Just a quick shout to let you all know about this brand-new split record that came out last Friday — half of which is by a doom troupe from Montpellier France, whose 2016 album we had written about back when it came out; the other half features a sludge trio from Seattle whose 2017 album really caught my attention at that time but somehow I never got around to writing about that one, an oversight which is being rectified right now…
Old Iron – Lupus Metallorum (Good to Die Records, 18 August 2017)
Old Iron / Verdun – Split (Satanik Royalty Records, 25 February 2022)
Good morning. Kind of gloomy today, feels like a blackened-death-sludge kind of day. Join me for a brief trip down memory lane as we reminisce about the last two Beldam records, in preparation for their first-ever live album coming this Friday!
Beldam – Still the Wretched Linger (HPGD Productions, 17 June 2016)
Beldam – Pasung (HPGD Productions, 26 January 2018)
Beldam – Live at the Golden Pony (HPGD Productions, 17 December 2021)
Adzes – Climate // Capital (self-released, 27 February 2019)
Adzes – A Forest // Digging in the Dirt (self-released, 02 August 2019)
Adzes – No One Wants to Speak About It (digital: self-released, 29 May 2020; cassette: Tridroid Records, 02 July 2020)
Good afternoon! I’ve got a surprise in store for you today. Usually single-person recording artists leave a lot to desire as far as the quality of material AND sound quality are concerned. The same can often be said for musical entities with strong political leanings: no matter how valid their point may be, if all they are bringing to the table is a clone of raw punk or lo-fi black metal that’s already been done to death a million times, it’s unlikely to really grab my attention.
With Adzes (named for the primitive wood-hewing implement), self-described by its lone member as “anti-capitalist sludge,” what we find is lacking in quality in neither of those areas. Below we’ll take a trip through a pair of EPs he put together last year, followed by the project’s debut album which is set to be unfurled at the end of this week. Enjoy!
Rat King – Garbage Island (Within the Mind Records, 24 June 2016)
Rat King – Vicious Inhumanity (Within the Mind Records, 17 January 2020)
As much as I hate to admit it, during the almost eight and a half years I’ve been administrating this website, I have amassed a list of literally hundreds of albums I’ve hoped to find time to write about and share with you folks. Realistically I know I won’t ever get through ALL of them, but at the moment I am striving to keep up with the new ones as well as I can so it doesn’t get any worse; and if I can knock off an older one here and there while I’m at it, wonderful.
So having said that, here’s a record that just came out within the past month, as well as one that’s been sitting on my to-do list far too long. Both are by Seattleite trio Rat King, released on their own label Within the Mind, and both were recorded by the legendary Mr. Tad Doyle — but that’s pretty much where the similarities end. As you will soon discover. Please to enjoy!
Bell Witch – Mirror Reaper (Profound Lore Records, 10 October 2017)
Today we’re going to talk — again — about Bell Witch. Since the release of their demo recording back in 2011, this bass+drums+vocals duo of doom has been delighting our auditory cortices with a combination of immense gravitas and lofty, haunting melodies. With the departure of drummer/vocalist Adrian Guerra following sophomore album Four Phantoms, bassist/vocalist Dylan Desmond soldiered on with a new partner in Jesse Shreibman.
As observed in our 2016 review of that 2015 double-LP, the tragic passing of friend and former bandmate Guerra devastated the members of Bell Witch — who, as it turns out, had just started working together on the first new material with their current line-up. As you might expect, this event would certainly have a strong effect on the writing process, the result of which became Mirror Reaper, revealed to the world last fall.
With these guys hitting the road TONIGHT for a month-long expedition all over North America (including stops at two different festivals this weekend), alongside fellow Pacific Northwesterners Yob, we’ll spend some time with Mirror Reaper, and then share that list of tour dates down below.
Steel Bridge Promotions — who have been responsible for putting together all sorts of really solid shows in the Pittsburgh area over the past few years, as well as being among the most genuinely nice people you will EVER meet — recently announced that their final shows will be taking place this October. While that’s terrible news for this city, SBP will definitely be going out with a bang! Here, we’ll be sharing some information about the one of those final shows.
Hollow Leg – Murder EP (digital: Argonauta Records, 03 March 2017; cassette: Southern Druid Records, 16 June 2017; Crown, Murder Edition CD: Argonauta Records, 30 June 2017)
He Whose Ox is Gored – Paralyzer 7″ (Chain Letter Collective/Void Assault Records, 16 June 2017)
Cave of Swimmers – The Sun 7″ (Southern Druid Records, 03 July 2017)
Today I’ve got three different releases to share with you. Don’t worry, I won’t take up too much of your time — each of these has just two or three songs. But more importantly, all three come from bands who have had some pretty incredible previous releases we’ve already talked about: Hollow Leg, He Whose Ox is Gored, and Cave of Swimmers. So you can already be guaranteed these will all be great, too!
Oh yeah, and if you scroll on down to the comments section, you can take a peek at the dates for Hollow Leg‘s current tour which centers around an appearance at The Maryland Doom Fest on Saturday (24 June)!
He Whose Ox is Gored – Rumors (Bleeding Light Records, 28 October 2014)
He Whose Ox is Gored – The Camel, the Lion, the Child (Bleeding Light Records, 09 October 2015)
Hey, guess what: there’s a great band on tour that’s scheduled to play in Pittsburgh tonight (Wednesday, 7 September 2016) — Seattle’s psychedelic doom quartet He Whose Ox is Gored! This is happening at The Smiling Moose, 1306 East Carson Street, South Side. Doors open at 5:30 and the show starts at 6 — also performing will be Retox, Silent, and Netherlands.
Have you heard about this? Perhaps not, because I haven’t been able to find a Facebook event or any other sort of mention of the show, ouside of a mention on the calendar section of the venue’s website, and this being included in lists of tour dates shared by the bands themselves.
It’ll really be a shame if folks miss out on this just because they didn’t know it was taking place, so this seems like a great time to share the following review of a couple HWOIG releases — specifically their debut EP from 2014, and first full-length album from 2015. These are both pretty incredible and I’ve been meaning to write about them for the past year or two anyhow, so here goes! If you like what you hear, please be sure to spread the word, especially if you live in Pittsburgh or near any of the band’s other remaining dates! (Those will be listed down in the comments section.)
Bell Witch – Four Phantoms (Profound Lore Records, 28 April 2015)
For those who may have missed the news, I’m very sad to report that yesterday we learned of a monumental loss to the music world, in the passing of Adrian Guerra, co-founder of Seattle doom duo Bell Witch, co-writer of all of that band’s material to date, and former drummer/vocalist (up through summer 2015).
After that time, his position behind the kit had been replaced by Jesse Shreibman, including on the band’s most recent tour where they pulled double duty — playing a full set of their own in addition to serving as the backing band for Wrekmeister Harmonies. But from the band’s inception through its formative years, it was Guerra and bassist/vocalist Dylan Desmond from their groundbreaking 2011 demo (incidentally, one of the very first reviews ever published on this website, back in December of that year) up through and including last year’s Profound Lore full-length Four Phantoms.
In honor and in memory of the co-creator of some of the greatest and most moving music to have reached my ears over the past five years, today I’ve decided to present you with a discussion about that latest album, the last one to feature the original Bell Witch line-up. Rest in peace Adrian, and our thoughts and sympathy are with your friends and family, colleagues and former band members.
Monuments Collapse / Bréag Naofa – Split LP (Halo of Flies / Shove Records, 17 December 2013)
Good afternoon. On one hand, I’m pleased to note that this week is about halfway over. And on the other hand, it feels as though three or four weeks should have passed since Monday. I am so ready to be done working. I feel like if I don’t find something else to focus my attention and energy on for a little while, I’m seriously going to lose my shit here. And honestly, I don’t know if there’s anything that would fit the bill better than blasting some music through my headphones to drown out everything else (both externally and internally). I think it’s about time to take another dip into the pool of my favorite releases from last year.
You’ll want to pay attention to this — because what I’ve got for you today is the sort of release that too-often gets lost in the shuffle: a split record put out by a not-exactly-huge label (Wisconsin’s Halo of Flies for worldwide distribution, and Italian Shove Records in Europe), involving two not-that-widely-known bands (Monuments Collapse from San Francisco and Bréag Naofa from Seattle) who each had previously put out a self-titled album (each of which had a limited release of a few hundred copies, through smaller independent labels); and to make matters worse it was released in late December when most music publications and websites have already wrapped up their coverage for the year, compiled their year-end lists, and have already started looking ahead to the upcoming spring releases.
But I always try to be on the lookout for gems like this that might otherwise have fallen through the cracks, and then we pass the savings on to you. Or however that saying goes. Anyway, stay tuned for some great post-apocalyptic post-sludge-doom from a pair of west-coast bands you’ll likely want to get better acquainted with.