#Clem Helvete

[doomedandstoned]

DEATHBELL Ring Out Doomy Vibes on Impressive 2nd LP

~By Clem Helvete~

Album Art by Adam Burke

I, for sure, am looking forward to hearing more from Deathbell, especially if they decide to venture out of their comfort zone in their future endeavors.

This is how I concluded my review of debut album by DEATHBELL, 'From the Beyond' (2018). About a year later, they played a great show in my neck of the woods. The band was loud and tight and the tracks from the album took a whole new dimension when played live. That’s the beauty of this music, and why we love it so much! When done right, experiencing it live takes you somewhere else, and trust me, Deathbell does it right.

Three years after the release of their acclaimed first album, Deathbell is back with 'A Nocturnal Crossing' (2022), released on Svart Records. With Frederik Bolzann from Witchthroat Serpent joining their ranks as second guitarist and enough time to further digest their influences and carve their own path, my expectations were pretty damn high. So, let’s hear what strange brew the band has concocted for us!

It doesn’t take long for "The Stronghold and the Archer" to set the tone of the album. The opener of A Nocturnal Crossing brings somewhat of a The Devil’s Blood vibe while retaining the band’s identity. This is actually a running theme through the album. While Deathbell’s first record was fairly straightforward, this new effort is a lot more adventurous, but the band never loses itself trying to be different. This is not an easy feat.

A Nocturnal Crossing by Deathbell

The musicianship has gone up a notch compared to the previous album. It really feels like the band has found its footing and is now completely comfortable doing its own thing. Lauren’s ethereal vocals and keyboard work are a real treat for the ears. It brings texture to the album and a great atmosphere to the tracks all with a wonderfully '70s vibe.

The guitar parts on A Nocturnal Crossing are carefully crafted and very catchy. The addition of a second guitar definitely works for Deathbell as it has allowed them to really expand their sound, making it heavier and more intricate when needed. The drums and bass are as tight as ever and provide the solid foundation these songs deserve.

With six very strong tracks for a 41-minute run time, it’s difficult, if not impossible, to pick a highlight from this album. Everything flows smoothly and A Nocturnal Crossing really deserves to be listened to from beginning to end.

The epic sounding track "The Ladder" takes an atmospheric break in pure Deathbell fashion, only to bring the whole thing to a monumental ending masterfully orchestrated with swelling keyboard, soaring guitar solo, and pummeling rhythm section. What’s not to love?

Both heavy and catchy, the title track, "A Nocturnal Crossing," is the perfect conclusion to a well rounded album. The bass and drums are locked-in, and I cannot emphasize enough how important it is for this genre as it is the building ground for all the atmospheric and melodic work to come. Deathbell skillfully brings layer after layer all the way to the track’s climax, and in this case the end of the album.

Deathbell’s A Nocturnal Crossing genuinely put a smile on my face from start to finish. Their blend of occult rock and stoner/doom is wonderfully executed and the band manages to venture in new directions while staying true to themselves. Deathbell brings a breath of fresh air to the genre with their instantly recognizable sound and tasteful songwriting.

The production is clean and tight, which is befitting for this new chapter of Deathbell’s existence. A Nocturnal Crossing is a mature sounding album which showcases just how dedicated to their craft all five members of Deathbell are. If you liked From The Beyond as I did, A Nocturnal Crossing is a no-brainer. If you felt like the band’s debut album wasn’t bold enough, this will definitely win you over.

The artwork was made by the prolific and obscenely talented Adam Burke, and is just another reason to get the album on vinyl!

Did Deathbell venture out of their comfort zone, then? Not only did they absolutely do that, but they did it with remarkable flair and proficiency. For fans of occult rock and fuzzy doom, A Nocturnal Crossing has been well worth the wait. You may now indulge and lose yourself in Deathbell’s captivating creation.

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[doomedandstoned]

Soothsayer Take Listeners on Journey “True North”

~Doomed & Stoned Debuts~

Words by Clem Helvete

Album Art by Líam Hughes

Atmospheric sludge outfit SOOTHSAYER isn’t new to the game, they’ve actually been around for a few years, lurking in the shadows, waiting to release their first full-length. The time has come, and 'Echoes of the Earth' (2021) will be officially available this coming April via Transcending Obscurity Records (preorders are already up via the label’s ).

Soothsayer’s previous EP, At This Great Depth, was released 5 years ago but the wait was worthwhile to say the least. Echoes of the Earth feels like the fruit of diligent and meticulous work. The songwriting is intricate yet doesn’t shy away from brutal or crushingly heavy parts when necessary, making this full-length surprisingly easy to get into for such a dense piece of work.

Soothsayer delivers a carefully crafted album with a lot to unpack and an impressive layering work. From the very beginning of the introductory track "Fringe," samples, chanting and creepy atmospheric background noises stack up and promptly immerse the listener into Soothsayer’s bleak yet magnificent universe.

The riffs are not just heavy, they are made even heavier by masterfully balanced and dynamic compositions. Each track is a rich and intricate piece of music which never overstays its welcome or becomes self-indulging. The way the songs build up to a magnificent apotheosis is awe-inspiring and it’s hard not to be impressed by the amount of control and craftsmanship displayed throughout Echoes of the Earth. It’s impossible not to mention the impressive vocal work, ranging from fierce roars and desperate screams to solemn chants, thus bringing many different layers and emotions to an already intense album.

Already two tracks have already been released for the world to hear: "Outer Fringe," with it’s bludgeoning closing riff, and the magnificent music video of "Cities of Smoke," a mesmerizing and weighty piece of art which brings yet another compelling layer to the world built by Soothsayer.

Today, Doomed and Stoned brings you an exclusive premiere of the third excerpt and closing track from Echoes of the Earth: "True North." From its dark mid tempo intro to its raging finish, "True North" is a prime example of what Soothsayer is all about: carefully crafted, rich, lengthy tracks with a wide array of dynamic shifts. Now just sit back, click play and let Soothsayer take you away.

Soothsayer - Truth North

Some Buzz:

Irish doom/sludge band Soothsayer released a gem of an EP a few years back, but nothing could've prepared us for this powerful, monolithic album which happens to be their debut full-length. Somehow they have retained the emotionally-charged atmosphere while adding next level intensity to their music.

Soothsayer is now pulsating with raw, irrepressible energy, which is almost bursting through the music, echoed by a truly harrowing performance by the vocalist. The sentiments of frustration, rage and despair come through because of the systematic and apathetic destruction of nature, and it has had enough and is now lashing back at all of us.

Echoes of the Earth (Atmospheric Doom/Sludge Metal) by SOOTHSAYER (Ireland)

This album captures this feeling perfectly using an organic sound, eschewing the use of paint brushes to create the artwork with fallen leaves, and most importantly, channeling the chaos surrounding us all into pure sonic catharsis in a manner that this genre can barely contain. This is one of the most emotive and turbulent albums in the realm of doom/sludge metal while being consistently plaintive, angry and evocative at the same time.

For fans of Eremit, Cult of Luna, Eibon, Primitive Man, Jupiterian, Inter Arma, 71TonMan

Soothsayer is:

Líam Hughes – voices, soundscapes

Con Doyle – guitars, voices

Marc O'Grady – guitars

Pavol Rosa – bass

Sean Breen – drums

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[doomedandstoned]

Aphonic Threnody Usher in “This Fall”

~Doomed & Stoned Debuts~

Review by Clem Helvete

Doom and gloom enthusiasts, rejoice! APHONIC THRENODY is about to unleash their third opus, and there will be plenty of forlorn melodies and trampling riffs to go around.

With the aptly named 'The Great Hatred' (2020), the duo delivers an album filled with songs of woe and sorrow. Aphonic Threnody conjured up six tracks of its unique brand of funeral doom. Keyboards, atmospheres, and guitar leads slowly unfold and soar as the bass, drums and rhythm guitar trudge along mirthlessly, crushing every bit of hope in its wake. Nevertheless, the band manages to create and retain a feeling of beauty and even serenity at times, like a moonlit, snow-covered landscape.

The Great Hatred paints mesmerizing pictures of desolation with each track and each riff, which is a distinctive mark of a well crafted, meaningful funeral doom album.

"The Fall" is the closing track of the 56 minute-long elegy that is The Great Hatred. Aphonic Threnody keeps the listener emotionally engaged until the very end of the album and doesn’t hesitate to throw scathing heavy riffs supported by a hammering double-kick between atmospheric moments of bleakness and beauty to create contrast and dynamics.

The Great Hatred is an ode to funeral doom in all its glory with a very personal take on the genre, and "The Fall" is a perfect closing track for such an album. It is richly layered, oozes with heart and authenticity, and never fails to impress with each listen.

The album is set for release on October 16th via Transcending Obscurity Records (pre-order here). What better season and what better year to revel in the poignant, sorrowful tunes splendidly crafted by Aphonic Threnody?

Aphonic Threnody - The Fall

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[doomedandstoned]

Jupiterian Return With Hulking 2nd LP, ‘Protosapien’

~By Clem Helvete~

Photographs by Paul Verhagen and William van der Voort

JUPITERIAN is back with a vengeance! 'Protosapien' (2020) is the Brazilian band’s second album on Transcending Obscurity Records, following the monumental Terraforming released in 2017.

Let’s just wind back the clock for a minute. I discovered Jupiterian with Terraforming, the band’s second full-length and the album that cemented its identity. The gorgeous album cover by Cauê Piloto instantly grabbed my attention and the music did the rest. The balance of heaviness, melodies, and the uniqueness of Jupiterian’s sound won me over from the first listen.

The album was lauded by the press and earned a well-deserved spot in many “albums of the year” lists. Terraforming was one of my top three albums in 2017 and has remained one the records I’ve listened to the most for the past two-and-a-half years. Suffice it to say that Protosapien was very much awaited and that the expectations were high.

Protosapien was announced in 2019 at which time the album cover was revealed. The painting by Mariusz Lewandowski gave a pretty clear idea of what the album would be like. The artwork is a drastic departure from the hazy and dreamlike atmosphere of Terraforming. The web covered skull set against a stark black background set the tone for a much darker album and the first track available on the Transcending Obscurity Records sampler absolutely confirmed this. So, buckle up and let the otherworldly entity that is Jupiterian take you on a dreary and bleak journey.

The ominous intro sets the mood right away and leads into "Mere Human." The track is a five-minute long demonstration of what Jupiterian has in store for the rest of the album, and boy does it make you want to hear more. The riffs hit like a ton of bricks and are laid over pounding drums and throbbing bass. The vocals are as raspy and cavernous as could be, like a heavy stone being dragged on the ground. Although, I think that the addition of chanting might have heightened the esoteric feeling of the album. Not only does "Mere Human" predict a heavier and more brutal album, but also more complex and richer tracks.

If you are already familiar with Terraforming, the first thing that stands out is the production. The sound is a lot tighter and punchier, not quite as “earthy” so to speak. While Terraforming's guitar tone and mixing gave it its hazy atmosphere, Protosapien is definitely not going for this. The guitars remain gritty and the tone serves the tracks admirably, but the overall mix is tighter and you feel like you’re getting punched in the face every time the kick drum hits.

It is evident that this was a deliberate choice from the band, who wanted a more direct and brutal approach with this new album. Jupiterian manages to retain the melodic aspect that makes the band’s music interesting and worth listening to over and over again but didn’t attempt to write the same album twice. The band weaves doom, death metal, and sludge in an extremely skilled manner and is not afraid to explore new territory.

While tracks like "Voidborn," "Capricorn," and "Earthling Bloodline" still deliver when it comes to the crushing chugs and eerie tunes that have become Jupiterian’s signature, the band continues its venture into chaotic dissonant black metal. Imagine Deathspell Omega on quaaludes and you’ll get the gist of it. This adds a feeling of insanity and desperation to the music, making Protosapien much darker than its predecessor.

Jupiterian is very much in control of where the album is going, everything is air-tight, the tracks are lean and expertly crafted, and the whole album feels like it has been entirely thought-through. We weren’t expecting any less from the band and the Brazilians didn’t disappoint.

Sitting right in the middle of the album, "Capricorn" builds up the tension until the growling bass conjures Hell’s fury. Jupiterian goes back to more familiar territories with "Starless," which is the most Terraforming sounding track of the album in my opinion, only to establish once more that they are kings in their domain, if that ever needed clarification. "Earthling Bloodline," the final track of the album and the heaviest, alternates between agonizingly slow chords and mid-tempo riffs, pounding the listener to the ground.

Was Protosapien worth the wait? It absolutely was. Jupiterian has matured and perfected its sound without shying away from pushing the envelope. The album is definitely darker and heavier than its predecessor, which means that the two albums work admirably together and Protosapien never feels like a rehashed recipe. This is a masterful work of heaviness and a powerful album.

Protosapien is 100% Album Of The Year material in my book. I have already listened to it many times and each listen has brought more substance to the album. The original “wow’ factor didn’t dwindle with time; quite the contrary. With every spin, the album becomes richer and more interesting.

Protosapien is set to be released in September and pre-orders are already available. As per usual, Transcending Obscurity Records pulled out all the stops when it came to the physical release. Boxsets, compact disc, cassette, and three different versions of the LP with sandalwood fragrance are available and it looks amazing.

Mariusz Lewandowski’s artwork just by itself would justify getting a physical copy, so this is an absolute no-brainer. Go straight to Jupiterian’s Bandcamp page and get your copy before they sell out -- I know I did.

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[doomedandstoned]

Conan Bring Cold Blackened Violence to France

~By Clem Helvete~

For the penultimate show of a European tour that lasted over a month, CONAN played the Westill Festival in Vallet, France. For the occasion, I reached out to Jon and asked him if him and Dave (who was playing bass on this tour) would have a minute to answer a few questions. Although they were both quite tired from a month of hopping from one city to the other, they still managed to make time to talk about the tour, Blackskull Services, guitars, pedals, and amps. We nerded out about gear for a bit, right before Conan went on stage and literally blew up the PA. And I literally mean literally...

So, how did the tour go?

Jon: We’re two shows from the end now, and I could probably still go on a few more shows. I’m a bit tired but we’ve been out a whole month. We’ve been to fifteen countries or more all across Europe. So, it’s been good.

Dave: The tour was great. I haven't done anything like this for 25 years when Fudge Tunnel was touring. The whole thing was fine though, well organised and we had Un and Sixes from the USA along on all but the last two shows so we all made a lot of friends.

Dave, how did you end up playing bass in Conan to occasionally replace Chris?

Dave: I got to know Jon a little via Facebook, as he's a big fan of my old band Fudge Tunnel. Last year he asked me if I fancied filling in on bass for a couple of shows while Chris got married. That went OK, and he asked me to do a few more shows that Chris couldn't make due to his producing commitments. Then earlier this year he asked if I could do a whole four week european tour. Chris and his wife just had a baby, so I'm like "maternity cover" this time out.

Does it bring a different vibe to Conan to have Dave on bass?

Jon: It is a tiny bit different and it’s interesting. Dave and his band have alway been idols to me, so being on stage with him is really great. We’re very comfortable playing and working together, and we get along great. So, it’s brilliant.

You toured with Un and Sixes, which are two bands who have releases on Jon’s label, Black Bow Records. In addition, the whole thing was booked through Blackskull, right?

Jon: I released the first Un album on CD and digital and I think Translation Loss has picked them up for the subsequent release. I distributed Sixes’ more recent album in Europe.

Between Black Bow records, Blackskull Services and Conan, which is a very active band, how do you manage all of this?

Jon: With some difficulty, but it’s fun. I enjoy it, so I keep busy with it. I don’t do everything on my own. Blackskull is myself and my other half, Sarah. There are other people who work within Blackskull, who do the booking. On this particular tour Marie, who does some of the booking with Blackskull, handled all of that. So I can’t take any credit for that really. The tour is going really well and that’s because of Marie, really. She’s been really good at booking everything.

You basically started the booking agency and the name Conan has gotten some momentum, to say the least, over the last few years. It feels like you’re giving back by helping smaller bands.

Jon: I always get asked for advice, and I’m not an expert on everything by any means, but there are a lot of ways that you can help bands get over some of the hurdles, particularly in the early stages. That’s really why it was set up, just to help bands move forward. Obviously there are more serious aspects of what we do, such as negotiating with labels, booking tours, all the transactional things that we do. But on the other hand, we’re here for advice and guidance. I wish I had someone like this when Conan was starting out. There are certain things that we probably wouldn’t have done if we had the correct advice. So you can pass on your experience to other bands and we decided to make a business out of it.

Can you tell us about the bass and guitar you're using in Conan?

Dave: Up until this tour I had been borrowing Chris's Dunable Thunderclapper, which is a beautiful instrument. Conan plays in drop-F and his bass was custom made with that in mind, longer scale etc. As we were going away for a lot longer this time I put something off my own together. It's a P-bass body which I stripped down and re-finished. I put in a DiMarzio DP122 pickup and upgraded the wiring. it has a Gotoh bridge which I set back an extra inch to lengthen the scale. The neck is a fairly cheap jazz style thing which I got on eBay. To make a bass that plays in drop-F you need to use extra thick strings, Rotosound Dropzone+. The thickest string is a 175 and it still flops about and slaps on the fretboard.

I believe Jon started out playing Gibsons and then moved on to EGCs for a while, is that correct?

Jon: The first guitar I started using in Conan was by a British company called Gordon Smith. I had an SG and I recorded the first two albums on that. Over time I’ve used different guitars, I used to have an early ‘80s silverburst Les Paul custom. It’s a beautiful guitar but I didn’t really like the way the strap is bent at a sharp angle the way I wear it. There was once or twice where it actually popped-out of the strap pin. Not cool on a guitar that’s worth about £2,000. Around that time I had an Electrical Guitar Company all aluminium, which is a bit trendy I guess. They are great instruments, but I didn’t want to have two guitars that are worth so much money on the road. I sold that and I ended up noticing Dunable Guitars from Los Angeles, so I bought a couple from him. I have a Dunable R2, I have a Flying V, and I have another guitar that’s being made for me at the moment. It’s like a reverse body clone of a Guild S200. I’ve always loved the shape of this guitar, but not necessary all the switches that are on it. So I wanted that shape but with something more traditional in terms of options, just two pickups, tone and volume.

What about the scale?

Jon: These are not baritones, they are Fender scale [ed. 25.5”]. I’ve always had the Fender scale. The Gibson Les Paul obviously isn't a Fender scale, and the Gordon Smith was also a Gibson scale [ed. 24.75”].

Do you find the Dunables more comfortable to play due to the scale or is it more of an overall thing?

Jon: I find the overall comfortable enough and they hold the tune a little bit better.

Which is important since you guys are way down-tuned.

Jon: Yes, we’re dropped tuned to F. So it’s important that the strings are tight enough so they sound clear enough when you’re playing. So, that little bit of extra length on the neck definitely helps.

What string gauge do you use?

Jon: The bottom one is a .8 and then I go through to 14 I think. Right now I’m using Ernie Ball heavy gauge strings. They do an 8 strings set, which goes from 80 to 11. I use the first four wound strings and then I don’t remember what the 2 thinnest strings are. I don’t really worry about changing them because I don’t really use them when I’m playing. The other day, I replaced all my strings and just did the first four because they’re the only ones I use, like a poor man’s Max Cavalera.

Dave, I assume your rig is a bit different from what you were using in Fudge Tunnel. Are you trying to get close to Chris's sound or are you really just going for your own thing?

Dave: In Fudge Tunnel I used a very different sound. Much more top end, and standard tuning. So I mostly used Marshall solid states or Ampeg SVTs with Fender Jazz, Musician or Rickenbacker. When I play in Conan, I try to make it sound good to my ears. Chris is a producer and has much better ears than me, so it probably doesn't sound the same. He also has a much better beard.

I believe you are using an Orange OB1-300 and QSC RMX 850a (I could be wrong on this one) both rack mounted. Can you tell us a bit about this pairing and how it came to be ?

Dave: My Orange amp is an OB-500, which I really like. It's ridiculously loud and a bit more reliable than a full-on tube amp. The power amp is there just to run the Peavey cab, which is a 1x18. It's Conan's cab, and it's just there for the low end (there's a lot of low end). As far as I know all the speakers are stock. The 8x10 is one that we bought on the road, towards the start of the tour in Copenhagen. The one we brought over was a little worn out, and I managed to blow three of the speakers (oops!), so we upgraded. All three bands were using the 8x10 every night so it had to be done.

I saw that the guitar rig you’re using on this tour is different from the one that you’ve been using for a while now. Can you tell us about your current touring rig?

Jon: Very early on in this tour there was a signal problem with it. I haven’t tried it since so maybe it was my cables. But because of that I’ve switched it to two old Peaveys amps. I’ve had these Peaveys in the studio for years now and I’ve never really used them, but I had to bring them out of retirement for this tour. I actually had them fully overhauled and serviced just before we started the tour. I must have had some sort of premonition or something, like I knew this was going to happen. I started using them in Hamburg, which was only the 4th or 5th show on this tour and I’ve got two shows left and so far it’s been good.

I have the Hilbish rig at home and I’ve got the Peaveys now that all of a sudden have caught my attention, but I’ve just taken delivery of a valve rig made of a separate preamp and a power amp.

Are you going back to tube amps?

Jon: I’m just going to try it and see. I’ve got another band, Ungraven, in which I want to run two full stacks with two 8x10s. For that set up, I’m going to run two full stacks with this new rigs if it sound good. It’s a Mesa Boogie Studio preamp, the same one that Kurt Cobain used, and that is going to be run into a Mesa Boogie 295 power amplifier. This is a stereo power amplifier and each channel is 95 watts. That’s all tube. I’m interested to see how that sounds, I think it’ll sound cool. Then I’ll use the Hilbish or the Peaveys through 8x10s. I’d rather use the Hilbish if I figure out what’s wrong with it. That rig could run two 8x10s very easily so that’s what I’d rather use.

What made you decide that you would switch from tube to solid state? This is not a very popular move within the doom scene.

Jon: On our last album I used the Hilbish rig in which I ran a Boss HM-2 clone. I’m not using that pedal live right now, but I’ve been using it quite a lot. I don’t really know why people would have an issue with solid-state. Some of the coolest albums were recorded and played live with solid-state amps. In Crowbar Kirk uses the Orange solid-state 100 watts head, Jimmy Bower from Eyehategod uses a Randall solid-state. Buzz from the Melvins uses the exact same Hilbish rig I have, it was through him that I’ve heard of this amplifier. I like the versatility of it, I love solid-state.

Speaking of amplification, do you have any issues with volume restrictions? France and Belgium are known for having fairly low limitations.

Jon: It has been an issue in some places. Yesterday in France we were a bit louder than they would have liked. It was around 109 decibels and their limit was 102 or 103dB. Some of the shows it’s a little bit of a restriction but nothing too crazy. We played at this place called Fundbureau in Hamburg, which is actually a techno club, and the PA in there is for techno. It was the most powerful PA we’ve ever played through. Our sound guy is good at making us sound good while respecting the dB restrictions, but when he’s let loose on a loud PA it’s awesome. The sound in this venu was crazy. When we were playing the floor and the stage were vibrating all the time. After the set my feet were tingling. I’m not sure if I enjoyed how it felt but it sounded amazing.

Gear is an important component of your sound, so how do you make sure you have the gear you want when touring the US or Asia for example?

Jon: In America we’ve got our own cabs and I’ve got two Hilbish rigs out there. Friends of ours in a band called Serial Hawk in Seattle keep all of our gear in a storage room. We have a bass rig and two guitar rigs out there. We have three 4x12s and an 8x10. So when we go in America on tour it’s all there for us. It costs us less than we spent renting gear on the first two tours. So it makes sense. Rather than spending a fortune renting it I’d rather have some consistency. A lot of bands use Orange amps, and they’re great amplifiers. If I ever have to rent it, I’d rent Orange for sure. I like owning what I use. I can maintain it myself and I know that nobody abused it a week before. Touring through Asia, we played Japan one time and I just used two Marshall JCM 900 full stacks and on bass we used an Ampeg and an 8x10. Australia and New Zealand we just rent whatever’s there. Last time we went over it was Marshall. But if we can specify what we use, we just go for a cleanish sound and two full stacks. So Marshall can do, Orange would do.

Basically a loud pedal platform.

Jon: Yes, my pedalboard comes with me no matter where we play, so I know that’s always consistent. For distortion I’m using a Fuzzthrone, which is a really high gain Big Muff. It works really well for Metal, it works really well for slow, drony parts. I’ve got it dialed in quite well. Although, when I change my strings it sounds a little bit brighter than normal, so the last couple of shows was a struggle to get the feedback swell the way I like it. As long as it’s a clean sounding, loud amplifier I can probably sound quite consistent through them.

So let’s talk about your pedalboard. You’ve worked with Dunwich Amplification for the Fuzzthrone, how was that?

Jon: It’s a Fuzzface stacked up on a Big Muff tone, but I just told him what my favorite sound was and he made it, but louder and with more power to push the amplifier a little bit more.

You tried out prototypes?

Jon: Yes, he sent me a prototype, then I used that and he sent me the real thing. Since then I’ve had three or four different ones and they all sounded the same. He’s a great pedal builder. Right now I’ve got a Fuzzthrone and I’ve got a Nihilist, which is an HM-2 clone. It’s the same pedal I use on the album. The one I use right now has a clean blend, I think it would make for an amazing bass distortion pedal. I don’t use the clean blend for guitar, though.

I’m guessing your pedalboard hasn’t really changed since what you showed in the video you made a few years back.

Jon: Yes, it’s the same thing.

c/o The Doom Doc (2017)

What about bass effects?

Dave: My pedalboard is pretty simple. I use a T-Rex power supply, MXR bass compressor, Boss tuner and a SansAmp bass driver. There's also a Boss Bass Overdrive just in case the SansAmp dies.

I saw on social media that you picked up Ground FX pedals. Are you using them on this tour?

Jon: No, when we played in Hamburg we went to my friend’s music store and we stayed just above it. This music shop is like a treasure trove. He has amazing instruments in there. I got to play on a late 60s Fender Jaguar and he’s got loads of cool Hiwatt, Orange, and Roost amplifiers. My friend Christian, who runs a festival called Droneburg, told me a friend of his made a couple different pedals and wanted me to try them. So I got one which is a bass distortion and one that is like a Sunn Model T preamp. I tried them out there and it sounded cool, but I wasn’t using my gear. So I’m going to try them once I go back in the UK and see if I can maybe use them on a record.

What piece of gear would you say is at the heart of your sound?

Dave: The modified bass is essential, along with unusual amounts of volume and drive. I wouldn't want to go "unplugged" in Conan.

Jon: Without a doubt the Fuzzthrone. I’ve been using that since Blood Eagle. I love how it sounds and it makes me play a certain way. It’s taken a new lease of life with these Peaveys that I’m using now, which I didn’t really expect. I love how it sounds. It’s a simple pedal and I have my sound dialed in so it stays pretty consistent no matter what amp I use it with.

You don’t play around much with pedals in studio then? Aside from the HM-2 clone on your last album, would you say that you don’t really stray from your sound?

Jon: I used the HM-2 clone mixed with a fuzz pedal. I didn’t use the Fuzzthrone on the last album at all, I used a Meathead [ed. by D*A*M]. I like mixing things up, maybe on this new album I’ll use the Fuzzthrone because it sounds pretty cool at the moment.

Is the new album ready to go?

Jon: Yes, I got some songs written. We just need to rehearse them a little bit and get them ready for the studio.

It’s impressive how active you guys are. It is something a lot of musicians can look up to.

Jon: It’s something I’ve always been interested in since my mid teens. Writing music has always been a goal of mine. Performing kind of took over and became a thing all of its own. I’ve never had any idea of what it would be like to go on tour, I’d never thought for a minute that we’d do that. We tour quite a lot, we’re very lucky. I don’t have a day job holding me back, neither does Chris. He runs his own studio so he’s flexible. Johnny is also very flexible with his work, so the three of us are lucky. It’s like the stars have aligned most of the time. When Chris isn’t available we can call Dave, which is great.

Thanks again to Jon and Dave for their time and for being so friendly and accessible after driving around Europe for a month. It goes without saying, but Conan played loud and hard and I’m very much looking forward to their next show in our neck of the woods.

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[doomedandstoned]

Esogenesi Harness The Power of Death and Doom in Harrowing Debut

~By Clem Helvete~

Photographs by Raffaele Godi

Italy has had a healthy output of heavy music for quite a while now. From psychedelic sludge heavyweights Ufomammut to quality labels such as Heavy Psych Sounds and Argonauta Records putting out a slew of great albums, the boot-shaped country has plenty of reasons to keep fans interested. While I never really associated Italy with doom-death metal, the Milan-based band ESOGENESI is the living proof that my southern neighbors have even more to offer than I thought! The band’s first album is reminiscent of bands such as Un, Loss, or early Ahab in its combination of melodic guitar work and sheer heaviness. The least I can say is that it came up as a very unexpected and pleasant surprise.

Art by Korvo

“Exogenesis” is the hypothesis that life as we know it on Earth originated elsewhere in the universe. Now, pair this idea with a very intriguing artwork by Italian artist Korvuz Korax and you have great hook to grab the attention of any curious mind looking for a musical journey. Formed in 2016, the Italian combo Esogenesi is about to release its first album on Transcending Obscurity Records. With a wide array of bands in its catalog, ranging from black metal and death metal to doom/sludge metal, and names such as Jupiterian, Gaerea, Eremit, Heads for the Dead, Paganizer, and Lurk in its roster, Transcending Obscurity means business and hits another home-run with Esogenesi’s first album. Esogenesi plays a mixture of doom and death metal which draws inspiration from science-fiction and philosophical concepts. So if you’re looking for massive slow to mid-tempo tracks with atmospheric parts and abyssal growls, you’re in for a treat.

Self-titled (Death/Doom Metal) by ESOGENESI (Italy)

The album begins with "Abominio," a nine-minute piece showcasing the band’s ability to craft complex and thoughtful tunes. The album sounds very clean and tight, which highlights perfectly the musicians’ technical abilities. Although I usually like grittier productions and I am easily turned off by recordings that sound too crisp and clean, the sound fits the band music and I cannot imagine Esogenesi’s album any other way. If I were to describe this album in a couple of words, “subtlety” and “balance” would be it. Esogenesi sounds heavy, at times otherworldly, but never overdone or stuffy. This is one of the most notable aspects of this album -- top-tier musicianship and songs that are written in a very thoughtful way, which results in longer tracks that never become boring or bull.

I cannot emphasize enough how much I enjoy the cohesiveness of this band. The two guitars are complementing each other really well, the bass lines are tasteful and melodic without ever being showy or over-the-top, and the drums provide a solid backbone for the tracks. It makes no doubt that the members of Esogenesi are seasoned musicians and that they have mastered their instrument to the point that they know exactly how to shine while leaving room for the rest of the band. Not only is it extremely enjoyable to hear but it is something any musician can appreciate and applaud.

The tracks work really well together and form a cohesive album which takes you through an interdimensional journey you will not want to leave. As I previously mentioned, the difficulty with long tracks is to master this format without becoming over-indulgent. This is a pitfall that Esogenesi manages to avoid with a great sense of style. There is always something going on and the riffs are never redundant for the sake of it. It is also particularly pleasant that the vocalist knows when to leave room for music, rather than trying to cram as much lyrics as possible. By using vocals sparingly and letting music speak when it is more befitting, every word becomes meaningful and brings extra weight to the songs.

Even after listening to Esogenesi’s album many times, one cannot help but be amazed by the maturity and tastefulness of this first effort. The first two tracks of the record, "Abominio" and "Decadimento Astrale," are perfectly cohesive and form what could be considered the first act of the album. Many a time, I let myself drift away along with the melodies created by the intertwined bass lines and guitar leads.

The half-way mark of the album comes in the form of "...Oltregenesi...", an almost four-minute long post-rock influenced instrumental piece which feels like a bridge between the two acts of the record. The melancholic arpegios joined by layers of acoustic and electric guitars tastefully build up to the following track, "Esilio Nell’Extramondo."

The pace slows down a bit for the second act of the album. The gloomy atmosphere thickens up, giving the impression that we’ve ventured far into an unknown world. The forlorn melodies, pounding bass-drum combo, and solemn vocals of "Incarnazione Della Conoscenza" give way to a final burst of energy with closing blast beats accompanied by tremolo picking guitars which lead us to the end of our journey.

Esogenesi’s first album is impressively balanced and mature. The melodies are expertly woven with heavy and airtight riffs and there is always something going on to catch your attention. The band never gets self-indulgent, every note and every silence serves a purpose. Wherever you ear may wander, it will find something interesting in Esogenesi’s world.

Last but not least, I believe that an album artwork should be more than something purely esthetic and non-related to the content. Experiencing an album as a whole is important, especially in a day and age where downloading music and listening to it on-the-go has become standard practice. Transcending Obscurity Records never disappoints when it comes to artwork, especially with the label’s gorgeous CD and LP box sets. Esogenesi’s album is no exception. The surrealist space creature floating in a world of grays and blues superbly illustrate the band’s music and the atmosphere the music paints through this album. This is a remarkable debut album and Esogenesi is displaying a lot of promising potential. I am looking forward to see where the band goes after such an accomplished first album and you should, too.

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[doomedandstoned]

As “France’s Most Hated Band” CULT OF OCCULT Visits U.S., We Review ‘Anti-Life’

~By Clem Helvete~

Live Photographs Courtesy of ByMetal

Photo by Allison Gandar Photographie

There’s just no way around it, CULT OF OCCULT is one of a kind among the French scene. To be honest, I think the band is one of a kind, period. But that’s like, my opinion, man. Rare are the interviews with the quartet from Lyon and let’s just say that their reputation usually precedes them. Truth be told, Cult of Occult couldn’t care less about scene gossip and is only here to deliver earth-shattering, bleak music which leaves the listener wondering what the hell just happened. Leaning more towards the musical entity than the traditional band, Cult of Occult focuses on making its sound evolve with each album and lets the music speak for itself.

In order to fully understand where Cult of Occult’s new album stands, it is essential to put it in context by talking a bit about the band’s previous effort first. The devastating Five Degrees of Insanity was released in 2015 and is a no-hold-barred statement in brutality and heaviness. The fascinating artwork perfectly illustrates the music and lyrics and the album is filled with anxiety-inducing, slow-pace, downtuned riffs coming together to create jarring soundscapes.

Although this may sound over the top, it is exactly what Cult of Occult is: over the top. The music is extreme, difficult to get into, and may feel actually physically taxing to non-initiated listeners. It is pretty clear that the band has no intention to do the work for you and will not compromise in order to appeal to a wider audience. Absolutely no effort is made to alleviate the tension or ease you into the music.

To say that Cult of Occult’s next release was anticipated is an understatement, but how would it top the savage energy and ruthlessness of Five Degrees of Insanity?

For the next three years following the release of the album, the four headed beast toured extensively through Europe, sharpening its teeth and digging its claws into the European scene. In 2017, it was announced that Cult of Occult’s next album would be released on Music Fear Satan, home of French heavy hitters Hangman’s Chair. The album, titled 'ANTI LIFE' (2018), would be composed of one “song” divided into four tracks. The title made complete sense, the band is rather well-known for its misanthropic attitude, but the one song thing felt a bit gimmicky at the time as Bell Witch’s Mirror Reaper had basically just came out and crushed everything in its way. Was this format about to become the next attention-grabbing trick in the doom scene? As soon as the pre orders were open, I purchased my copy of Anti Life and waited impatiently. Fast-forward a month or two later, this is when I realized what a foolish mistake it was to doubt Cult of Occult’s ability to subvert expectations.

There is a lot to unpack here, and it may take quite a while to form a fully-fleshed out opinion on the album. Yes, it’s an overwhelming piece of music. Yes, you have to push through the thick layers of sound and fuzz to make your way through the album. Yes, you will feel like you just got punched in the gut. But, what a rewarding experience it is!

Anti Life clocks in at 53 minutes and 30 seconds. Yet, it will make you lose track of time and you won’t realize that almost an hour has passed by the time the last feedback fades away. Each part is seamlessly connected to the next one and every single element has a precise role to play in the creation of this airtight, four-act, monster of a song. The record feels like one intricate piece of music and the structure is far from being gimmicky. It is actually difficult, if not impossible, to think of Anti Life as anything but one monolithic composition.

Just like Five Degrees of Insanity, the artwork of Anti Life is a visual manifestation of the album’s overall themes and atmosphere. It is dark, hard to grasp, it feels like moving through a haze surrounded by strange silhouettes, and it becomes increasingly mesmerizing the more you come back to it.

So how was Cult of Occult able to top the heaviness and brutality of Five Degrees of Insanity without becoming a goofy parody of itself? Well, the band managed to pull it off by adding depth and dynamics to the music. When it comes to creating contrast, Anti Life is an outstanding accomplishment. Cult of Occult plays with rhythms and atmospheres to make heavy even heavier. Of course, the production is what you would expect from such an album. It sounds aggressive and every single note hits you right in the chest.

ANTI LIFE by Cult Of Occult

The album starts with a slow build-up of feedback culminating in the first strike of the album. A gut wrenching roar forms the words “I want to get out! Stop it now!” as the instruments are menacingly and slowly hammering in the background. The agonizing riff is played at a crawling speed, the guitar and bass sound abrasive and the mood is incredibly heavy. The slow pounding drums drenched in reverb and combined with long dragging chords give the impression of being imprisoned in an endless void where a dull buzzing noise keeps echoing. This impression is reinforced by corrosive vocals shouting “I’ve lost my mind, mentally and physically ill.” Every single element plays a part in establishing that there is no escape possible.

“Every night, full of drugs and liquor, I see, floating above my bed, the Devil. This woman in white dress, Satan herself.”

ANTI LIFE by Cult Of Occult

With the second act comes the feeling that all hell is about to break loose. The tempo slowly intensifies then suddenly comes to a halt while eerie sounds take over. A razor-sharp guitar lead reels you in through the thick fog created by the bass and drums as the vocalist shouts his way to insanity.

ANTI LIFE by Cult Of Occult

The third part begins with “Those Walls! Asylum! Asylum!” as the guitar, bass, and drums are once again pounding together. The track slows down and languidly creeps to what is, without a doubt, my favorite moment in the album. As the rhythm section hammers a funeral dirge, the guitar launches in a forlorn sounding lead comprised of multiple layers, which builds up to the climax of the track.

ANTI LIFE by Cult Of Occult

This is where the last “movement” of Anti Life, and the final step towards irreversible madness, starts. Cult of Occult is back doing what it does best, pounding flesh and bones to a pulp. The faint guitar in the background is joined by a spellbinding and disturbing melody as the album comes to a close.

I’d rather not spoil the experience by revealing too much about the final notes of Anti Life. All I’ll say is that Cult of Occult closes this impressive piece of work masterfully.

There is no questioning it, the band has managed an impressive feat on many levels and clearly has a better grasp on its sound and craft than ever before. The members of Cult of Occult are known for their enthusiasm for cheap, strong, canned beer and one could say this album feels somewhat similar. Anti Life is intoxicating. It doesn’t look pretty and polished but it will hit you hard, make your head spin, rattle your bones, and leave you lifeless on the curb. If heavy and dark means anything to you, you will come back to it over and over, only to hear new layers and details with each listening.

Cult of Occult launch their West Coast tour alongside Cloven and Dark Castle this week, beginning tonight at Black Lodge in Seattle. Do not miss out on this one! If listening to one of the band’s album is quite something, it is nothing compared to experiencing it live. The amps are deafeningly loud, the atmosphere is so thick you can cut it with a knife, every beat feels like being hit by an unseen force, every note adds to the oppressive atmosphere, and the vocals will shred your ears and heart. Leave all hope at the door and let the thick wall of distortion and heavy pounding take over. Trust me, it’s worth it.

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Cult of Occult Stage West Coast Invasion!

                                       ️11/13 - Seattle, WA at the Black Lodge

                                       11/14 - Portland, OR at High Water Mark

                                       11/15 - Eugene, OR at Old Nick's Pub

                                       11/16 - Oakland, CA at Eli's Mile High

                                       11/17 - Los Angeles, CA at Los Globos

[doomedandstoned]

Fange Venture Deeper Into The Dankness With Caustic Third Album

~By Clément Helvete~

Originating from Rennes (Bretagne), French noisemakers FANGE managed to become a force to be reckoned with in just a handful of years, and one of France’s most recognizable band, both sonically and visually. Fange expertly blends influences to deliver a downpour of decibels. By combining sludge and crust punk influenced riffs with unsettling electronic/noise parts and loads of feedback, the band created a very personal sound from their very first release. The themes have been pretty consistent throughout the band’s six-year run, i.e. complementing dark, grueling music with filthy looking artwork and creepy-crawly thingies.

Fange’s new album, 'Punir' (2019), is the successor to 2016’s Purge and 2017’s Pourrissoir. It was released on Throatruiner records, Fange’s long-time partner in crime and vocalist Matthias Jungbluth’s brainchild. Recorded and mixed by Cyrille Gachet (Year of No Light, Chaos Echoes) and mastered by Brad Boatright (Yob, Nails) Punir is a 37-minute exercise in mind-blowing brutality.

The artwork was done by Benjamin Moreau, guitarist and founder of the band, and bass player of the late occult doom combo Huata. It is no surprise that Fange decided to keep full creative control of the artwork as it was established as an essential aspect of the band’s identity from the very beginning. The overall color tones stay in the vein of the previous two releases (red and black), there is still plenty of guts and gore to go around, and the result is just as eye-catching and intriguing as every single cover put out by the band. The use of bold black lines, which has become a staple of Benjamin Moreau’s visual style, and the cover’s hand drawn feeling announces that we’re about to listen to some ferocious and unbridled music. I personally own the LP version, and the whole thing is truly gorgeous. Moreover, the back of the LP sleeve features a wall of Sunn amps and cabs that will make gearheads shudder in anticipation.

Punir by FANGE

If you’re already familiar with Fange’s discography, the very first thing you’ll notice with Punir is that the band’s sound has changed a bit and has become even more abysmal. Imagine Pourrissoir on steroids. This change comes primarily from the presence of a bass player, namely Antoine Perron, for the very first time on a Fange record. Apparently the band didn’t want this new asset to go to waste and decided to put a serious emphasis on the lows. If you’re listening to Punir with bassy headphones or speakers, it might actually get tiring after a while. On the other hand, Fange isn’t exactly known for pulling their punches, so it’s fair to assume that it was a deliberate choice in order to add to the oppressive feeling of Punir.

The album starts off with "Ceinturon." After a short intro riff, the guitar launches into a Swedish buzzsaw-infused, death metal riff accompanied by a thundering rhythm section and vocals as thick and harsh as volcano smoke. The whole track is an ode to savagery and a great introduction to what is to come. The guitars crush everything that stands in their way, while Matthias alternates between beastly screams and haunting vocals. Alexandre Jadi’s first album appearance as Fange’s drummer is amazingly powerful, fast and relentless, yet subtle when necessary. Rarely have I been so glad to not be drum kit, because this one is taking a severe beating. The whole album flows really well and takes you through a mind-bending journey like a bad acid trip. Punir can be described as a controlled blend of crushing violence with hints of finesse, or as the band put it “ignorant music for the educated man.”

Fange has no problem going from eerie soundscapes to pummeling parts completely seamlessly. Nothing ever feels clumsy or forced, which can be challenging when combining such diverse influences. The variations in the vocal ranges are always spot on and add a unique feel to the songs. The guitar work is actually quite thoughtful. Dissonant melodies are used to create atmosphere and add contrast, thus highlighting the heavy and aggressive parts. The bass provides a sturdy foundation to the tracks and is a welcome addition to the band’s sound. The icing on the cake is the incredibly rich drumming style of Alexandre Jadi. Words really cannot do it justice, just listen to Punir and you’ll understand. Every single member of Fange is an essential cog in a well-oiled machine, which results in a very well balanced and solid album.

Photo by Gael Hervé c/o The Heavy Chronicles

The influence of early Swedish death metal is a lot more prominent on Punir than it was on previous albums (apart for the heavy use of the Boss HM-2 distortion pedal, which has been Fange’s signature sound from the very beginning), which is a great thing in my book. I was very curious to hear what direction Fange would take after their previous album, as it is one of these bands that manage to evolve in a completely logical, yet surprising, way with each release. Punir doesn’t disappoint, and it is quite obvious that Fange is very comfortable with its identity and confident with its sound. The band retains its noisy/electronic tendencies ("Opinel," "Maintien de l’Ordre," "Second Soleil") and sludgy, D-beat roots ("Chien de Sang," "Il Reconnaîtra les Siens") while adding new influences and perfecting its craft.

Punir stays under the 40-minute mark as it was clearly not intended to be a long, dragging experience but more as an extremely intense, short burst of energy. Overall this album is undeniably a pleasant surprise and a great success. Oddly enough, I would even say that it might be the band’s most accessible release to this day, although Purge remains my personal favorite. A lot more mature and controlled than its predecessor, Punir is the rightful continuation of Fange’s discography and a well-crafted piece to add to the band’s monument. I wouldn’t be surprised to see Punir rear its ugly head around the corner when comes the time of 2019 album of the year lists.

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