doom sludge metal

Pre-order at Relapse: www.relapse.com/baronessmaida

BARONESS - "Live at Maida Vale - BBC" coming July 23, 2013 (N.America), July 19 (Germany/Benelux), July 22 (UK/World) on LP/Digital

http://baronessmusic.com/
www.facebook.com/YourBaroness
twitter.com/YourBaroness

www.Relapse.com
‪www.facebook.com/RelapseRecords‬
‪www.relapserecords.bandcamp.com‬

Baroness - Cocainium (live)

Purchase CDs, LPs and merch via Relapse: http://bit.ly/WindhandSoma
Purchase via Bandcamp: www.windhandva.bandcamp.com

WINDHAND - "Orchard" taken from 'Soma' - out now on CD/2xLP/Digital via Relapse Records

Official Links:
www.facebook.com/windhandva

www.relapse.com
www.facebook.com/RelapseRecords
www.relapserecords.bandcamp.com

Windhand - Orchard

Purchase on iTunes: http://georiot.co/4DCA
Purchase From Relapse: bit.ly/RedFangWhales
Purchase at Bandcamp: redfang.bandcamp.com/

Official links:
www.facebook.com/redfangband
www.redfang.net
www.redfang.bandcamp.com

www.Relapse.com
www.facebook.com/relapserecords
www.twitter.com/relapserecords


Red Fang - No Hope

Red Fang have premiered "Black Water," a bonus track from their new album 'Whales and Leeches' out now on Relapse Records.

Purchase from Relapse: bit.ly/RedFangWhales
Purchase from iTunes: http://georiot.co/4Bof
Purchase at Bandcamp: redfang.bandcamp.com/

Official links:
www.facebook.com/redfangband
www.redfang.net
www.redfang.bandcamp.com

www.Relapse.com
www.facebook.com/RelapseRecords‬
www.twitter.com/relapserecords
www.relapserecords.bandcamp.com‬
www.youtube.com/user/RelapseRecords

Red Fang - "Black Water"

The Gates of Slumber "Coven of Cain"

The Gates of Slumber "The Jury" (dB006)

“Electric Citizen have barely been together a year and this gnarly cut [‘Burning In Hell’] melds 60s organ-stoked psychedelia with a fuzzed up 70s stomp. Meanwhile singer Laura Dolan's witchily layered vocals set Electric Citizen apart from other retro-revivalists.”
VICE Noisey

“They take cultish cues from European acts like The Devil’s Blood and Mansion, but strip away the religious iconography to leave behind an earthy psychedelic swirl. The retro-style production, especially one so ably done, is a rarity among American acts, who usually bring such influences to bear with a modern feel, but Electric Citizen sound like old pros on their first outing.”
The Obelisk

Following on from the premiere of ‘Burning In Hell’ on VICE’s Noisey earlier this year and limited edition releases on The Crossing and Breathe Plastic Records, the winners of this year’s Best Rock Band honour at the 2014 Cincinnati Entertainment Awards release their hotly tipped debut this July.
 
Formed just over a year ago by guitarist Ross Dolan, vocalist Laura Dolan, Nick Vogelpohl (bass) and Nate Wagner (drums) Electric Citizen have had a busy year turning heads and ears onto their dark and esoteric style of haunting and unhallowed ’60s West Coast rock, and decidedly British-influenced heavy psychedelia.
 
Like records by similarly late 60s/early ’70s-possessed anti-modernists Blood Ceremony, Wolf People and Uncle Acid and the Deadbeats, over nine tracks Sateen provides a blueprint for long term appreciation. Recorded and produced by fellow Ohioan and local stalwart Brian Olive (The Greenhornes, Soledad Brothers) the album draws on sounds synonymous with the roots of early ’70s proto-metal from groups such as Sir Lord Baltimore, Pentagram, Cream and the daemonic spirit of Amon Düül. Not to mention the comparisons it draws with the rock 'n' roll ceremony of forgotten acts like Frumpy and Shocking Blue when held up against the spellbinding light of high priestess Laura Dolan’s enigmatic voice and live presence.
 
From the cloudy and mystical swirl of ‘Hawk Nightingale’ to the shades of folk metal on ‘Shallow Water’, Electric Citizen pitch scholarly interpretations of the old guard in new and electrifying ways and not always from the vaults of forgotten masters. Take new single 'Light Years Beyond' with it's swirling and ferocious concoction of guitars and drums or ‘Magnetic Man’ with its unabashed nod to Heart and classic Black Sabbath. Just a handful of many songs here that showcases just how good the band is at dropping sonic needles into the grooves of records that all serious rock ’n’ roll lovers hold dear.

After performing recent shows with Dead Meadow, Spirit Caravan and The Sword the band are currently on the road as official support to stoner rock Gods Fu Manchu on their North American tour.   ‘Light Years Beyond’ is released on 20 May 2014 and paves the way for Sateen which will be officially released via RidingEasy Records on 1 July 2014.  The artwork for the album has been created by acclaimed artist Neil Krug who has previously worked with The Horrors, Lana Del Ray and Boards Of Canada).

Already tipped by some as one of the year’s most exciting debuts it marks the start of a promising journey for a band you need to hear.

Electric Citizen:
Ross Dolan – Guitar
Laura Dolan - Vocal
Nick Vogelpohl - Bass
Nate Wagner - Drums

Web - electriccitizenband.com
Bandcamp - electriccitizenband.bandcamp.com
Store - www.easyriderrecords.com/shop/
Twitter - @electriccitizN
Facebook - www.facebook.com/ElectricCitizen
Instagram - @electriccitizenband
 
Live Dates:
14 May – GROG SHOP, Cleveland, OH (w. Fu Manchu)
16 May – LEE’S PALACE, Toronto, ON (w. Fu Manchu)
17 May – CABARET MILE END, Montreal, QC (w. Fu Manchu)
19 May – MERCURY LOUNGE, New York, NY (w. Fu Manchu)
20 May – THE SINCLAIR, Boston, MA (w. Fu Manchu)
21 May – BARBARY, Philadelphia, PA (w. Fu Manchu)
23 May – ROCK & ROLL HOTEL, Washington, DC (w. Fu Manchu)
24 May – KINGS, Raleigh, NC (w. Fu Manchu)
25 May – EARL, Atlanta, GA (w. Fu Manchu)
27 May – RED 7, Austin, TX (w. Fu Manchu)
28 May – GAS MONKEY, Dallas, TX (w. Fu Manchu)
31 May – PUB ROCK LIVE, Mesa, AZ (w. Fu Manchu)
1 June – TBA, Albuquerque, NM
2 June – BLACK SHEEP, Colorado Springs, CO
3 June – RIOT ROOM, Kansas City, MO
 
RidingEasy Records:
Formed in 2013 out of the sleepy beach town of Hermosa Beach, Los Angeles, RidingEasy Records (formerly EasyRider Records) is dedicated to unearthing the finest in heavy psych, doom, stoner and heavy rock. Products include limited edition runs of vinyl and cassettes with creative packaging and the label has eleven bands currently signed to its roster; Electric Citizen, The Well, Salem’s Pot, Slow Season, Albino Python, Sons of Huns, Black Prism, Old Man’s Will (US only), Monolord, Shooting Guns and Spiral Shades. RidingEasy Records has also secured the exclusive rights to cassette releases by Sleep, Witchcraft, Kadavar, Graveyard, Valfader, FUZZ and Orchid with more titles to come.
 
Official Site – easyriderrecords.com
Facebook – facebook.com/easyriderrecords 
Twitter – @easyriderrecord
Instagram – @easyriderrecord
YouTube – youtube.com/user/easyriderrecords
SoundCloud – www.soundcloud.com/easyriderrecords


BUY THIS RECORD!

Electric Citizen - Ghost Of Me

Pallbearer - An Offering Of Grief

"I, Motherfucker (Ted Bundy)" from "The Second Coming".

Church Of Misery "I, Motherfucker (Ted Bundy)"

Pilgrim's "Quest" from the album "Misery Wizard".

Pilgrim "Quest"

AHAB - The Hunt

Artist: AHAB
Track: The Hunt
Album: The Call Of The Wretched Sea
Order at: http://www.ahab.bigcartel.com

www.facebook.com/ahabdoom
www.ahab-doom.de

AHAB - The Hunt

Order the issue of Decibel that includes this Electric Wizard flexi disc here:
http://store.decibelmagazine.com/collections/back-issues/products/august-2012-094

Music recorded by Electric Wizard in a moldy rehearsal room in January 2012
Vocals recorded  by Jus Oborn in May 2012
Mix by Jus Oborn
©Rise Above Records 2012

Electric Wizard "Satyr IX (4-track demo)" (dB020)

http://www.discogs.com/Lord-Vicar-Grifteg%C3%A5rd-Do-You-Believe-A-Deathbed-For-All/release/2643898

Lord Vicar - Do You Believe

The Devil's Blood - On The Wings Of Gloria

Order a copy of the magazine that includes the Cathedral flexi disc here: http://store.decibelmagazine.com/collections/back-issues

Cathedral "Vengeance of the Blind Dead (Flexi Version)" (dB027)

Moss "Horrible Nights" from the album "Horrible Night"

Moss "Horrible Nights"

Cathedral "Tower of Silence" from the album "The Last Spire"

Cathedral "Tower of Silence"

Over the past few years, Sunn O))) have become synonymous with the concept of "art-metal." At best, the idea suggests that heavy, guitar-based bands are thinking creatively about how to sound more brutal than their forbearers-- recording vocals inside a coffin, for example; or warping the five-minute Black Sabbath dirge into a 15-minute-long, beatless storm of frequencies admittedly engineered to induce defecation. At worst, the idea nourishes a well-established sense of superiority over metal's fans: One New York Times headline addressing the so-called trend read "Heavy Metal Gets an M.F.A."-- a title whose cleverness kicks in only if you believe that people who like heavy metal are not only stupid and unimaginative, but poor, too.
The idea's crowning irony, though, is that most art-metal practitioners seem more indebted-- and endeared-- to their vulgar cousins than, say, art-pop groups or underground rappers. No volume of style-section garbage can cover up the fact that Sunn O)))-- a band co-founded by former Burning Witch guitarist Stephen O'Malley-- stakes their reputation on monoliths of noise called "Helloween" and "Bass Aliens". And when asked if 2004 was a good year for metal by the website Lords of Metal, Asva principal (and former Burning Witch and sometime Sunn O))) bassist) Stuart Dahlquist said, without irony, "No, Dime[bag Darrell, of Pantera] got killed"-- the party line.
In an interview from 2001, Stephen O'Malley described Burning Witch's two EPs-- recorded between 1996 and 1998 and collected on Crippled Lucifer-- as "slow, heavy music playing around with time." On 1996's Steve Albini-recorded Towers, the band finishes only five songs over 47 minutes, demonstrating not only stubbornness, but alien restraint. Every note is choked; every crevice between is pulled taut and splattered with feedback. Songs bottom out minutes before stopping. Vocalist Edgy 59's lyrics plunge into familiar forms of loneliness and self-destruction, but he sings them with the sustained hysteria of someone boiling. He could make a dessert menu sound unpleasant. Like great horror movies, Towers doesn't just play with time, it punishes it for moving too fast. Shock-- quick, cheap, and explosive-- is subjugated to duration, which is meant to be agonizing. When I talk to friends about what compels me to horror movies, I bring up the scene in Dario Argento's Suspiria where a girl falls into a pit full of barbed wire: Seeing her fall gives me a jolt, but it's watching her try and crawl through it that takes my breath away.
And while time-- specifically, their commitment to distorting it-- is of the band's essence, its real innovations are in syntax: the way riffs fit together and songs are structured. While 1998's Rift.Canyon.Dreams contains more boilerplate, blues-influenced heavy metal riffs than Towers, they cycle at odd intervals, collect extra notes from nowhere, stretch, and spiral. By drifting back toward an established vocabulary, the band is able to play off listeners' expectations: If Towers is a foreign language, Rift.Canyon.Dreams, like Deerhoof or Captain Beefheart's music, is a familiar one tortured and scrambled to reveal new definitions-- a dictionary for much of what followed them.
After Burning Witch disbanded, Stephen O'Malley formed Sunn O))) with Greg Anderson, and bassist Stuart Dahlquist formed Asva with help from Burning Witch drummer B.R.A.D. Like Sunn O)))-- but unlike Burning Witch-- Asva is a band whose music prizes tone and atmosphere over composition. That's not to say that Dahlquist isn't traditionally musical-- he is, staunchly. But compared to O'Malley's near-clinical austerity with Sunn O)))-- at times, an exerise in charting every gradation between extremely heavy and unbearably heavy-- Dahlquist's approach sounds homely, almost arcane. What You Don't Know Is Frontier, his second full-length, is a testament not to metal's extremity, but to its epic grandiosity-- a trait that sometimes aligns it more closely with 19th-century opera and Ennio Morricone soundtracks than hard rock. The imagery conjured by the album is lonely and pre-civilized: cliffs, lightning, animal-on-animal fighting-- the Awesome, as defined in books featuring God.
WYDKIF is humane, almost personal. Dahlquist even allows the occasional groove to foment. But only for a second, and with absolutely no smiling. Grooving-- and all related looseness-- has no place on long journeys into the void. But even if light-heartedness isn't what draws listeners to epic metal, seriousness has limits, and sometimes, Dahlquist finds them. At least the music stays gorgeous, the compositions well-structured, and the musicianship-- from members of Secret Chiefs 3, Mr. Bungle, and Earth-- excellent. Dahlquist's ear seems to have gotten broader since 2005's Futurists Against the Ocean, too: instead of leaning on rock-combo brutalism, he stakes his compositions on delicate percussion, wordless vocals, and quilts of sine waves. It's like he just realized there's more than one shade of gray.
Asva makes extreme music, but I wouldn't call it avant-garde by any stretch-- its passion is too familiar, its forms too recognizable. (It's worth adding that the title comes from a poem written by Dahlquist's brother, former Silkworm drummer Michael, who was killed in 2005-- a continuing trauma that has been a professed influence on Dahlquist's music.) They say the true aesthete can marvel at the beauty of the waves even as they drown-- a sentiment Dahlquist, unquestionably a feeler, would probably echo. For all the chatter about "heady metal," it's nice to hear a musician managing to stand apart from his genre without much thought at all. Via pitchfork.com 

doom sludge metal

silentWitch