forward to. OH! And how awesome is that artwork by Portugal’s Zé Burnay?