I’ll never forget the time I met Rik Surly, frontman of Richmond doom-sludge duo THUNDERCHIEF. It was at a now defunct all-ages venue in Eugene, Oregon called The Boreal. In October of 2017, Thunderchief teamed up with Birmingham’s Midmourner to do something rare thing for two underground US bands on the other side of the continent: they booked a tour of the Western states.

The guy was, of course, as nice as all get-out, despite looking like Rob Halford’s taller, meaner looking older brother. While shaking hands, Rik reached for a pair of Mack’s Earplugs, not so much out of courtesy but as a warning. “It’s going to get very loud in here,” he emphasized in a serious tone. “You’re going to need these.”

I might have scoffed inwardly, but when Rik turned on and geared up this mismatched wall of amps (large and small, new and old) I knew this was going to be absolutely massive. Let’s just say I was thankful for good ear protection. I suppose it can be compared to a performance by SUNN O))) who are legendary for their amplitude (gave me a splitting migraine the first time I saw them). That was in a large, expansive concert hall. This space was in the equivalent of a small gym or an office space, where everyone was on the same cold concrete together. Suffice it to say, that was a moving experience.

Not even the film I shot captured how truly visceral a sound event this was. The good news is you can listen to Thunderchief at the volume of your choice and really appreciate the nuances of their artistry, especially on their forthcoming record, ‘Synanthrope’ (2021) – out December 3rd, right on the heels of last year’s well-received No Sufferance For Thy Fools.

It’s hands down the nastiest doom/sludge record of 2021 and will doubtless find a welcome spot on my end of year HeavyBest list. The beats are vibrant and agressive, the vocals unhinged as fuck, the riffage has a compelling industrial edge, with relevant lyrics about fear and disallusionment (“Living like I wanna die”). Songs range from gritty Southern stoner gems (“Mohasky”) and mesmerising doom dirges (“Paw”) to some really sick stompers (“King of the Pleistocene”) and stormy, crusty sludgers (“Toss Me a Cumb”). The net effect was rather cathartic for me, thanks in no small part to Erik Larson’s smooth, powerful drumming.

Synanthrope is really quite good, holding up admirably after multiple listens. It rumbles, man. I’ll go one further: this is one of the freshest, gnarliest records since Dopethrone’s Demonsmoke, maybe even Dark Foil, and joins Red Beard Wall’s recent smoker '3’ (2021) in exploring the fringes of rock and metal in our scene.

Today, ahead of their appearance at The Maryland Doom Fest on Halloween night (the band’s second time there), we’re bringing you this first look 'n’ listen to the Thunderchief’s new music video, “Vampire State Building.” It’s a particularly violent cover of anarcho-punk/crust band Rudimentary Peni’s “Vampire State Building” from their record, 'Death Church’ (1983). We think you’ll dig it.

Give ear…

Thunderchief: Live 'n’ Loud

• 11/12 Asheville, NC
• 11/13 Richmond, VA
• 11/14 Baltimore, MD
• 11/15 Philadelphia, PA
• …tour plans to follow!

We first introduced you to the band TEL back in 2019, in a piece premiering their record ‘Lowlife’ (2021) – you know, the one declaring them “The New Face of Richmond Doom.” One might now quibble and say “post-doom,” as their latest single takes the slow 'n’ low to such expansive heights.

I mean, here’s a band that knows how to really sit and bake in a riff. The new single/music video “Punish” takes a few simple motifs and slows everything way, way down, where the determined theme we set out with meets that place along the event horizon of a black hole, when the melting of all things becomes possible.

Suddenly we’re feeling positively meditative, juxtaposing a mosh of angry metal romp 'n’ stomp fury with sublime (almost holy) vocal harmonies. It’s as though we’re witnessing the same event from the individual perspectives of the left and right hemispheres of our brain, as it all plays out for us with otherworldly singing divulging its secrets.

Then again, there are also lyrics to guide us:

I hate the taste of blood, but I love how it looks
as it drips onto white tile from my grinning teeth.
Drift away from my sight; don’t punish me for your broken life.
Harsh is the chill of the February night.

Leave the windows open as you sleep
and hope to freeze before dawn.
The sun teases us with a spring that shall never come.
In this life we lead, there is no warmth to be found.

Free me from this hunger, I am starving for a glimpse of truth.
Cleanse me from my past, if only my crimes could be reversed.
Wipe away the memory of me, I shall see my way out alone.
Drift away from my sight; don’t punish me for your broken life

I like the simple, yet deliberate pace and shot style of the “Punish” music video, directed by Russell Pompa of Crucial Media, starring Will Butler, Dante DuVall, Michael Potts, and Ed Fierro. Any of you bands out there looking to get a good music video out there that finds mystery in those odd everyday moments, watch this…and take notes.

It’s one of a pair of tracks that Tel contribute to a split record with Age of the Wolf. It’s called 'Vigils’ (2021) and you can look for it on August 13th in digital and cassette formats via Electric Talon Records. The two bands attack their riff itch from different angles, with Tel stirring up a winterswell and Age of the Wolf keeping heat rising from down below with those fuzzy stoner vibes.

Having been around Book of Wyrms since their demo days (thanks, Melt!) and following them across the country to both our flagship Doomed and Stoned Festival in Indianapolis in 2018 and Ohio Doomed & Stoned Festival in 2019. Having had half the band at my house for record parties, I was saddened by the pandemic restricting me and many other fans from seeing them live in 2020.

That said, ‘Occult New Age’ (2021) is not only the Book of Wyrms I knew pre-pandemic, but they have persevered beyond the madness and breathed a dragon’s breath of fresh air into this release. For the Sabbath worshippers, Hawkwind fans, and Merlin freaks among us, it’s riffs for daze!

I was afforded a digital pre-release copy and jumped at the chance to purchase a test press of the record, as well. Prepare yourself to blast off beyond the astral plane straight out of the gate with this one.

The spaceships radio blasts “Meteoric Dagger” – a funky '70s neo-retro groove. They manage to bend time slower and faster simultaneously. No lack of a cowbell from Chris Dehaven, with lead breaks from Kyle “The Man Without Social Media” Curtis, only to have the ship ease off the throttle to let the bass of Jay Lindsay settle into the next song. “Colossal Yield” affords more heavy riffs and pocket play with siren glass vocals from Sarah Lindsay.

Enter the synthesizer, which sounds so much like the electronic bird’s chirp. Also what seems to be a guitar riff manipulated into psychedelic bagpipes. A driving bass full of fuzz sits in with the drums perfectly. The swelling hammer owns at the end, cueing a decrescendo that leads right into the acoustic instrumental “Aubrionlilly”. This track allows our spaceship to coast in what can only be described as a meadow of pure delight nestled in a valley of splendor. A most beautiful change of pace that belies the softer side of quintessential doom.

Onward the alien engines heave with a fuzzy synth drone, gaining momentum to blast off yet again. Everything is on the rails, as we speed off to the ends of eternity. Grooves so classically good you would think they had stolen a time machine along the way. Funky dubbed bass and fuzzed-out guitar with rotary drone synth that keeps things sizzling. It reminds one of Pink Floyd and Steve Miller on an epic scale.

I’ve been describing the opening minutes of “Hollergoblin”, the magnum opus of the record (which Doomed & Stoned premiered only weeks ago). Six-and-a-half minutes in, it just hauls off – melting face over and over again. It’s like Book of Wyrms went to battle against GWAR on a side quest, squashing the Hollergoblin into a million electronic pieces. Stranger Things come to mind as this strange thing comes to an end.

The next phase of the journey is “Keinehora”, a most sinister and haunting number with Sarah’s vocals soaring over the rhythm section, propelling us further into the black void. Some hefty low-end drives the ship for a while, with bass and drum entering into all out meteoric barrage. Razor sharp riffs aboud, the Kyle shift down into acoustic mode at the 4:30 mark, ending the song with a hint of watery goodness.

Next on deck, the sixth stage of the journey: “Speedball Sorcerer” – a track that godsmacks you with that Steppenwolf swagger. Pure groove meets pure riffmaking glory. Book of Wyrms have met the Speedball Sorcerer and he’s taken over the organ putting the shtank in the journey. Definitely a love-child of Steppenwolf and Paranoid era Sabbath. The call and response keeps the cockpit spinning, and you can not tell up from down nor East from West any longer.

“Weatherworker” turns the speed up, only to get progressively faster. I’ve said it before, pocket grooves for days. The synth at 4:20 sets off a cosmic bomb that stops time for a split second, just long enough to bring the groove back again, leaving listeners asking for more.

Chris starts off our final showdown in the stars next, with his bass holding a groovy rhythm. We’ve landed onto an uncharted rock the band names “Dracula Practice”, and from its foundation they unleash face peeling riffage all over the place. Vocals coming in after just a minute. Searing leads keep the wounds cutting deep. Dizziness ensues as the room spins 'round. About three minutes in, the cymbal snuffs get us a bit off kilter and as we struggle to gather our senses, the bass sizzles to ignite a rocking blast off again with a Hail Mary of a get away. Slammed by a slide guitar and stabbed with double pedal bass-drum hits, the ship finally levels off and we all get high floating about in zero gravity.

Car Test: Pass

Headphones Test: Pass

Stereo of Doom Test: Pass

Occult New Age is a fantastic spin that genre-bends as much as the title suggests. There were plenty of moments heard that I can only hope to experience live in the not-too-distant future.

Until we meet again in the concert hall, Doom On!

Getting To Know Richmond Psychedelic Doomers Book of Wyrms

What is the central theme of of 'Occult New Age’?

Jay: It’s a play on the section of the bookstore where they sell occult and new age type books (where magical thinking and legitimate philosophies are shelved next to each other, alongside everything from self-healing and meditation to ancient aliens and Shamanism), and then on the age we are in, which feels like an unknown future. So throughout the record there are comparisons between magic and religion and superstition and mental illness. There’s so much information and belief out there, but there’s also truth and reality, and sometimes the differences can get a little foggy.

Is there a one particular person that writes the lyrics or is it a group effort?

Jay: Sarah writes 99.9% of the lyrics. Every now and again, I’ll suggest a phrase or something, but that’s almost completely her.

Speaking of lyrics can you extrapolate on their meaning in this record?

Sarah: The first track, “Meteoric Dagger”, is about finding one’s reason to be. Sometimes it feels like the thing falls out of the sky as if it were predestined and forged in the heavens. Sometimes we get really low and feel like we don’t have a purpose, but it’s as simple as an idea falling out of the sky to save you. I guess I was in a really low place before I started singing on stage again. I had not found my reason. But once I found it, I felt like I could do anything and could take over the world. We originally wanted this song to be on Remythologizer, but we weren’t happy with it once we got in the studio. We have since reworked it and made it what we wanted. So the art on the inner cover of Remythologizer is Taralynn’s “meteoric dagger” technically.

“Speedball Sorcerer” is about bees and the symbols and dances they use to talk to each other. Jay was reading The Hearing Trumpet by Leonora Carrington, an author known for her expertise in surrealism and the occult. There is a lot in the book about chaos magic and the way bees communicate. I researched that a lot, and it worked because we already had the title. It fit.

“Dracula Practice” is about a squirrel dangling from our bird feeder. We thought about naming it Dracula Practice (About a Squirrel) in an homage to Nirvana but decided it was too much.

For “Weatherworker”, I researched a lot of animal behaviors that change when storms approach, i.e., how you can tell the weather might shift by following cues in nature. I read this cool book called Ancient Meteorology by Liba Taub for a lot of my research and inspiration on this.

“Colossal Yield” was a fun thought experiment I had when I thought of the title. What would happen if there were the world’s biggest weed plant alive that maybe even became sentient? It sounded like a cheesy horror movie that would have been reviewed on MSTK 3000, so I was in love.

I know you guys are avid readers beyond The Pizza Hut BOOK IT! Program. Did you guys borrow any myths or themes from your favorite authors?

Jay: Absolutely. The entire feeling of the band is inspired by a few writers – Neil Gaiman’s Sandman comics, for one, really opened us up to a sort of metanarrative where fiction, mythology, and legends are alive through their retelling and reinterpretation. That’s a fancy way of saying that our relationships with fiction are real to some extent. Ursula Leguin’s Wizard of Earthsea books directly inspired the new song “Weatherworker” where wizards go out and get jobs helping ships with weather magic, storing favorable winds in magical bags. Sometimes it’s less direct, like the song from our last record “Blacklight Warpriest” isn’t about anyone specific but I think it came from the feeling and imagery of the Steve Ditko Doctor Strange comics. And then outside of fiction, we have pulled a lot of information from books like Ancient Meteorology, How to Read the Weather, and Jewish Folklore and Mythology. So Sarah will definitely do research to make the lyrics immersive.

The story with “Hollergoblin” is that Sarah and I got lost in the forest, up in a mountain, and the road started getting narrow and stopped being paved. All of a sudden it was blocked off by some pickup trucks and we were like “oh shit this could be a (meth) cook or a (weed) grow or a (liquor) still, and whatever it is, we should not be here.” But it was a fucked up little road at the mouth of a mountain hollow (or “holler” if you’re from out there) and it was really hard to turn around so we were just getting nervous about who might be watching or whatever, like thinking of that Steve Earle song “Copperhead Road” and hoping we hadn’t pissed anyone off. So then there was this documentary call Hellier where they were talking about these weird phenomena in Kentucky and whether there were aliens, and the people kept calling them hollergoblins, so that’s where the name popped up for the song.

Where was the album recorded, mixed, and mastered?

Jay: We recorded with Jamie Rose at Absolute Future, here in Southside Richmond. We recorded live except for vocals in the big room, with the amps in another room. Guitar and synth overdubs were tracked from the control room, and Sarah did her vocals out in the big room. Jamie mixed there on his board and we sent everything to Bryan Walthall at Stereo Image, also here in Richmond, for him to master. He did versions for digital, CD, and vinyl.

Any special gear used during recording to help put the icing on the cake?

Jay: I don’t know which pieces gave the most specialness so I’ll name what I can remember. I used my trusty white Godin Shifter bass with flatwound strings, into my Pigtronix Philosopher’s Stone compressor (always on), into my SolidGoldFX germanium overdrive (always on), an MXR phaser (on sometimes), and an MXR bass chorus (always on as slow as it goes – thanks for the tip, Zakk Wylde), and then that went into the vintage channel on my Fender Bassman 500. That has a tube pre, which took a DI, and then Jamie also mic’d my SWR Big Ben 18” cab. I think he ran either that DI or an additional DI into one of those Darkglass Microtube preamps and blended it all to taste. It’s definitely the happiest I’ve been with my tone – there’s a harmonic, round quality to the upper frets that I’ve always felt I was missing until now. It’s the sound I think of as the “Swedish Chef” from the Muppets, if that makes any sense.

Kyle played a Gibson Les Paul Standard and a Reverend Volcano (flying V shape). He uses MXR distortion and EQ pedals, with occasional other effects, and used the studio’s heads, a Friedman Jerry Cantrell Signature doubled with a Marshall Plexi, and a Matchless for the cleaner shit and some leads. He used a VHT drive pedal on a lot of the leads, to push the heads, and on Meteoric Dagger he used my Sean Ryan Tremolo pedal.

Chris used red drums and a cowbell. They tried out a few snares and went with something cool I can’t remember, but we used these Earthworks mics that look all weird and tiny, but took advantage of the big room sound.

Sarah used her usual Kaossilator and Yamaha DX keyboard, and then there was a little Casio keyboard for strings.

As far as studio effects, I think the big things were a Chandler channel strip that added nice gain and grit, and then a Roland Space Echo got used on a few things.

In regards to the synthesizer work, I know Sarah has been at the helm during live sets with the Kaossilator and the addition of the keyboard in recent times. Jay likes to dabble in synths, as well. Did he utilize any of that talent on the album?

Jay: It’s almost all Sarah, but there were a few little string parts I had in mind that I added with the Casio. It’s just easier to play it than try to explain it, since I don’t know when the last time either of us had to read a piano score was. I think maybe there was a weird drone at the beginning of “Hollergoblin” that I did, again just because it’s so much easier to just do it on the keyboard than try to describe what you want.

I noticed a smattering of acoustic guitar used in the album. Was Kyle the sole instrumentalist there?

Jay: Yes, and he was the force behind that as well. He correctly felt that it was a missing element and so he jumped in and added all those pieces. It definitely creates a little more texture.

Tell us about your new record label home, Desert Records.

Jay: We’re really enjoying it so far. Brad is in a band himself (Red Mesa) so he totally gets what we’re up to and going through, and he’s really supportive. At the same time, he’s putting us in touch with a lot of bands and fans in the Southwest, which is really cool. I feel like we fit in really well there – in addition to heavy doom bands, they’ve got atmospheric, cinematic desert rock, and sort of grungier space rock, so it’s more about a vibe than about a specific genre sound. So there’s a community there and some mutual support, and then just some really great help from his existing PR and distribution. It’s also a cool name for a label, so even if someone hasn’t heard of it, they kind of feel like maybe they actually have heard of it.

Sarah: Based in Albuquerque, New Mexico, Desert Records is a growing label which we are really stoked to be part of. As Jay mentioned, Brad Frye, the owner, heads up the band Red Mesa. He knows what bands are looking for and what aspects that might get overlooked by other labels. He even wore our baseball tee in a live streaming event Red Mesa played. It’s really just a friendly artistic community. Honestly, we can’t wait to get out west in the desert and play.

With there being a pandemic at the moment, does the band have any plans on a live stream 'Occult New Age’ in lieu of an album release party?

Jay: It’s been tough and we’ve been back and forth on it. I think we probably missed the window, since a lot of places are doing shows again, so people aren’t quite as stuck at home now as they were a few months ago. We’re definitely not against it, but we just had so much energy and resources tied up in getting the album out that yeah it just fell through the cracks a bit.

Sarah: We hope to possibly play out this fall, so we decided to hold off on the livestream. Chris is becoming a first-time father in June, so we really need the extra time in the summer to get show-ready. We are looking into making a video though. I wish we had the funds to do it all!

Any other music or merch related stuff you’re cooking up for fans?

Jay: I mean we want to get back on the road really bad. It would be awesome if we sell this pressing out and get to make another one. I’d see a glow in the dark vinyl or something cool. We do have some new shirts in the works, and hopefully those will get printed and be available soon.

Sarah: We will be getting new shirts printed up soon with art from Occult New Age. I believe we are working on setting up a giveaway.

Who did the cover art?

Taralyn Phillipps, who is @coffeellipps on Instagram. She’s done all three LP’s and the demo art. It was painted on plywood, and she really outdid herself. It’s like a haunted Bob Ross painting.

And your promo photos?

Jay: Joey Wharton did them but they are pretty old at this point. It wasn’t possible to get new ones really, because you couldn’t stand near each other maskless for a whole year.

What else are you involved in, side action or what-not?

Jay: I’m always making weird crap at the house, and sometimes Sarah jams with me. Chris has a band with his church. I don’t know what Kyle does, haha, he’s a mystery.

Sarah: We think up hypothetical side projects constantly. And Jay has an actual one called The Batmans where he experiments with different genres and ideas he comes up with.

Anybody have any pet projects going on to keep the creative juices flowing?

Jay: I’m always messing around in the garden, trying to do the pollinator wildflower thing and converting my lawn to meadow. Sarah occasionally writes articles about music, for different magazines when they hit her up. Chris is getting ready for a baby so I think his pet projects are mostly prepping for that! Kyle’s got a motorcycle for when it’s nice out and he does whatever people do to stay fit.

Sarah: I love thrifting and I have a depop store. I try not to make anything too expensive because it’s not about making money but getting neat things to people who don’t necessarily have the best secondhand shops. Or if they are looking for something in particular. If you’re interested, check it out: @purepledragon (make sure you both “E”s in there). I just finished reading the Lemmy autobiography White Line Fever and just started the Kathy Valentine (The Go-Go’s) autobiography, All I Ever Wanted.

What are you all listening to nowadays? Any guilty pleasures?

Jay: Lately, a lot of dub reggae (King Tubby, Mad Professor, Scientist) and funk (Parliament, Quincy Jones, Herbie Hancock, WAR, Stevie Wonder). We’re always listening to Steely Dan and Black Sabbath and I probably listen to Sounds of the Animal Kingdom by Brutal Truth once a week or so – anytime I’m tired and need a kick in the ass.

The new Howling Giant instrumental record was really good, and I found a beat tape of old acid and psych rock, called “Son Raw vs the Psychotic Hippies,” which was really great. I’ve been enjoying new records from Holy Monitor, the Dream Syndicate, Frozen Planet … 1969, and the band Vvlva. I also went down a cool rabbit hole of following Bandcamp tags – so anything that comes up as a “reissue” I check out right away.

Guilty pleasures? I guess the Grateful Dead. My favorite record by them is actually not by them, it’s a 90 minute supercut of every time they tuned their instruments on the 1977 tour, in chronological order. It’s supposed to be annoying I think, but it just relaxes the shit out of me. They make me nostalgic for working in hippie bars when I was younger. I guess I also like that they make aging punks so angry. I don’t know why that’s so funny to me but it is. I probably just lost several potential fans by admitting this.

Sarah: I have been listening to so much soul, funk, and R&B, especially in my car where I can sing (and let’s be honest, dance) along. I really like finding old soul compilations in thrift stores as well as movie soundtracks. I really love local radio like WRIR. New music I’ve been digging includes stuff from Anderson Paak and Silk Sonic, Jakethehawk’s new one, Witchtit’s new album, Spliffripper. Guilty pleasures might include Cardi B, Mariah Carey’s intro music to Grownish, The BeeGees, Boz Scaggs, and Blu De Tiger.

Best place in Richmond to grab a bite?

Jay: 821 Café- their breakfast biscuit is badass and they always have new vegetarian options. Second option is probably Kuba Kuba (either location) for Huevos Ranchero and Tres Leches Cake. For drinks and socializing, go to Wonderland.

Sarah: I am always with Jay so I concur. We’ve been digging takeout from Peter Chang’s, too.

Who is the funniest in the group? Any practical jokes going on?

Jay: I am pretty sure it’s me. I need it to be me, I know that much.

Sarah: It’s definitely Jay, although we all are hilarious in our own ways. I was twice voted class clown in my chorus class in high school, but my humor has not progressed past like age 12. Joking about dongs and farts is always hilarious in the van. None of us takes ourselves seriously, and that’s what matters most. (laughs)

Jay: Sarah’s definitely hilarious but she’s super subtle with it, so like if you’re not paying attention you won’t realize she just talked a ton of shit.

Last but not least, will Kyle ever get on social media?

Jay: I really doubt it! The way he looks at me whenever I try to tell him about something on facebook or Instagram, I don’t think he’s missing out. He definitely seems less stressed out than me.

Sarah: The only way Kyle will get social media is if we get published in Rolling Stone. He doesn’t know that, and it will never happen!

Thanks for taking the time! Miss you guys dearly. I wish I could have a one person Book of Wyrms concert in my backyard for my birthday!

So psyched to debut a track from the forthcoming album by psychedelic-doom wonders BOOK OF WYRMS. It’s hard to believe the Doomed & Stoned Festival alumni are already on their third album. Seems only yesterday we discovered them and were eager to book them for as many shows as we could.

Now the Richmond foursome brings us some of their trippiest material yet, the eight-and-a-half minute hallucination “Hollergoblin.” It’s the longest track from their forthcoming album ‘Occult New Age’ (2021), which Book of Wyrms herald as their “fastest, slowest, loudest, and weirdest” yet. Don’t be lulled into complacency by the languid opening minutes, Sarah Moore Lindsey’s siren singing is worth the wait. Listen carefully to the lyrics, too, for there are tales to be told! And don’t miss the song’s harrowing finale, which takes us to a Sabbath-bathed gallop of orgasmic intensity!

Out May 7th on Desert Records, whose roster just keeps getting more and more impressive, you can get the record in all kinds of crazy shades of vinyl, as well as compact disc and digital formats, with the watch date being May 7th (pre-order here). Until then, relish in the swirling fantasy that is “Hollergoblin.” Fans of Hawkwind, Samsara Blues Experiment, and Windhand rejoice! For ye have found your new passion.

Give ear…

Some Buzz

On New Year’s Day, 2017, the world stumbled out of each other’s beds to the surprise release of Book of Wyrms’ first full-length, Sci-Fi/Fantasy, on Twin Earth Records. The record received even more positive attention and helped the band get shows around the East Coast, New England, the South, and the Midwest.

A few years earlier, Jay Lindsey and Sarah Moore-Lindsey had wanted to create something heavy, dark, and soulful. They invited drummer Chris DeHaven to jam in their basement practice space, where they rocked low and slow with soaring synth parts at just the right moments. Early on, they covered High on Fire’s “10,000 Years” to close their live shows.

By 2015, the band had enough originals for a demo. Friend Kelsey Miller helped by playing guitar on the demo and at the first show but then left the state. Ben Coudriet was among the first to respond to an ad for a replacement guitarist. Bonding with the others about their mutual love of Black Sabbath and so many more rock bands, Coudriet said that he had chemistry with guitarist Kyle Lewis, and the band should consider enlisting both guitarists. With Jay on lead bass and Sarah doing spooky, soul-inspired vocals and playing different synths, the band became a 5-member outfit for releasing Sci-Fi/Fantasy, drenched in stoner reverb and dueling guitars.

Their second full-length, Remythologizer, came out in August 2019 on tape, CD, and vinyl also on Twin Earth Records. Coudriet dropped out of the band because of the strains of tour life, but he still contributed to the recording of Remythologizer. Now a 4-piece, Book of Wyrms will head into the studio to record Occult New Age to be released on Desert Records in April, 2021.

From the moment we heard the self-titled full-length debut by Richmond doom-sludge foursome LAIR, we knew they were gonna be a Doomed & Stoned kinda band. Their sound’s not just loud and mean, it’s got real heart, too. Then came Lair’s new EP, ‘At Our End’ (2021), and we were smitten.

Of special note is the second track, “Forced March” – a meditation on the Shelton-Laurel Massacre, which took place during the American Civil War in 1863. Thirteen Union sympathizers were executed by Confederates in the hills of North Carolina. To this day, an overgrown barn still stands on the homestead of their burial (you’ll find this reflected in the album art, as well). At Our End is a harrowing experience, through and through.

Frontman and bassist Read Urban was cool enough to answer a few of our questions on behalf of the band, addressing how he and his bandmates Malachi Cresswell (guitar), Anne Marie Dumain (guitar), and Andrew Griffin (drums) get creative, themes that inspire them, and gear they knock about.

We are the end
A totem to absence
A forfeit of human worth

Scraping our bellies to crawl back to
Something not deserved to be called home

Many voices crashing
Like waves of pain
Upon foreign shore lines
Rising amongst bow’d howls

Wailing as one

Entombed in our shedding skin
Birthing a new deep despair out
Into these clogged streets that reek of
Something not deserved to be called earth

Retching as one

Elaborate on the central theme of 'At Our End’ (2021). Are you the primary lyricist?

So far, I have been the primary lyricist for both this release, as well as our previous full-length. My main goal for At Our End was to dwell on the idea that a single moment of horror can encapsulate and relay humanity’s depraved future, even magnifying and twisting the result. And even after accepting all of that, we are still not worthy of anything we have been given.

Do you all write your own parts individually or is there a collaborative effort going into the process?

We all tend to bring riffs to the table and I think that was the case for the most part for the songs on At Our End. Usually, we start with one or two riffs and start building out from there, these songs being an amalgam of riffs from all of us. Some of the riffs start off acoustically, but I don’t think we have brought anything to the group fully acoustic. There needs to be a certain amount of volume and weight behind each sustained note to get a sense of how it will work within the context of the full band.

Where was the EP recorded, mixed, and mastered? Any special gear used during recording to help put the icing on the cake?

We recorded with Yave Rust here in Richmond Virginia over a weekend in July. It was a great experience overall. He is super easy to work with and quick to try out new things. He also cooked us Peruvian food everyday which ruled and we ended the weekend with pisco sours! The EP was mixed by Zach Weeks at God City which was super rad to be able to work with him, as well. For the recording, we used pretty standard stuff over the weekend. A lot of Big Muffs and classic “doom” amps on this record. My personal shout out is to Damnation Audio and Night Owl Industries, two solid pedal companies!

Tell us about your label Hand Of Death and why you decided to go with then.

Nathan, who runs Hand of Death, plays in a killer death/doom band Harsh Realm. We got to play with them and meet him last time we were in Asheville, right before the pandemic. We were all stoked to work with him on this release and really happy with the direction and help he gave us. I also really appreciate the breadth of bands Hand of Death has worked with. It doesn’t adhere to just one genre of aggressive music, which is refreshing.

Who designed the cover art?

Andrew shot the cover and the band photos. Since he has a personal connection to the Shelton Laurel massacre, I think we all felt it would be best if he captured and conveyed the themes of the record through those photos. He took a weekend down in North Carolina and brought back the cover photo. It’s been nice keeping a lot of that work within the band and feels like a natural extension of the songs we all work on.

A column came down

Along the valley’s edge
Carried on southern winds
Black and the hawk sang
There, the Covenant was broken

Our centuries numb us both
Indifferent to our own abysmal wounds

A forced march through hearth and home
A laurel buried in snow beside
The hickory mottled red
Cairn beneath the pine

Thirteen then none
Our hex yet paid
Thirteen then none
And still the women won’t speak

With there being a pandemic currently, any plans on a livestream performance of 'At Our End’?

We are working on some video releases, merch, etc for and after the release. Obviously, COVID makes it all a lot harder so hopefully we don’t catch any major snags. We’ve been working on new material since we recorded and are deciding on what we want to do with these new songs soon. The band is just stoked to get these songs into the world and hope that people dig what we are doing.

What are you all listening to nowadays?

I can’t speak for the rest of the band, but there is a ton of great stuff out right now. My stack of records sitting out right now: Ninth Circle - Awake Horrors, Void Ceremony’s new LP, Loud Night - Mindnumbing Pleasure, the recent Me Saco Un Ojo releases, etcetera. A lot of Bolt Thrower, too. I listen to a lot of hip-hop, as well, and the recent Ka- Descendants of Cain, Boldy James - Price of Tea in China, and Earl Sweatshirt - Feet of Clay are on heavy rotation.

What’s the deal with Riff Juice? Is that like Crunk Juice, but for Doom?

Riff Juice is whatever you need it to be. Some days it’s a Coors Banquet. Other days it’s kombucha or a cup of coffee. As long as you are writing riffs, it’s all Riff Juice.

SIBYL VS. MISTER EARTHBOUND

First things first: Welcome to the inaugural edition of The Byrd’s Nest, where every now and again I’ll be sharing my thoughts and impressions on the music of the heavy underground. Thanks for tagging along!

Before us is a split between Richmond’s own MISTER EARTHBOUND and SIBYL – Doomed versus Stoned. If I’m honest, ‘Hypnotic Rhythm’ (2020) kind of leaves the listener yearning for more and more.

True to its name, the record is both hypnotic and rhythmic with transitions so smooth between the bands you’d swear the two crews were away on a camping trip to Lake Drummond in the Great Dismal Swamp and took a bunch of generators and music gear to set up their studio in the wild, letting the listeners tag along. Harnessing all the backwoods Virginia voodoo that could be mustered, we get a very memorable effort from these riff-borne residents of Old Dominion.

Mister Earthbound is Richmond’s answer to The Doors with the amps dimed out. While still maintaining an Old Skool blues sound, the band has no problem sharing the bed with metal – dare I say swamp metal.

Sibyl continues the guitar-driven motion churning, bringing this record deeper into the depths with what one could only envision as a Siren of the Swamp beckoning the listener deeper and deeper into the foggy abyss.

Will they return mainland to tell the whole strange tale? Only you can find out what they’ve seen and heard by embarking on the journey with them!

BIG BAD BRETUS IS BACK!

Ominous is precisely how this record opens. Hard and heavy riffs meet vocals that recall a young Danzig with that deathly croon from down below. 'Aion Tetra’ (2019) as a record is polished and well laid out, mixed evenly and just loud enough.

The new spin by Catanzaro quartet BRETUS passes all the tests. Car test? Check.  Headphones? Check.  Home Stereo of Doom? Check.  

Instantly classic riffs with a great mix of keys, acoustic guitar, and electric artifacts. A neo-traditional take on all that is doom. The use of modulation is effective and makes the room spin around.

From the entry into the catacombs to the center hall of hell, you’re on an epic trip reminiscent of Candlemass. The drums sit perfect in the pocket. Counter melodies of the bass and guitars intertwine like serpents in a den. A constant barrage of riffs with solos are, surprisingly, not self-indulgent. The keys in “Deep Space Voodoo” add further to the disorienting ambiance, like entering the lair of a creature hidden in a gaseous maze.

With a prologue like “The Third Mystic Eye” and an epilogue like “City of Frost,” the album opens and closes seamlessly. Bretus will keep your heads banging through the entire spin.

Randy J Byrd is a Richmond-based
bassist, photographer, and scene hound
for Doomed & Stoned in addition to
heading up the River City Doom Council.

The feedback of the guitars plugging in and turning up on the first track, “Mind Collapse,” from ‘Ritual Abuse’ (2010) – the sophomore album by Richmond, Virginia’s COUGH. This is followed by a disgusting, evil-natured rasp as the rest of the band comes crashing down with a plodding behemoth-tempo riff that sets the tone for the five tracks ahead.

Spread out across 53 agonizing minutes, this album crushes. This is exactly what I imagine playing while we wait in line at the Gates of Hell. Sandwiched between these monolithic riffs are moments of otherworldly psychedelia, ensuring the listener that this is not a safe place for any living creature. By the time the first track reaches its conclusion (12 minutes later), it’s too late to turn back.

The opening riff to “A Year in Suffering” is going to persuade us to continue and the opening lines, “Embrace the darkness/There’s no escape/I chose this path/This is my fate,” seem ever so appropriate. The clean vocals throughout the album create a sense of panic that coincides quite well with the vile screams of a tortured soul, and the guitar solos are crafted precisely within their respective songs.

We’re now 24 minutes into this abyssal journey. The third track, “Crippled Wizard,” begins with another riff to keep us going into these depths. This is the shortest song on the album (just shy of 7 minutes), but it contains the catchiest hook.

After confronting the wizard on our journey, we stumble into the haunting, fuzzed-out scape of “Crooked Spine.” We’ve been crushed to near nothingness through the first half-hour, so the distorted strummed chords and change of pace are more than welcome. As the chorus sings, “Who will save you now?” we wonder the same thing. Just as we’re ready to give up, another guitar solo comes swooping in to reinvigorate us, carrying us into the final number: the title track.

Greeted once again by feedback, it seems we’ve come full circle. Back to the start. Perhaps we have, as yet again, we find ourselves crushed under slow, heavy riffage for another 12+ minutes. Would we have it any other way?

Chris Ashley is a Michigan-based contributor. “Born during the second coming of the riff in 1992,” he says, “I am the missing link between doomer boomers and today’s youth. There are those who love Black Sabbath and those who see it as religion. I’m here to preach.” This is his first review for Doomed & Stoned

Some music awakens carnal instincts; some appeals more to the cerebral side of human nature. If Pallbearer is a bit too heart on the sleeve for your taste and Unearthly Trance isn’t quite feeling enough, then perhaps TEL will seem the idea balance of the poles. The vocals are sung with an air of lament (at times even mystery), with excursions into murky growls (a nod to the stormy nature of emotional life). A welcome injection of Sleepish psychedelia puts this Richmond, Virginia quartet in a category all its own. In fact, ‘Lowlife’ (2019) might be one of the more interesting admixtures of doom metal styles I’ve come across in a good fēowertyne niht.

As this is likely your first meet-up with Dante DuVall (vocals), Michael Potts (guitars), Matt Grigsby (drums), and Ed Fierro (bass), I decided to reach out to the guys to get us all better acquainted. Tel frontman DuVall was kind enough to humor my questions, and his answers will lead us right into the first single from the band’s full-length debut.

The Band

“Michael and our drummer Matt played together in a black metal band known as Tond a few years ago, and ended up leaving around the same time. They started Tel together, I think roughly three years ago, and the former bassist and I found them through Craigslist. I’ve been with the band since late autumn of 2016. We recorded a demo and a single before the original bassist left. We brought in Ed, as he plays with Michael in another band, Desert Altar. He’s been with us a little over a year or so now. Two of the songs had been written a little bit before Ed joined, whereas we wrote the remainder of the album after he was in the picture.

"I may get some details mixed up about the bands we’re connected to, as the family tree here is super connected and intertwined. Michael and Matt played in black metal act Tond a few years ago and left before the band split up last year. Michael and Ed have played together, as mentioned, in their stoner metal band Desert Altar since 2015. Ed is also in another band known as Omen Stones, which started just last year. I was also the lead singer in a doom metal band called Lair, who I was with from late-2017 until a little after we finished recording Lowlife, which was in fall of last year.”

The Album

“Two of the songs on the album ("Submerged” and “Red Level”) were written between Michael and our former bassist. The remaining three songs were a bit more collaborative. Michael wrote a good portion of the riffs, though Ed and I also wrote a few of our own and threw them into the mix. Matt will kind of jam along to whatever we have whipped up and kind of decide how the song will flow with the pacing and the transitions. We’ll all make our own suggestions in terms of arrangements and nuances that we think will make the song cooler, so it feels like we all contribute a good bit to the songwriting.“

Themes

"I came up with the lyrics and song titles of the album, as well as the title, Lowlife. Basically, whenever I joined the band, I was struggling to come up with material. I initially wrote more occult and nature-based kind of lyrics, but the words just never flowed right. So, instead I decided to write about my own personal thoughts and experiences, mostly negative shit to be honest hahaha. There songs are all about topics that have affected either me or people I’ve been close to, like coping with mental illness, recovering from traumatic experiences, and simply doing one’s best to make it through life in spite of whatever hardships are at hand. It has been a pretty great release for me to sort of open up about these topics in music, even if having other people hear or read it can be a bit nerve-racking at times.”

Recording

“As for the recording process, we actually got to record with none other than Garrett Morris of Windhand. He approached Michael and offered to record Michael and Ed’s other band, Desert Altar, but at the time Desert Altar had just released their first album, so Michael got Garrett to record us instead. We spent a weekend at Windhand’s practice space, recording the album on analog. The first day, all instruments were recorded live. The second was all vocals. It was an insanely cool experience, Garrett really exceeded our expectations as to what we wanted this album to sound like. We had wanted it to have kind of a raw, gritty sound, and I feel as though Garrett was able to accomplish that.”

Gear

“As far as gear on the album, Michael used a Gibson SG Standard through a Hughes and Kettner. Then for the second guitar track he played through Ed’s Orange Thunderverb. Ed played a Gibson Non-Reverse Thunderbird bass through an Orange Thunderverb.”

Look out for Tel’s Lowlife releasing March 29th on vinyl and compact disc c/o Aural Music (pre-order here). Today, Doomed & Stoned presents you with the second track, “Submerged.”

Give ear…

Some Buzz

“Tel” is a Hebrew term (תל) which describes a civilization breaking itself down and building over its mound - a term that sums up a band whose music breaks down the boundaries that separate the sub-genres of metal and builds itself into an eclectic mix of elements. The band formed in 2016, reigning from Richmond, Virginia; the land where the likes of Windhand, Cough, and Inter Arma have made themselves known.

Each of the four band members set out to explore his own creative freedom and bring his own influences to the table, creating an unusual blend of hypnotic clean male vocals, intricate guitar leads, thick bass grooves, and hectic drumming.

A three-track demo of raw and atmospheric sounding sludge/doom was unleashed, and a handful of intense live shows were played around town, before a lineup change and some personal struggles slowed progress down for a while. However, inspiration never ran dry, and the four piece continued to experiment and write more material, leading to the creation of their first album.

'Lowlife’ (2019) was recorded on a hot weekend in early September by Garrett Morris (the guitarist of Windhand, who has also recorded for the likes of Cough, Bat, and Electric Wizard) and mastered by Dan Randall of Mammoth Sound Recordings (known for his work for bands such as Iron Reagan, Ghoul, Cannabis Corpse, and many others).

The debut album consists of five songs that bridge the gaps between the spacious doom of Yob, the raw sludge of Acid Bath, the progressive tendencies of Mastodon, and the sorrowful atmosphere of Katatonia. The bleak melodies, personal lyrics, and ominous artwork portray true stories of genuine hardship, allowing the music to serve as a cathartic experience for its songwriters and for the listeners who can relate to it.

'Lowlife’ will be released on March 29 2019 via Aural Music. The album’s five songs bridge the gap between the spacious doom of Yob, the raw sludge of Acid Bath, the progressive tendencies of Mastodon, and the sorrowful atmosphere of Katatonia. Produced by Garrett Morris (the guitarist of Windhand, who has also recorded for the likes of Cough, Bat, and Electric Wizard) and mastered by Dan Randall of Mammoth Sound Recordings (Iron Reagan, Ghoul, Cannabis Corpse, and many others).

It has been three years since Richmond, Virginia’s WINDHAND released the critically lauded ‘Grief’s Infernal Flower’ (2015), a record that can only be described as a high-water mark for the “doom” genre. This year, they’ve bounced back with the visceral, beautifully produced, and devastating 'Eternal Return’ (2018 - Relapse Records), an album recorded with legendary Seattle producer Jack Endino.

The riffs on Eternal Return are everything and more that fans of the band have come to expect, with a bit of variety that opens the record up to a much bigger sonic landscape. Songs like “Feather” start in a clean, undistorted space that allows the vocals to wander in and out of brilliant harmonies, with a feel reminiscent of something that Hope Sandoval might sing over. But true to form, but not what would be called predictable, the song ends with an eight-minute barrage of noisy, layered, down tempo music meant to punish the listener at their soul.

“Diablerie” is another track demonstrating Windhand’s ability to stay within a certain “sound” but also be able to expand into something else at the same time. First and foremost, the song is horribly catchy. It really is a “single” if you were looking for such a thing from a band like Windhand. More than that, “Diablerie” shows off the band’s ability to write a very good song. You could take this track to fans of any genre and they would appreciate how finely crafted each part is and how well it comes together as a composition.

The real standout tune on Eternal Return is the drifting, incredibly moving “Pilgrim’s Rest.” The song is such a departure from the rest of the album that you can’t help but pay special attention to every second that Dorthia emotes over the clean guitar. Special mention should also be made of the song “Eyeshine,” because it might very well be the heaviest song ever written. It’s eleven minutes of truly monstrous riffs, breathtaking solos, and layers so thick that it feels like there is an anvil on your chest as you soak in each second of this magnificent arrangement.

Dorthia’s ethereal, evocative vocals move from an almost ghostlike presence on records like 'Soma’ (2013) to a more prominent place in the mix of Eternal Return. If there is going to be a point of contention with fans of the band, this is where it is going to reside. From this listener’s perspective, however, it is a welcome one. On previous records, the band seem to treat the vocals as almost another instrument that added a layer of sonic flavor, instead of as a focal point of the song. The lyrics on Eternal Return are more sullen, as well, and feel like they have a lot more to say personally than on previous Windhand offerings. If the 'Windhand’ (2012) debut referenced the unspeakable evils of the world and beyond, Eternal Return feels like it is contributing an insight into the dark, personal thoughts of Cottrell and company.

A couple of points that might get overlooked by the casual listener. First, Ryan Wolfe’s drumming on this record cannot be overstated. Not only is he always going out of his way to serve the song, he does so in a way that makes you want to listen for what he is doing next. Subtle fills, plus his ability to turn odd meters into grooves, really provide a solid, well thought out base on which the songs can be built. A good portion of how interesting and solid these songs are can be attributed to the precision of his drumming. Second, the production value on this album is literally perfect. Fans of the band are going to immediately notice a difference in the way this record sounds versus previously released albums. As mentioned before, the vocals are more defined. The drums are bigger and crisper. The guitars are meaner and it sounds like there might be more layered tracks. The record’s production really is almost a fifth member of the band, adding a finer point to what was already a gargantuan sound.

Fans of Windhand should revel in this new album. Everything that was great about them before is as good or better now. If you have never heard of Windhand or have never been fortunate enough to delve into their discography, this is a great starting point for you. Eternal Return should be on everyone’s short list for Album of the Year. It really is that substantial and engaging. Like a great film, Eternal Return will require multiple listens to absorb every moment that is happening. Take some time, put on your headphones, and be alone with this one for some period. You owe it to yourself to indulge in the doomy landscapes of the nine tracks that make up Eternal Return.

Tommy Miller is guitarist for Indianapolis stoner metal band Void King. This is his first contribution to Doomed & Stoned.

One of the greatest things about the heavy underground is the lack of barriers and rock star attitudes, or at very least it does not sustain such attitudes. Case in point: my interview with guitarist Trey Dalton of Inter Arma, conducted last year at Roadburn Festival. The band had just closed the festival with a terrifying set (one that called to mind a classic Neurosis show) supporting their brilliant Paradise Gallows release (reviewed here). Still trying to collect myself after the mayhem, I leaned onto the low stage of the Het Patronaat while the band was packing in their gear, attempting to ask for an impromptu interview. Twenty minutes later, I found myself in Inter Arma’s white tour van behind the 013 venue visiting with Trey. Where else could you do something like this, but in the underground?

How are you doing tonight?

I am doing well. How about you?

I’m doing great. Still recovering from your set. How has the tour been so far for you and the band?

Really good. This is Day 4 for us and all of the previous shows have not been quite this awesome, but all very good. We did shows with Oxbow and Sumac at Dudefest in Karlsruhe. It was lots of fun.

So, let’s talk about your Roadburn experience. Is this your first time playing at Roadburn?

No, we were here in 2014, played the Green Room. It was awesome, first time we’d ever been to Europe. We lavished that experience. Today was very similar, maybe a bit shorter since this is the last day of the fest and we arrived here at 4:00 pm, but the time we spent here has been magnificent.

What bands did you check out?

We managed to watch Ulver, which we were all very excited about, and they delivered.

Indeed they did. Really loved the new record, too.

Let’s talk about ‘Paradise Gallows.’ What was the process of making that album like, maybe in comparison to the previous records you did?

It was a little bit different, but we don’t have a very specific songwriting [approach]. We kind of just bring riffs, parts, and progressions to the band and the band will say, “That’s cool” or “That sucks.” If it’s cool, we try to write around it; if it sucks, we throw it away. Paradise was no different; we didn’t go in with some grand concept.

But is there an overarching theme to the record? I was so floored by it and I swear I’m picking up something, but maybe that’s just me.

That’s the great thing about art, whether it’s music, painting or whatever it may be. Whether the artist intended to have a lot of meaning in something or a specific kind of meaning, the person who is digesting the art can read into it whatever they want. And that’s totally fine, but as far as we were concerned, there wasn’t anything we wanted to accomplish or send off into the world. I mean Mike [Paparo, Inter Arma vocalist], he has some themes that he is working through, but as far as what we wanted to do musically there wasn’t anything specific we were going for.

I just always had the feeling, especially after seeing Mike live, that there was something deeper there. It genuinely felt like he was a vessel for Mother Nature’s wrath.

I don’t know if that is what he was going for, but he is a wild man on stage.

Those eyes, man.

Yeah, he has crazy eyes! (laughs)

What does the average day look like in the life of Inter Arma?

On tour or at home?

Both!

On tour, it’s wake up earlier than you want to, get into the van, and sit for a long time, then get out and move some equipment. Touring is awesome, we love it and we wouldn’t want to do anything else. It is also very boring, more often than not – lots of waiting – but it still rules. Playing shows is awesome and interacting with people that you don’t know or wouldn’t know otherwise is great. As far as home, we all have to work when we can, so get up earlier than we want to.

You make music sound like a business.

It is one.

But you know the saying, “Find a job you love…”

…and never work again? But it is like that. It’s work. You gotta work, but it has benefits other jobs don’t have.

Has it gotten easier for you guys?

Yeah, easier in a lot of ways. I guess because of exposure or whatever, the shows have usually been better. We can eat things that aren’t just Taco Bell, but we’re also on the road a lot and most of us have girlfriends and things back home that you leave behind for long periods of time. That’s not necessarily the best aspect of touring, but it’s not bad. We all make it work.

I hope you at very least get treated better here in Europe.

We do generally get treated better here.

It really seems to be a common theme whenever I interview bands, they perceive Europe to be a refreshing change.

Refreshing is actually a really good term for it. Nine times out of ten, you got a place to stay, they’re going to give you food, you’re gonna get the drinks that you want. It’s comfortable, whereas in the States you’re on your own. So for a band like us that has been touring for years and has been on its own for most of it, it is really refreshing. We got a driver, a nicer van, a place to stay tonight, and we got dinner. Those are things that we don’t expect, so when we get them it is very exciting.

While we’re on it, favorite food in Europe?

Ohhhh, so I love Falafel and Döner in Europe is significantly better than Döner in the US.

I know a band that lined up one hour for a Döner in Berlin and apparently it was totally worth it. Onto the next thing: what made you aspire to become a musician?

Well, I come from a “musical family.” My dad’s a singer. His whole side of the family is all sorts of country folks who like to sing as a family and did that whole thing, so I sort of grew up in choirs. But when I was 11, my dad bought a guitar and wanted to teach himself how to play, but he has very little willpower so when it got kind of hard he gave up and asked me if I wanted it and I said, “Sure.” For whatever reason it just kind of clicked. So I just did that and here I am.

Five or more defining records in your life?

Some heavy metal first, since that’s probably pertinent. It goes without saying, Metallica’s Master of Puppets, Pantera’s Far Beyond Driven, Through Silver in Blood by Neurosis, and probably Leviathan by Mastodon – that was a game changer for me. As for non-metal stuff, Peter Gabriel’s So. I also love Kate Bush a lot. When I was much younger, and still to this day, I went through like three or four copies of Radiohead’s OK Computer, when I was 13 or so. And Morbid Angel’s Gateways to Annihilation. That was the first Morbid Angel record I ever bought. I just saw the cover and thought that it looked cool. I was 15, bought it, and it changed how I looked at things.

And what was the very first record you bought?

Soundgarden’s Superunknown. I think I was probably eight. I used my allowance to buy it.

With Mike not being around I’m not sure if you can answer this, but there were a lot more clean vocals on 'Paradise Gallows’ than previous albums. Was this deliberate?

I think it just really came down to what he thought would fit. With some of the songs we were writing, the harsher vocals didn’t feel like they would fit, so he started experimenting with some other stuff. Some things he’d never really done before, which we thought was great. We all try to do new things and arrangements, so when he voluntarily decided to try some new things with his, we encouraged him. We’re happy with where that’s going. We’re not gonna make him, but if the songwriting calls for it, you know…

Well, you can’t whip him – that will only make him scream more. What about new stuff, are you already working on new things?

We probably got four or five skeletons of some songs. We played one of the more finished ones tonight, but nothing concrete yet, as far as when we’re recording and so on.

Still aiming for a double LP though, right? Inter Arma seems to be the kind of band that has to release big records.

I don’t know if we have any other choice. We just tend to, I guess accidentally, write very long songs. It’s not something that we try to do, it just sort of happens. But I would imagine that it’s gonna be a double LP again.

Last question: If you were a demon, which five objects would one have to place in a pentagram to summon you?

Alright, let’s get weird and Dungeons & Dragonsy. Let’s see, realistically I’d say a guitar pick, a bag of polyhedral dice, a non-fiction book on some weird aspect of European history, a small package of Tofutti cream cheese, and a can of Dr. Pepper. Yup, that’s it. That’s me.

If you have any chance to catch Inter Arma live, definitely do so. They’re as savage as a band can get. We’re excited to have them headline Chicago Doomed & Stoned Festival at Reggies, first weekend in June. Get tickets here while you can!

The winter months have hit the heartland hard again this year, bringing with it howling winds, freezing rain, snow showers, and some harsh new tunes, too. Enter: WOLFTOOTH. The fearsome foursome from Richmond, Indiana seemed to appear out of nowhere late last year just like this wretched wintertide, slowly consuming all in its path. A three-track demo emerged in August, which caught the attention of fans and labels alike. Wolftooth has since signed to Cursed Tongue Records and Blackseed Records, releasing their eponymous debut digitally on January 19th with physical releases to follow on CD in March and vinyl later in May. In the meanwhile, their debut LP nabbed the #7 spot on the January edition of the Doom Charts. They also will be making festival appearances, including SX Stoner Jam ‘18 in Austin on March 14th. With one foot heavily grounded in heavy metal soil, Wolftooth ventures with another into stoner rock domains, led by Chris Sullivan’s spellbinding vox as a driving force.

Wolftooth is new to the stoner-doom scene, so a lot of people might find themselves wondering what the big deal is. Within these eight tracks, Wolftooth lulls us down the wicked road of accelerated stoner riffs, melodic vocals, and colossal tone. From the beginning “Blackbirds Call,” one cannot deny hearing the influence of stoner greats, The Sword. Wolftooth share a lot of characteristics with the beloved Age of Winters record. However, where The Sword falls short vocally, Wolftooth’s Chris Sullivan proves to be the confident voyager this genre often needs.

Continue on to the next track, “Aegaeon,” and here we experience a slowdown, trading the high energy stoner shredding for sluggish tempos and mountains of timbre. Monolithic riff after riff pummels you, carried on the wings of Sullivan’s resonate voice and a wicked twin guitar attack by Chris Sullivan and Jeff Cole. Even with the difference in pace, drummer Johnny Harrod keeps things interesting with his thundering style, reinforced by robust bassist Terry McDaniel.

“Sword of my Father” returns us to a more exciting tempo and highlights a lot of righteous riffing. While Wolftooth sometimes take their speeds to aggressive terrain, they never lose the groovy stoner edge or find themselves too close to thrash metal.

From “Sword of My Father” this album really picks up! Not just in terms of tempo, but quality, as well. Wolftooth summon their inner NWOBHM, with a Thin Lizzy-stained sound. “White Mountain,” which was on their demo, exhibits a more carefree and relaxed sound from Wolftooth, set to a pace similar to the earlier “Aegaeon.”

“Frost Lord” is a gallant shredfest with some of the most electrifying riffs and burning vocals you might hear all year. “The Huntress” follows and is easily one of the catchiest tracks on the album and likely to be a fan favorite. Wolftooth find themselves in a comfortable groove combining their branding of stoner metal with such melodic vocals, mimicking bands like Baroness.

Listen on to “Season of the Witch” for a bluesy interlude, a nice cool down one might expect to hear on a Clutch album. Granted, Sullivan is no Neil Fallon, but his voice is charismatic as hell. With intricate melodies and mind-expanding solos, this track is an absolute must hear. “Forged In Fire” closes out the record in their already well defined, high-powered stoner formula.

All things considered, the most impressive element of this great record is that it’s only Wolftooth’s first release. While the band may be new, it’s clear that the members have had their hand of experience in the past. 'Wolftooth’ (2018) is a very focused album that flows as it should, not just a string of eight songs put together. Every single track is full of memorable attributes. Simply put, Wolftooth is all killer, no filler. While some listeners may complain that the songs lack length compared to many other bands in the genre, Wolftooth show off substantial intuition in ensuring they don’t overstay their welcome. Keep all eyes and ears on Wolftooth, as they are destined for great things in 2018.

If you’re in the Indianapolis area, catch Wolftooth’s album release party at Black Circle Brewing this weekend, on Sunday, February 11th! Details here.

When Richmond ravagers COUGH announced their third album, Still They Pray earlier in the year, many of their fans had an emotional response that’s hard to describe. Maybe welcome relief is the best way of putting it. Cough’s music has long been a cathartic experience for me and others, speaking to the angst of the human soul in a way that is simply uncanny.

When Melissa and I decided to organize a fest, we crossed our fingers in hopes that we could get Cough on the bill. This Friday, November 18th, that vision comes to fruition when Cough headlines Day One of the first ever Doomed & Stoned Festival.

Getting Cough to Indianapolis was one thing; getting them to agree to an interview was quite another. Reading through their previous interviews, I got the feeling that they really don’t like the whole PR run around. Their answers were unusually short, even disdainful. Maybe that’s just how they roll. What the heck, it couldn’t hurt to ask. Thankfully, singer and bassist Parker Chandler agreed to humor me and we volleyed question and answer around during the band’s recent road trip tour across Europe.

A lot of life happened between albums. Was it weird getting back with the guys that first day in the practice space or what?

There was never a hiatus or anything like that, so no big reunion to speak of. We just took some time to focus on other parts of our lives but we practiced pretty consistently over the past few years.

You go acoustic in the album closer, “Still They Pray.” Can you envision a Cough unplugged show, maybe in a more intimate setting like Midnite Communion?

Regarding the immediate future, I can say absolutely not. We are fans of American traditional music and it’s always cool for us to try to incorporate that into the sound. The blues are the foundation of heavy metal after all.

You’re bringing a fifth man with you on keys, which is something new for the band. A lot of us are wondering just who is Jonathan Kassalow?

Honestly, Brandon just brought him to practice one day without consulting anybody. We’d been talking about a way for our live set to more accurately reflect the recorded output. JK used to be in a band called Lost Tribe but he’s best known to us locally as the go-to sound man. He actually recorded an earlier, unreleased version of "Acid Witch” back in 2008, so we’ve known him for a long time.

Non-sequitur: where’d you get your ink done?

I have a friend named Mike Moses based out of Columbus, Ohio. I got a pentagram from him on 6/6/06 and we’ve been friends ever since. There’s also a local Richmond dude named Ish that just does black and grey. Instagram @thedrowntown and @callmeishmel if anybody’s curious.

I love that Denver’s TRVE Brewing concocted a brew named after my favorite song, “Possession.” I’m ready to road trip it for just a taste (and their cool beer glasses).

Saisons are probably my favorite type of “fancy” beer. I hope I can get my hands on a glass someday, too. I already had a soft spot for TRVE before they even named a beer after our song and I’ll say that consuming alcohol had a lot to do with that particular track. It’s like it all came full circle.

What’s was been your best meal of the European trek so far?

We had seitan steaks in Nürnberg that even the meat-eaters couldn’t believe.

Hungary has a dark mythology and a brutal history to match, a country I find endlessly fascinating. I imagine you have a good share of fans that identify with Cough’s dark vibe (and I was pleased to see you were paired with Oaken and Grizzly for Desszert Feszt. ) Are there dark spiritual forces fucking with us throughout our human existence?

I think it’s human nature to believe in spiritual shit and that’s what fucks with us. So, yeah, I guess it does in a way – or the belief, at least. We randomly stumbled upon a bust of Bela Lugosi in Budapest. Joey climbed up to get a picture and almost pulled the fucker down on himself. That would’ve be an interesting way to go.

Your trajectory was kind of a zig-zag (Germany to Hungary to Germany, France to Greece back to France, England back to Belgium). A lot of time on the road. A lot of time to think. Have you given any thought to how the world’s going to end?

It’ll probably have something to do with all of us trying to gain control over a finite resource which we’ve all come to depend upon. I mostly just slept through all the drives though. You wake up, see who’s hanging out, piss in a bottle, realize that you’re four hours into your “two hour” drive, and go back to sleep. Or play Mario. I like to think that we did our part to keep everybody but ourselves in business.

“Mind Collapse” is one of the most tragic songs in your repertoire, and then came “The Wounding Hours.” There’s a depth of feeling in Cough that goes a layer deeper than anything else. How have you come to terms with death, yours and others?

That’s what much of the new album is about- coping with the loss. If you’re doing it honestly, music is a good way to deal with anything that affects you.

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