veryyyy veryyyy veryyyyyyyyyyyyyyyyyyyyyy goooooooood  powerrrr and powerrrrrrrrr fuck yesssssssssss

wooow! this track is on repeat for days now! doom on guys!!!

man, I saw them in Toronto with High on Fire, they stole the show. The next big metal band!

Bongripper - Satan

Dopethrone "Hooked"

From Ecate, out on March 30 via Neurot Recordings.

Ufomammut - Temple

Order the issue of Decibel containing this PALLBEARER flexi disc here: http://store.decibelmagazine.com/collections/back-issues/products/april-2015-126

Pallbearer - On Tour:
Feb-21 Little Rock, AR - Rev Room
Mar-20 Fayetteville, AR - Lightbulb Club
Mar-23 - Hot Springs, AR - Valley of the Vapors
Mar-27 - Los Angeles, CA - The Wiltern *
Mar-28 - San Francisco, CA - Regency Ballroom *
Mar-29 - Portland, OR - Roseland Theater *
Mar-30 - Vancouver, BC - Commodore Ballroom * 
Mar-31 - Seattle, WA - Showbox Market *
Apr-02 - Salt Lake City, UT - The Complex * 
Apr-03 - Denver, CO - Summit Music Hall *
Apr-04 - Lincoln, NE - Bourbon Street *
Apr-05 - Minneapolis, MN - Mill City Nights * 
Apr-06 - Chicago, IL - House of Blues *
Apr-08 - Toronto, ON - The Phoenix *
Apr-09 - Montreal, QC - Metropolis *
Apr-10 - Boston, MA - Royale *
Apr-11 - Philadelphia, PA - Union Transfer *
Apr-12 - New York, NY - Webster Hall *
May-15-17 - Santa Ana, CA - Psycho CA
May-20 - Berlin, DE - Kantine am Berghain
May-21 - Prague, CZ - Klub 007
May-22 - Koln, DE - MTC
May-23 - Utrecht, NL - Le Guess Who
May 24 - Brussels, BE - AB Club
May 25 - Paris, FR - Social Club
May-26 - Schorndorf - Club Manufaktur
May-27 - Zurich, CH - Rote Fabrik
May 29 - Barcelona, ES - Primavera Sound Festival
May-31 - Bristol, UK - Temples Festival
June-1 - Glasgow, UK - Broadcast
June-2 - Birmingham, UK - The Oobleck
June-3 - London, UK - 100 Club
June-11-14 Manchester, TN - Bonnaroo
July-2 - Roskilde, DE - Roskilde
July-11 - Erfurt, DE - Stoned from the Underground
 
* Decibel Magazine Tour w/ At The Gates, Converge, Vallenfyre

Pallbearer "Fear and Fury" (dB052)

Music from Acid King's forthcoming album, Middle of Nowhere, Center of Everywhere.  Vinyl pre-orders for the April 14 release are available now via The Omega Order: http://www.theomegaorder.com/ACID-KING-Middle-Of-Nowhere-Center-Of-Everywhere-Blue-2LP 

Acid King - Red River

The infamous rock outlaws WEEDEATER return with 'Goliathan', their long-awaited new album. 'Goliathan' is the crossroad where true Southern rock/metal meets raw humor and old religion, and embodies the bands trademark shuffle and swagger rightly.  Syrupy slow riffs are buoyed by canyon-deep bass and some of the hardest-hitting drumming since Keith Moon. Full-on bruisers "Cain Enabler", "Claw of the Sloth", and the aptly-named "Bully" demonstrate that 'Goliathan' is vintage WEEDEATER and the soon-to-be gold standard of Southern sludge metal. 

Pre-order here!

WEEDEATER - Cain Enabler

Spelljammer
The Ancient of Days

“We like things on a grand scale,” says Spelljammer bassist/vocalist Niklas Olsson. That’s a bit of an understatement considering the Stockholm, Sweden trio’s penchant for massive, slow-burning sludge riffs intercut with dramatic melodic interludes. There’s the pummeling heft of detuned guitars rumbling across the rugged expanse of unwieldy drums counterbalanced with moments of Master of Reality-era Sabbath’s introspective acoustic breaks and Pink Floyd’s Meddle-era psychedelia. These extreme shifts in dynamic give the band’s third album a sense of epic depth unlike most of Spelljammer’s peers. 

“The vastness of everything is something that I seem to think about a lot,” Olsson says, “and I guess that shows in the lyrics.” Some of The Ancient of Days’ words were inspired by the epic poem Aniara by Swedish author and Nobel laureate Harry Martinson in which a spaceship leaving an uninhabitable Earth is hurtled off course, sending its thousands of passengers on a steady course in the wrong direction and there is nothing they can do about it. They will all slowly die as the ship continues from the solar system, forever into nothingness. This type of apocalyptic woe permeates throughout the 5-song, 40-minute album in perfect bond with the vastness of the music. 

The Ancient of Days is not just the band’s third release, but in many ways, a rebirth. It’s Spelljammer’s first recording as a trio — with Olsson taking over bass duties and new drummer Jonatan Rimsbo battering the skins — and the culmination of a progressive move toward a heavier, doom-laden sound, away from the desert rock leanings of their 2010 debut Inches From the Sun. Vol II saw the band spreading out into darker territories. After writing sessions fell apart in 2013 for a followup to Vol II (reissued in early 2015 by RidingEasy Records) Olsson and guitarist Robert Sorling scrapped nearly everything following the departure of half of the band. The two began to build from the ground up as a duo with new ideas that resulted in the invigorated The Ancient of Days. It’s the band’s most focused and deliberate in both its complexities and simplicities.  

“Having recorded the previous two albums in a more patchwork kind of way,” Olsson says, “we were very set on going into one studio and doing the entire thing.” In so doing, they banged it all out over a weekend in January 2015 at Ingrid Studio in Stockholm, engineered and, to some degree, produced by Christoffer Zakrisson. Here, syrupy guitars ooze from the speakers, the drums sound like they’re perched atop a giant barge and howling vocals float throughout the proceedings. The Ancient of Days very effectively embodies the boundless, otherworldly essence of its inspiration. 

The Ancient of Days will be available everywhere on LP, CD and download on September 29, 2015 via RidingEasy Records. 


Spelljammer - Borlung

HOCHELAGA

DOPETHRONE - SCUM FUCK BLUES

Cassette version ,Poland's smog riffing stoner doom

Dopelord -  Children Of The Haze

Belzebong - Names Of The Devil

Take a look at the figure on the cover of Longing, the debut from Seattle doom duo Bell Witch. Its eerie presence is appropriate for a record defined by inescapable haunting and loss. On these six songs, bassist/vocalist Dylan Desmond and drummer/vocalist Adrian Guerra play patiently, and sparingly; they appear to be carefully purging themselves of an inexplicable force corrupting their bodies. Instead of going for a frontal assault, piling riffs upon riffs upon riffs, they opt for something subtler, a spacious approach that affects the entire nervous system.
The album opens with a 20 minute journey into despair, "Bails (of Flesh)", a track that will likely weed out those who can't handle the unrelentingly downcast feel of the record. The tracks get shorter from there, but they also get sparser. Of note is "Longing (the River of Ash)", which grows more drawn out as it progresses. In this music of solitude, it's the loneliest track by far. Metal's defined by exaggeration, but the title Longing is perfect here: Desmond and Guerra want to go back to where pain didn't consume their reality.
A duo's primary challenge is to find a way to fill up space with minimal equipment. Usually, when a doom band's a two-piece, the guitars are double-amped and so downtuned that a bassist becomes irrelevant. Bell Witch flip this convention, employing a six-string bass in place of a guitar. (Often, one can hardly tell it's a bass.) Even lacking guitar, Desmond constructs melodies reminiscent of funeral doom acts like Skepticism and Esoteric, adding a touch of American dirtiness from his experience as the bassist of Samothrace.
There is one exception where the bass doesn't masquerade as a guitar. "Beneath the Mask", save for a sample from the Edgar Allen Poe-inspired film The Masque of the Red Death, is a five-minute drumless drone piece, where notes fly off and subsequently wither like Icarus on 33 1/3 RPM. The clean bass is more lonesome and more eerie than the distorted bass that the album's built upon. "Mask" seems like the perfect track to incorporate a sudden blast of hisses, feedback, screams-- something to make the listener jolt. It doesn't, and that suspense, like walking over rows of false trap doors, adds to the creepy atmosphere.
Throughout, Guerra's growls are complementary of the genre, and he even throws in a few blackened shrieks on "Rows (of Endless Waves)". Desmond's clean vocals, however, are more compelling, taking different shapes throughout the record. His warm, forlorn style carries the latter half of "Bails (of Flesh)", turning maudlin doom into perverted praise music. It's not a far stretch to imagine this being played in some church that worships self-destruction, congregants raising their hands up high, arms bleeding from cutting themselves. Desmond gives hails and salutations to the misery, like Om learning of a terminal illness diagnosis.
The previously mentioned "Rows" sees Desmond's voice become more delicate, almost crushing under the weight of the music. Frailty is important to the variety of doom Bell Witch explores, but rarely does a vocal performance capture what it is to stand on the line between sanity and madness. Desmond will whisper certain lines in "Rows", adding emphasis without raising his voice. He channels dISEMBOWELMENT's Renato Gallina on "Longing" making that track a true successor to the Australian doom-death quartet's 1993 classic Transcendence into the Peripheral. Remember that editorial arguing that metal vocalists are irrelevant? It wasn't entirely without merit, but Desmond challenges that line of thinking. He's got a cleverness and sense of space most vocalists don't possess. His voice is much like the music itself: it reverberates around, as if wandering and looking for a way out of this despair. Open and wide-reaching as it may be, there's also a sense of weighty claustrophobia in his voice, as if it's carrying his burdens, and the burdens of others, too. (via Pitchfork.com) 

Bell Witch - Rows (of endless Waves)

The hottest magazines, books, flexi discs and tours and festivals in metal.

Pallbearer "Fear and Fury" (dB052)

Decibel Magazine

Recent comments

Kivett Bednar

ØLDBØY LTD.

The Volume

Daniel Germán Cardozo

Related tracks