Doom. The name says it all. From the opening riff to Black Sabbath, to the heavier than heavy tones of bands like Electric Wizard and Monolord, it’s a genre defined by dark sounds, and heavy lyrical themes. The breadth of styles within the genre is also as extreme as the sounds. The vocals can range from upper register screams to gravelrash intestine shredding and the music from the dirtiest sludge to plain old heavy rock’n’roll shot through with blues licks. But I love it all, start to finish!
Enter Devil Electric! They’re a four-piece from Melbourne and have just punched heavy music fans everywhere right between the eyes with their self-titled debut. The sound is classic doom, but they’ve also managed to twist an age-old formula to their own perverted uses, and in turn created a distinctly unique collection of songs. Continue reading →
There were some amazing releases that come out in 2016, and as with every year, I start out with the best of intentions keeping a list of my favourites as they hit, only to let it fall by the wayside by about March. Yeah I know, it doesn’t last long! So undoubtedly I will forgot lots of great releases from 2016. There’s been the talked about releases like Metallica’sHardwired… To Self Destruct (which for me has been quite a disappointment, some moments of clarity and power but as whole, it wasn’t the driving force I was hoping for), then there’s been some that have come out of left field that have really thrown me for six and impressed me quite a lot, like Electric MagusOlympus Noms, which is Raul Sanchez (Magic Dirt, River Of Snakes, Midnight Woolf) latest offering through Wild Animals Records. Like with John Frusciante’s solo albums, some sound quite unique and very different to his work with Red Hot Chili Peppers (which is an awesome thing these days!) yet his style and soul still comes through in various ways. Electric Magus is like this for Sanchez compared to his ‘usual’ guitar driven work. It’s totally different yet still somehow connects with me for the same reasons.
I still listen to loads of releases from all around the world, but more and more as time goes on I find myself mainly listening to local bands. Possibly for a few reasons, I like to support local muso’s and friends, it’s possible to see them more live which in turn gets us more stoked on listening back to a band later, and maybe most importantly, there are just so many fuckin incredible bands in Melbourne and throughout Australia that there’s not enough time to sometimes reach out further. Continue reading →
Friday night in Sydney and the early signs that summer had begun to rear its hot little head had just appeared on the horizon. Warmish, a bit humid, no need for a jacket any more. I took a slow walk to the bus stop, drank a beer on the way and headed to the ‘Hag.
I arrived, grabbed a beer and hit the band room to check out Comacozer. Some hot’n’heavy, bludgeoning riffs were being marched out by the instrumental trio. Screaming guitar licks and a bass player who was doing a great trade in fuzz bass. Some seriously bone-jarring tones were being wrenched from his bass. Their psyche-doom was pretty neat, but ultimately, I think having a vocalist could have helped their cause. Continue reading →
Forming in 2010 in the city of Gothenburg, Sweden, Monolord have quickly gained notoriety as one of the heaviest doom acts in the world. Their first album Empress Rising dropped in 2014 and they’ve quickly followed that up with Vænir, a new album which is being released on 28/5/2015.
From the first few notes the tone of the record is clear; morose, threatening and bleak. It’s quite an amazing thing, it has the magnitude of an ocean and the foreboding of storm clouds, I find myself in awe of its scope. The band has managed to find an incredible amount of depth in their sound, every song painting a mural, a massive soundscape that seems to go on forever. Vocalist Thomas Jäger uses his voice sparingly, and sits it quite far back in the mix, it’s an interesting effect, if the guitars and drums are creating a wall of noise then his voice sits behind it, sort of peering over the horizon forcing us to reach out to it.