Ommadon – V (2014), Empathy for the Wicked (2015), self-titled (2016), End Times (2018)

OmmadonV (Domestic Genocide Records, 05 August 2014)

 

OmmadonEmpathy for the Wicked (Golden Mantra, 15 July 2015)

 

OmmadonOmmadon (Medusa Crush Recordings/Dry Cough Records/Burning World Records, 08 April 2016)

 

OmmadonEnd Times (Dry Cough Records/At War with False Noise/DGRecords/Medusa Crush Recordings, 01 May 2018)

 

Today is going to be Ommadon day. All day long. And that’s really not an exaggeration: you’re going to need all day to plow through the massive heap of noise this Glaswegian duo (featuring David Tobin, guitars, and Ewan Mackenzie, drums/keyboards) has forged together over the past four years!

Fans of the two-minute pop ditty should probably just quit reading right here. But if you’ve ever listened to Ufomammut or Kongh and thought to yourself, “Wow this is great but I really wish all of the songs were way longer and way slower,” well… this just may be your lucky day!

 

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Black Tar Prophet – Deafen (2014)

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Black Tar ProphetDeafen (Domestic Genocide Records, 22 April 2014)

 

Hey, folks. How’s it going? I’ve got some more music here I’d like to share with you. I think you’re going to like it.

A lot of times when I write about a band, you may have noticed I will include some kind of anecdote about how I first heard about them — whether I’d seen them perform live at some point, or sometimes it’s someone I get introduced to through another website or another band. But the vast majority of the stuff I have here to write about came to me as the result of being contacted by either the band themselves, or their record label, or the PR person who represents the band or label. I get a TON of stuff emailed to me — seriously — and it can sometimes be a bit taxing to sort through it all. But in the end it’s completely worth it, because I’ve discovered some amazing stuff this way that might not have come to my attention otherwise. In fact, some of the bands I would consider to be among my favorites to listen to (not even exaggerating) were ones I had never heard of until I’d been contacted by their label or PR company.

For this reason, I make it a point to listen to absolutely everything that anyone sends me. Because there’s no way of knowing whether something might end up surprising me and being awesome. In fact, I go into every new album with as little knowledge as possible, and with the hopes that it’ll be something that completely blows me away. Of course, this leaves me feeling pretty disappointed much of the time, but occasionally I come across some real gems. When I do, that’s when I generally will go back to the original email (and then Facebook or Bandcamp or the band’s own website, wherever they have some sort of online presence) to learn more about the band — such as where they’re from and a whatever history I can learn about them.

This is sort of what happened when I first heard Black Tar Prophet‘s new album Deafen, which came out earlier this year. When I started listening, I knew nothing about the band other than their name, but before I reached the end of the first song, I was already rushing back to find that email, to see where these guys were located — and not just from curiosity. This time, I needed to know how close to here (Pittsburgh) they lived, so I could gauge the chances of them ever playing in this area. Once I found out they were from relatively nearby (Tennessee, which is just three states away, or about 8-9 hours driving), I immediately started considering the possibility that they could someday be on tour somewhere in this direction, and furthermore I decided that if this happened, I needed to get them a show here in town, and that my own band Last should open for them.

Well… I’m very excited to tell you that in just a couple of weeks, both of those things will be coming true! This instrumental heavy sludge/noise duo will be hitting the road in October, and I’ll include all the details about that right after I’ve told you some more about this album that had piqued my interest so much when I first heard it…

 

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Get ’em While They’re Hot: Free Compilation from Domestic Genocide Records!

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According to the label’s official bio,

Domestic Genocide Records is an independent, donation-run record label, focusing on musicians who have been oppressed, who have not been given the opportunity to deliver their message of creativity through music. We are 100% online-based, located in various parts of the USA. Our name reflects some of the harshest realities our artists and staff have had to endure throughout their lives.

If you ask me — and technically, since you’ve come here to read what I have written, you kind of are implicitly asking me — that’s pretty awesome. Since I’ve started writing this blog, and even before that, I’ve always gravitated toward the bands and music coming from some of the more, shall we say, non-traditional parts of the world. By “non-traditional,” I mean countries that aren’t traditionally associated with heavy metal music. And, I’ve quite often been pleasantly surprised by what I’ve heard.

In places that have been under the most oppressive of conditions for so long, you might not expect most of the people living there to even have the opportunity to know about heavy metal. But some do manage to hear it and love it — and some of those people go on to create music of their own. And as I was saying, a lot of the stuff I’ve heard has been pretty incredible.

So, for Domestic Genocide to work so hard to give those artists an outlet to get their work heard across the world is totally cool and deserving of your attention and support.

Earlier today, I learned that the label has just released a compilation of songs – called Death Zone, Volume 1 – from several different artists across the world. The comp is available to download for free if you choose, so the artists (and the label) can get as much exposure as possible, or for whatever price you decide to pay, if you like what you hear or if you want to help out their mission to give people a voice.

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