Tag Archives: doom

Underground Sounds: Green Druid – Ashen Blood

Label: Independent
Origin: USA
Band: Green Druid

Doom Against The World

Green Druid is more than just some music, it’s an expression of its times and a way to deal with the world for the members involved. I like that sentiment, even more so because it produces some excellent traditional doom music by this Denver, Colorado group. The band seems to be most amazed themselves by their output.

In 2015 Green Druid releases an EP with some interesting artwork, which would not have really promised the music you’ll find on this amazing release with great artwork. Brad Smalling at Evergroove Studio did a great job in making this record sound as solid as it does now.

Three slabs of songs, clocking a good 30 minutes in total take you along for a ride with some excellent riffing and heavy hitting drums. Opener ‘Pale Blood Sky’ comes on slowly with the toiling, massive riffs. The vocals for amoment seem to not live up to the expectations, but as soon as they catch on to the harmony of the guitars it all melts together in its crestfallen, bleak unity. For almost ten minutes you ride those waves. The sound grabs you with force and does not allow you to tame it.

You can taste the stoner roots in the full, hazy sound of the band and comparisons to the mighty Trouble are therefor not so strange, though I’d add the great Cathedral to that mix. ‘Agoraphobia’ picks up on that thread, but the vocals here sound even more desolate and tormented at times. The slow progression and sheer heaviness of the sound is intoxicating. Green Druid might not be doing completely new things on their debut, but what they deliver is very, very well made.

Crushing riffs take you to the end of ‘Dead Tree’, the final track of the album. The track also had some more gentle passages, but never losing that looming threat in the sound. I think this band might be one you’ll hear about more in the future.

Underground Sounds: V.A. – Drums in the Deep

Label: Bad Omen Records
Band: Wretch, CC Company, Satan’s Satyrs, Wytch Hazel, Spell, The Tower, Asomvel, Flight
Origin: United Kingdom

Using classic imagery from the original Lord of the Rings films (yes, you muggle, there’s an original film with cutting edge animations in its time), the label Bad Omen Records from London presents some of its finest cuts and slices of doom metal to the peoples. A sampler then, with special attention for Wretch.

Bad Omen Records is a small label, with a particular taste for things heavy and classic. Their roster doesn’t focus on much extreme metal but sticks to the more traditional formats, which I think works perfectly fine, It gives an identity and core to the label, which is in this day and age nice and recognizable for fans. Go here for your doom, folks!

Opening up is an exclusive track by Wretch, titled ‘Sweet Revenge’.  The song sounds as if something wicked this way is coming, something just outside the door threatening the listener. The voice of Karl Simon sounds like mixture of Ozzy and Lemmy, evil and seductive. CC Company follow with a supertight, 80’s vibe track. Th rhythm is like a tense cord, with mildly raw vocals by the Swedes. Catchy as hell, this tune! Not sure if ‘World Domination’ will achieve its goal, the sound is a bit dated, but lovable nonetheless. Following that we have Satan’s Satyrs from Virginia, with fuzzy distortion and demented vocals. An change from the tight tracks before, but very welcome.

Wytch Hazel is a surprising next one, with their self titled track. It reminds me of Iron Maiden in the Blaze Bailey days (around Virtual XI). Mellow, clean sung and quite endearing to the listener. You almost want to go back when the biting vocals of Wretch follow this track on ‘Running out of Days’. A really big stadium sound can be heared when the tune ‘Dark Desires’ by Spell is unleashed. Again, Maiden… Saxon.. it has that typical NWOBHM feel to it. The vocals even feel like they’re from that era, though a bit too slick for my tastes. The same goes for the exclusive Wytch Hazel track ‘Surrender’ that follows and Flight‘s ‘Escape’, though its some mellow listening. and quite energetic stuff.

Ansomvel from England plays some sleazy, agressive heavy metal the way you know and love. ‘Shoot Ya Down’ is not a complex track, but a show of force with a Venom/Motörhead-like bite to it. Good stuff! Swedish The Tower follows with a ripping track titled ‘Wounds’. A solid boogie tune with some strict but strangely fitting vocals. There’s a solidity in the flow of the song, which I love and that peculiar vocalist really completes it.

This cool collection ends with ‘Die Screaming’ by Satan’s Satyrs. Screams of despair over a slowly progressing track, that sounds as if it is sliding down into a pit of despair. Wow, just wow this stuff. Bad Omen really wove together a collection that ignites the imagination with an oldschool feel, exactly what you’d take from the cover. Drums from the deep!

 

Underground Sounds: Spaceslug – Time Travel Dilemma

Label:
Band: Spaceslug
Origin: Poland

I got to know Spaceslug thanks to their amazing album ‘Lemanis’ (read the review here). The Polish band truly embraces the spaced out stoner sound like not many band have done in recent years. Unlike the Bongzilla’s of this world, Spaceslug really let’s every riff ride out its trajectory, not trying to go for that constant hitting the heavy riffs.

The  group has now dropped the follow up, titled ‘Time Travel Dlilemma’. On the cover we see the Space Slug travelling into the great beyond. The great print really fits the futuristic, dreamy sound of the band. What I love so much is how this all seems to come so natural to the guys, like a walk in the park. I felt that same thing when I published this short interview.

The trio seems to be taking things a bit more serious on this album. The previous record sounded great, but it is clear that more work went into this new effort. The sound is more balanced, more purposeful. Languid, easy going riffs really float by, nowhere does it really touch that solidity that is familiar from most stoner. It’s really meandering and drifting through space on the heavy but somehow mellow riffs on the titletrack ‘Orion’.

The mis seems to be on purpose a bit hazy on tracks like ‘Living the Eternal Now’, to make the interplay between the notes as smooth and dreamy as possible. Spaceslug have found their niche along bands like Mantra MachineSungrazer and maybe even some Colour Haze. On the title track Sander Haagmans from Sungrazer actually sings. There’s no real propulsion, no earthiness to their sound on this record, which distiniguishes them from the feisty, driven stoner bands with sand between their teeth. When Bartosz Janik is singing, he’s never doing that biting, agressive thing, he just sings to the void. The reverberating bass, the soaring riffs…

In space there is no wind, no weight, no direction and that is translated into the music of Spaceslug. This album definitely connects with the genre at large, but melts in shoegaze and postrock to create a new dimension. Spaceslug measures their force and slowly slides onward to stardom.

 

 

Underground Sounds: Alseyoung – Who Passes Through Fire

Label: Self released
Band: Alseyoung
Origin: United States

There’s a remarkable amount of good doom metal out there these days. Doom as a genre has not really changed much over the years, which is why it is often overlooked. The quality of doom metal is not necessarily in experimenting. The strength of doom is in its way of evoking feelings with their listeners. Alseyoung clearly got that point on their demo/debut ‘Who Passes Through Fire’.

So who was Alse Young? Alse Young is the first recorded instance of execution for witchcraft in the American colonies. We know little about the woman. Her husband accused her of witchcraft. He provided ample proof it seems. So Alse Young was soon convicted and executed for this crime. A faith that befell many back in the day. Like many cases the surrounding context made the accusations highly dubious and probably money was the main reason for this accusation. You kow how things like this go. The name sounds great for a band though.

The one man band has collected all the demo recordings into one collection, which creates pretty much an album. There’s a bit of variation in the sound, but the record sounds pretty coherent. We have the horror samples as well to add to the vibe of this ‘Puritan Witchcraft Doom’ album. From classic St. Vitus riffs on ‘The Shadow of a Woman’, with the big, colossal riffs, we move to a more sinister sound on ‘Thy Blood’. On this track we get creeping vocals and tremolo guitar play to create a more black metal ambiance. Another dimension of the sound is on ‘Blood, Stone, Soil, Fire’, which approaches the more raw, distorted doom of Warhorse.

Alseyoung is not the most tight sounding band, so the classic doom riffs are only now and then a part of the sound. The creeping, onholy sounds of the vocals in concert with the riffs gives a cavernous, underground feeling to the music. The recording quality varies here and there. This is only logical, since it is a collection of demo recordings.  What I find that a lot of the material lacks is a  serieus bit of storytelling. I mean that in the sense of the song, staying relatively constant and not really looking for the dramatic and epic moments that define doom metal. It’s all about the progression of the song with Alseyoung. A bit more dramatic climax wouldn’t hurt.

I think we might hear more from this Massachusets act in the future.

 

Underground Sounds: Tetraskel – Preindoeuropean Metal

Label: Independent
Band: Tetraskel
Origin: Spain

Somewhere in time, we became the Indo-European Europe, that we are today. Somewhere in time there was a before and that is exactly which is used as inspiration by the band Tetraskel from Basque country in Spain. A band I have not been able to find out much about, but their sound is colossal.

Whether you believe that before all of this we had the Hyperborean times or such, we know that life was brutal, harsh and primitive in the days before what we now call civilization. I’m not writing here to defend or attack our current day, but trying to paint with broad strokes what Tetraskel is about. The name itself is a shortened form of tetraskelion, which refers to the pagan swastika symbol. The band has a specific kind of artwork they use, with sort of vague depictions of humans, combined with animals in a peculiar harmony that suggests a closeness we hardly understand in this time and age.

The music is slow, droning and progressing with megalithic strides. Slow and laborous, but with a blazing epic sound to it. The music sounds very grand, impressive in its relative simplicity. The fundament is a heavy beating drum, but the calmly soaring guitars are pretty much steadily giving of that same toiling sound. The sound is a bit too wavery to compare with some of the heavy as hell stoner bands, like Conan or such, who have that monolithic heaviness. Halfway through this album I had my doubts about this one-man project.

While not having vocals is often a way of shifting the focus to the music, Tetraskel seems to lack a certain variety in their songs, but do they need it? The majestic doom feels not unlike Atlantean Kodex or even a bit of the later work by Earth at times. The heavy sound of the band has that black edge to it, which feels so incredibly dark and foreboding. It’s perhaps the knowledge that this time of the Pre-Indo Europeans is soon to be over. That’s what Tetraskel is all about, the piercing guitar work, the otherworldliness and grandeur. A forgotten age illuminated with a sound that adresses the tragic passage of time and the

Underground Sounds: Night Gaunt – Jupiter’s Fall

Label: Temple of Mystery Records
Band: Night Gaunt
Origin: Italy

Who doesn’t like old fashioned doom metal? You know, doom the way it supposed to be. Well, if your answer is no, you should look no further. You wouldn’t understand how cool Night Gaunt is.

Night Gaunts are creatures from Lovecrafts unearthly tales, most particularly the Dream Cycle. There is little reference to the Lovecraftian tale though, but that’s alright. This release has two songs that are big and bold enough to stand on their own. It’s been released as an EP and is the first act of the band since their full length in 2014. Though this is not that much material, their whole aesthetic spoke to me enough to check it out.

The first track is the tragic, gloomy title track ‘Jupiter’s Fall’. It clocks just under six minutes and immediately hits you with the slowly progressing, big riffs. The minor tones are instant guarantee’s for a feeling of sadness and remorse, but the interesting gong sounds do wake you up from the nodding to the beat. The vocals by ‘Gc’ are smooth, even seductive to be fair. Sparsely using the vibrato in his voice, there’s an uncommon subtlety to the singers delivery, which is the right sort of magic for a haunting doom album. The sound has a bit of echo to it, making it sound more cavernous even.

‘Penance’ is the other side of the 7″ this is released as, with an urgent guitar line that hits you instantly. The song is more creeping, subtle like a snake that is wrapping itself around the listener. This song then does get a bit more muscular with the sturdy riffing, that never fails to have a sturdy, gothic demeanor to it. The pulsating rhythm does its part as well,  even giving a hint of an oriental twist in the delivery.

Night Gaunt delivers on their promise. Doom with a pitchblack flavor.

Underground Sounds: Kylver – The Island

Label: independent
Band: Kylver
Origin: United Kingdom

These gentlemen from Newcastle in the United Kingdom are not just musicians, they are storytellers with a clear affinity to the works of H.P. Lovecraft if I’m not deceived by what I read about ‘The Island’. This is the second album from the Geordies (if you can use that still to refer to normal people as well) and well worth your time. Time to listen to Kylver.

The four piece has a story to tell about sailers who get lost on sea, ending up in a different realm where an ancient race dwells. The confrontation is crushing the human minds, which are not accustomed to the awesomeness of such vast knowledge and wisdom and the sole survivor begs to be released. This is a wild concept, not unakin to some of the dream-sagas of Lovecraft, but brought to you in an instrumental rock/doom/stoner way.

The sound of Kylver is progressive and explorative, combining elements of the stoner/doom sound with more playful elements, like keyboards to create these meandering passages and paint the vistas of the story. The threatening tone that you often hear, specially on albums with a nautical theme it seems, remind me of artists like Ahab. It feels like a typical stylistic direction, where the vibe of the ocean is put into the music.

The album is a continuous progression, where the progressive elements create debt and coloring to the sound. Sometimes sounding haunting and omnious, like the (almost) 10 minute epic ‘Monolith’, but other times picking up the right timbre and emotions for the section of the story the band wishes to adress. What’s most impressive is the cohesion of the tracks and the whole album. Never do your feel like you’re listening to separate songs. Though it is not very common, they could have released ‘The Island’ as a 40 minute track and it would be awesome (but tricky for the hopefully soon to be released vinyl).

The closer ‘The Great Race’ is an almost teasing, slightly remorseful tune with thunderous drums, where the proggy qualities of the band really shine for a bit, in the way the dense atmosphere is put down. This record is an experience. Did I mention the wonderful artwork? Because I should, it’s great.

Jupiterian: Cosmic crushing doom from Brazil

Though we may know Brazil as a country well known for its amazing death metal and passionate fans, there’s more to it than that obviously. Jupiterian is a whole different monster that landed with their debut EP ‘Archaic’, which was followed by their album ‘Apothic’.

The sound of Jupiterian is black as the depths of the cosmos and solid like a thick slab of meteorite hitting you in the face. Devoid of any frivolities, it’s a heavy listen, but well worth your time. So time to get to know them a bit better, before they head to Europe for some shows, where I hope to see them again.

I first met V. from Jupiterian at Roadburn and soon I got to know his newly founded band Jupiterian. An avid music fan and lover of science and sci-fi, V. is a creative force with plenty of inspiration from music and literature. Their sound is to me rather unique and unforgivingly heavy, so let’s hope they can head back to play Roadburn soon, because this band belongs on that bill. Time to get into it.

How did Jupiterian get started and what brought you guys together as a band? Did you have any previous projects that you would like to mention?

We started in 2013 while I was still playing with my previous death metal band The Black Coffins. I started to work on some riffs with a borrowed guitar I had at home, so I asked some friends if they would be interested to join me in this new project. When the band suddenly split up that year, I decided to focus 100% in this new project which would become Jupiterian. By that time, the band was called Codex Ivpiter, we were 5 guys, I was just doing the lead guitar and we had a lead vocalist, but I felt it would be easier to work only as a four piece, because I was working on the songs, themes and at the same time creating the vocal lines. After this line-up change, we also changed the name to Jupiterian and we entered the studio to record our first material, a 3 songs EP called ‘Archaic’. That was pretty much it.

Can you start by explaining the name and the concept of the band?

I have always been fascinated by mythology, especially the Greek-Roman mythology. I also love astronomy and as an amateur, I try to study and read about it as much as I can. But I am also into sci-fI books, authors likes Arthur C. Clark, Frank Herbert, Asimov, William Gibson blew my mind as a kid as much as Lovecraft and Robert E. Howard did with their cosmic horror novels. When I started the band, the first thing I had in mind was to create more than only the music, but an entire journey through all of that.

Jupiter is part of ancient mythology in the form from many gods for many extinct cultures and it could sum up all the references I had in mind. So the name Codex Ivpiter came up, but as you presume, it was terrible to speak and explain how to spell it. Jupiterian was a name that I was already about thinking for a while. When I talked to the other guys, it made much more sense and we thought it would fit perfectly for our purpose.

jupi2

What are the musical inspirations for you guys, both for the band as well as for yourself?

We have a very different background in the band when it comes to influences. I try to keep my mind opened to everything concerning music. New bands, old bands. I still feel excited when I listen to something new that blows my mind, be it metal or not and it inspires me a lot to try to reinvent the way I play or the way I want to create new stuff. As a band I could name a few like Jacula, Fabio Frizzi, Arvo Part, Anathema (their firsts albums), Graves at Sea, Asunder, Worship, Winter, Deathspell Omega, Iron Maiden, Whitehorse, Teeth of Lions Rule the Divine, Blut Aus Nord, Mercyful Fate & King Diamond, Funeral Mist, Goblin, Antaeus, Cathedral, Celtic Frost and, Svartidaudi, Thergothon and so on…

You’ve just released some new music. Can you tell a bit about the recording and writing process? Who does what and how does it unfold?

Yes! We recently release our Anathema’s “Mine is Yours To Drown In” cover. Well, more like a version. We started to work on that and I didn’t want to just emulate the original version, so we tried to put some of our DNA on that. And I am really proud the way it came out.

Where do you guys get your inspiration from further, because it seems that the inspiration is a dense mixture of the fantastic, absurd, horror and science fiction. Do you derive your concepts from books or films?

That’s for sure! As I told you, I read a lot sci-fI and horror books. Also I am really into those movies, and my love for the genre is very specific. I am really into all Ray Harryhausen’s animated monsters, and also am obsessed with David Cronenberg’s work, John Carpenter, the Hammer Films movies, Amicus.. you know, the victorian-era horror movies, also mixed with some steampunk style like “First men in the moon”, “The Time Machine” and everything I can find from the gold age of sci-fI movies.

jupi3

When listening to your albums, the sound is so overwhelmingly heavy and devoid of most other elements. The returning themes makes me feel like that’s a very deliberate choice, also related to the subject matter. Is that so?

That’s true. This is the core of the band, we want to deliver all the heaviness with a dark, yet melodic atmosphere within it.

I would like to know a bit about your visual expressions. Rarely does a band pay so much attention to artwork, logo’s and thus creating such a complete picture. Can you tell a bit more about that?

Thanks a lot. I am glad it called your attention. Well, we are telling a story with the band I want it all to make sense to the listener, be it with the music, the videos, t-shirt and everything. For me, music is much more than what you are listening in a moment, It’s a journey.

Most of the time I am the one behind the imagery, but we are very lucky to work with great artists that get our idea and deliver a great work for us.

You’ve done some covers for the new release. Why did you pick those songs exactly?

Yeah, ‘Mine is Yours to Drown’ In was the first one and the other one is Black Sabbath‘s Behind The Wall of Sleep’. About the Anathema version, when we started the band, we talked about choosing a song to cover and this one was my first idea. It was one of the firsts extreme metal songs I ever heard when I was a kid, so recording it felt like retribution cause it means a lot to me. About “Behind the Wall of Sleep”, Cvlt Nation invited us to their new Cvlt Nation Session, and the chosen album this time was Black Sabbath’s “Black Sabbath”. We chose that song for two basics reasons: 1. It’s Lovecraft; 2. It would be very challenging to record a song so different from what we do cause it’s a faster song. As we did with “Mine is Yours”, we re-think the entire song and made it slower and with our approach and way to do things. Both will be available on digital format in our bandcamp in October. They are part of this 2 songs EP called “Urn”.

Like before you’re working with Mories (Gnaw Their Tongues) on this new release. How did you get in touch and get to work with him? What do you think that the impact on your sound is of his contributions? 

The first time I talked to Mories was in 2010 when I interviewed him for a metal website I used to keep here in Brazil. But I met him personally for the first time at Roadburn 2013 and then we became friends. The sound of his bands is outstanding, he is always releasing amazing albums, always working on something new and all I can say is that I am lucky enough to work with someone I admire and respect that much. I think Jupiterian sound so much darker, dense and intense because of his final touch in the process. Sometimes he also creates some extra textures and it’s by his will. Yeah man, he is definitively a big part in this band.

If you could do the soundtrack of either a Lovecraft film or a sci-fI horror combi, which would have your preference and why?

Good one! I never thought about it but when I read the question, the first movie that came to my mind was Deep Star Six. I think the movie has an overwhelming claustrophobic atmosphere. Maybe Andrzej Żuławski’s “On a Silver Globe” (wich is a movie we already used for the “Archaic” video) or Tarkovisky’s “Stalker”. I’d love to do the soundtrack for a lovecraftian movie if there was any good for his “dream cycle”, specially “The Dream-Cast of Unknown Kadath”.

What can people expect from a Jupiterian live show? What kind of experience are they in for?

We like to think our shows are like painful processions, an experience that hurts the soul cause it’s about heaviness but it’s also about sadness and darkness. It’s the worship of what doom metal means to us.

Brazil is known as a firm and established metal nation, maybe even one of the biggest in the world if you may believe the documentary ‘World Metal’ by Sam Dunn. Can you spare a few words on how the Brazilian scene looks and how doom metal fits in there?

I think there is a romantic vision about the Brazilian scene because of all the amazing bands that came out from here in the past decades like Sepultura, Sarcofago, Mystifier, Krisiun, Violator, Facada, Rebaelliun and so on, but I don’t think we can say its firm and established. There’s a lot of passionate people doing their stuff but in a very amateur way, you know. Brazil is a continental country and yet, we cannot arrange a proper tour here at least you are a real DIY band. Of course you won’t make real money and you probably will play with shitty amps on shitty venues. We have only a very few pro labels actively working nowadays, but we are still surviving because everyone involved in this, be it thrash, death, grind and so on, we are used to that. That’s how things are and still love it

We know Brazil from its death metal scene of a while ago. Which bands from Brazil are on the rise and should get our attention (and why)?

Facada is one of my favourite grindcore bands of all times. They are relentlessly brutal, it’s like a mix of the best things Napalm Death, Brutal Truth and Nasum ever released in one band, and of course with a strong (and relevant) politic approach on the lyrics. I recommend their last album Nadir. My favourite track is “Amanhã vai ser pior”.

Thy Light is amazing. They are one of the most relevant bands in the DSBM scene world wide and Paolo is a great guy. He also plays in a Death Metal band called Desdominus, which is also a fantastic band. “No Morrow Shall Dawn”, their last album, is perfect for cold and grey days.

Abske Fides is a great Funeral Doom metal band from São Paulo and reunite some of my oldest friends in the scene. N., the bass player, joined us for the Chilean tour we did this year. He also plays in Noala and Au Sacre Des Nuits and is always delivering amazing music, be with his bands or with his solo projects. We’ve been working together for many, many years now in a lot of projects and you can hear a jam we did on the track “Daylight”, in the end of the song.

Mythological Cold Towers is legendary. They are active for more than 20 years now producing great albums and putting amazing shows. Their last album, “Monvmentvm Antiqua”, is fantastic!

Infamous Glory is an old school death metal band featuring K. from Abske Fides. “Bloodfeast” is a death metal worship with all the elements we love in the genre.

Rakta is a brilliant – way beyond any label – band from São Paulo. I love what these girls do and to see them live is an incredible experience. One of the best active bands in Brazil nowadays.

Deaf Kids just released their last album called “Configuração do Lamento” and it’s one of the best 2016 albums so far in my opinion. This power trio deliver an hypnotizing punk with a lot of tribal-driven rythms. A trully unique band.

What future plans does Jupiterian have?

We have 4 shows in Europe in late October, it’s a mini tour with our brothers from Mythological Cold Towers. We’ll play 2 gigs in Belgium, one in Czech Republic and the last show will be at Dutch Doom Days in Rotterdam, NL. After that we will focus on finishing the lasts songs for our next full length and record it in the beginning of 2017. We have 3 new songs, one of them are on our setlist, and 2 structures not finished yet, so i’d say the next album is 70% done.

If you had to describe Jupiterian as a dish (food), what would it be and why?

Maybe it’s a Brazilian feijoada, cause it’s black, dense, fat, it’s hard and slow to digest. Actually it looks like a disgusting swamp haha

 

Your ultimate Lovecraft soundtrack part 2

Continuing on the topic of audio expressions of Lovecraftian lore, love and random fandom, I would like to take you down to a more serious form of expression, that is more Roadburny in nature.

The Doom that came over Lovecraft

To me, ever since Thergothron, doom is the ultimate music for reading Lovecraft. There’s been some great stuff on that, so I’m now venturing into personal recommendations. It’s something about that heavy pummeling, the anticipation and the cosmic stand still. In Lovecraft’s work, humans are the most puny, insignificant things. The slow pace of doom feels remniscent of that, so that’s the core of what I was looking for and I found kindred sounds.

A bit different for starters than, Nikoletta from Arizona makes Stars Eat Worlds, which she dubs surfer metal. Though this is just a demo, it shows a lot of promise. If the surf can take over a bit, it might become something grand to listen to. The songs now sometimes end up just being barrages of noise, lacking the atmospheric.

Now, I know I’m pushing this even further, but Mr. Zoth and the Werespiders produce a drone like music, infected with dungeon synth and ambient elements, to create a harrowing, nerve wracking sound effect, great for your Lovecraftian moments. More cool, these guys are designing games too.

If you can get into it, some really good, blistering noise could be working in your favor. Xothun does a great job in creating eerie soundscapes of crackling distortion and screams. Might be too much again, but I must say I dig it.

Again more ambient/drone, but with a name like Erich Zann Chamber Orchestra we can hardly ignore this Polish contribution to the sonic pantheon of Lovecraftian idolatry, right?

Time to get serious, with no other than Obed Marsh. This Perth, Australia originated group of doomsters makes the sounds of uncanny sludge and  heavy proportions. This is the soundtrack to which the nameless ones rise from the deep and sing their unholy songs to ancient Cthulhu. This is indeed exactly what I ment, talking about doom.

I got to see Arkham Witch play live in Malta, where they did songs from their old band The Lamp Of Thoth. The old school heavy metal mixed with doom is catchy and just in a very simple way cool. I think they’re a nice listen during the enjoyment of a good New England story.

My personal favorite and I think one of the most awesome bands out there is The Great Old Ones. Already having an awesome bandname, their sound is monolythic, grand and full of the looming danger that is represented by the great old gods. This is the right atmospheric tune for your moment of immersing into the cosmic horror of H.P. Lovecraft.

A bit more theatrical, but also dirty and grimey is the Dutch collective Swampcult, who pay homage to the master of the cosmic horror with their recent album. The album is a version of the Lovecraft story ‘The Festival’, in its entirety and it’s  one gloomy immersion that you’re facing here.

Enjoy these bands, they’re really cool but also channeling their very own experiences and feelings with the stories of Lovecraft into music. That in itself is a great thing. Listening to these bands might allow you to explore new flavors and colour to the timeless works of Lovecraft.

Underground Sounds: Wretch – Wretch

Label: Bad Omen Records
Band: Wretch
Country: United States

Losing friends is a sad thing and sometimes it can be extremely hard to get over that. When you lose a friend who’s a band member, I can only imagine how much stronger that bond may be. Not to trivialise friendship, but band members share time together like no other. Jason McCash and Karl Simon shared that for a good decade in The Gates of Slumber. McCash left the band in 2013 and soon after passed away following a heroin overdose (according to metal archives).

So this album is catharsis, it’s grief in musical form. Gone are the stories of swords and sorcery, this is about the grim reality. It’s Karl Simon picking up the pieces and continuing down the road of amazing doom metal albums with this new outfit Wretch. The artwork instantly screams that old school doom vibe at you and that’s what you get.

Opener ‘Running Out of Days’  is a tribute to J. McCash and opens with those gargantuan Sabbath riffs, making you instantly get into the groove of this band and (if you like) bang your head to it. There’s something really down to earth to the sound of the band though. It’s not striving for grandeur, but for something real. Slowly the riffs roll by and a thundering rhythm section vigorously fills the void around the vocals of Simon, which are laden with emotion.

There’s something tormented to the way Simon delivers his vocals. After the initial venting on the first two tracks, the following seems to wind down and go into an almost psychedelic, spacy direction. Spiralling guitar parts and dreamy vocals form a much more convincing and warm sound from the group. There’s even an interesting instrumental track, titled ‘Grey Cast Mourning’, that surprises the listener with its gentle nature.

Closing the album, we return to the traditional doom roots. With its iconic cover and great tracks, this is one to stick with you. Hopefully Karl Simon feels like unleashing some more tunes on the world.