Tag: doom metal

Video by William Ruben Helms

New Video: Demons My Friends Share an Expansive Face-Melting Ripper

Currently split between Austin and Mexico City, Demons My Friends features members of Washington, DC-based outfit Fellowcraft and well-regarded Mexico City-based rock band QBO, and can trace their origins to an impromptu recording session at last year’s SXSW. Conceptually, the trio explore the inner journey its members have been on since the onset of the COVID-19 pandemic, confronting inner demons and battling anxiety, depression, self-doubt and rage while teaching themselves how to turn these demons into their “friends.”

The Mexican-American trio’s Jeff Henson-produced and mixed Demons Seem To Gather is slated for a September 8, 2023 release through Gravitoyd Heavy Music. Sonically seeming to draw from the likes of Monolord, King Buffalo, All Them Witches, Soundgarden, Baroness and a lengthy list of others, the trio’s full-length debut is reportedly features material that pairs drop-tuned grunge riffs, doom song structures, soaring melodies, groove-driven rhythms and psychedelic harmonies — but while rooted in the band’s musicianship.

Demons Seem To Gather‘s latest single “Make Them Pay” is built around a face-melting mix of sludgy power chords, thunderous drumming, Black Sabbath-meets-Soundgarden/Alice in Chains-like solos and crooned vocals with an expansive song structure. While touching upon some familiar styles, “Make Them Pay” is powered by dexterous and impassioned musicianship and earnest purpose.

Directed by Lu Salinas, the accompanying video for “Make Them Pay” was generated using AI, and it captures a fiery hellscape that sort of resembles the one we’re marching lockstep into right now.

Video by William Ruben Helms

New Video: Slumbering Sun Share Horror Movie-Influenced Visual for “Dream Snake”

Austin-based doom metal outfit Slumbering Sun — Monte Luna’s James Clarke (vocals), Destroyer of Light’s Keegan Kjeldsen (guitar), Temptress‘ Kelsey Wilson (guitar), Monte Luna‘s and Scorpion Child‘s Garth Condit (bass) and Destroyer of Light’s Penny Turner (drums) — is an All-Star band featuring acclaimed members of Texas’ underground metal scene. 

After the breakup of their previous band, James Clarke and Keegan Kjeldsen resolved to forget the bitter pain of an album that would never be released, by creating something new. They decided to start a new band with an album that Kjeldsen wrote between work on other projects. The pair continued the creative process at their rehearsal space with a few songs strummed on a clean, electric guitar: Clarke began to write melodies with the pair finishing lyrics. 

Clarke and Kjeldsen recruited Temptress’ Kelsey Wilson, who made the commute from Dallas for the writing and recording process. Scorpion Child’s Garth Condit and Destroyer of Light’s Penny Turner, who played in other bands with Clarke and Kjeldsen respectively were recruited to be the band’s rhythm section — and from that point on, Slumbering Sun was a full-fledged band. 

Released earlier this year digitally and on cassette and CD, tthe Austin-based doom metal outfit’s full-length debut The Ever Living Fire was recorded in a week-long recording session this past summer. Sonically, their full-length debut sees the band exploring broader melodies than their previous work while drawing from Celtic folk, doom metal act Warning, as well as 90s grunge rockers Soundgarden and Alice In Chains. 

In the lead-up to the album’s release, I wrote about three singles:

  • “Liminal Bridges,” an expansive song featuring an atmospheric introduction with swirling, shoegazer-like textures, followed by stormy, power chord-driven riffage and thunderous drumming paired with Clarke’s melodic crooning and enormous, arena rock-like hooks. The track sonically brought — to my ears, at least —  The Sword  to mind — ok but with a prog rock-leaning sensibility.

  • “Dream Snake,” an equally expansive track that opens with Black Sabbath and Soundgarden-like intro with fuzzy, power chord-driven riffage, thunderous drumming and a soulful solo paired with Clarke’s Ozzy Osbourne-like delivery until roughly around the five-minute mark. At that point, the song morphs into a sludgy doom metal dirge for the next two minutes or so before a gorgeous string arrangement carries the song into a gentle fadeout. Lyrically rooted in longing and heartbreak, “Dream Snake” sees the members of Slumbering Sun drawing from different eras one metal and doom metal and crafting something both familiar and new.

  • Album title track “The Ever Living Fire.” Continuing a remarkable run of expansive, mind-bending material, the song begins with a gorgeous 35 second, acoustic guitar-driven introduction before quickly exploding into an expressive and soulful doom metal dirge, built around sludgy power chord-driven riffage, thunderous drumming and Clarke’s crooning. And around the five minute mark, the band introduces a melodic hook that shifts the song in a trippy display of densely layered guitars. The song ends with a roughly minute-long, gorgeous acoustic gutter driven coda making it one of the more prog-leaning songs of the album’s released singles. 

Continuing to build about the attention the album’s first three singles have received throughout the course of this year, the Austin-based doom outfit recently shared the video for “Dream Snake.” Directed by the band’s James Clarke and Keegan Kjeldsen, the video follows four buddies driving to their regular dive bar for drinks and hijinks. They all happily greet their bartender, who serves them all their regular drinks. The bartender offers them a special stash of drugs called Sumatran Dream Flower with devilish delight. “Y’all really wanna get fucked up? Well I gotcha,” he seems to say. Fittingly, after snorting the Sumatran Dream Flower, they start having wild and paranoid visions of evil creatures wanting to kill them. Little do they know, it’s not a hallucinogen-fueled fever dream; it’s very real. B movie horror menace and bloodshed ensue to hilarious, goofy effect.

Video by William Ruben Helms

New Video: Slumbering Sun Shares Trippy 120 Minutes MTV-era VIsual for “Liminal Bridges”

Austin-based doom metal outfit Slumbering Sun — Monte Luna’s James Clarke (vocals), Destroyer of Light’s Keegan Kjeldsen (guitar), Temptress‘ Kelsey Wilson (guitar), Monte Luna‘s and Scorpion Child‘s Garth Condit (bass) and Destroyer of Light’s Penny Turner (drums) — is an All-Star band featuring acclaimed members of Texas’ underground metal scene. 

After the breakup of their previous band, James Clarke and Keegan Kjeldsen resolved to forget the bitter pain of an album that would never be released, by creating something new. They decided to start a new band with an album that Kjeldsen wrote between work on other projects. The pair continued the creative process at their rehearsal space with a few songs strummed on a clean, electric guitar: Clarke began to write melodies with the pair finishing lyrics. 

Clarke and Kjeldsen recruited Temptress’ Kelsey Wilson, who made the commute from Dallas for the writing and recording process. Scorpion Child’s Garth Condit and Destroyer of Light’s Penny Turner, who played in other bands with Clarke and Kjeldsen respectively were recruited to be the band’s rhythm section — and from that point on, Slumbering Sun was a full-fledged band. 

Released last Friday digitally and on cassette and CD, the Austin-based doom metal outfit’s full-length debut The Ever Living Fire was recorded in a week-long recording session this past summer. Sonically, their full-length debut sees the band exploring broader melodies than their previous work while drawing from Celtic folk, doom metal act Warning, as well as 90s grunge rockers Soundgarden and Alice In Chains. 

In the lead-up to the album’s release, I wrote about three singles:

  • “Liminal Bridges,” an expansive song featuring an atmospheric introduction with swirling, shoegazer-like textures, followed by stormy, power chord-driven riffage and thunderous drumming paired with Clarke’s melodic crooning and enormous, arena rock-like hooks. The track sonically brought — to my ears, at least —  The Sword  to mind — ok but with a prog rock-leaning sensibility.

  • “Dream Snake,” an equally expansive track that opens with Black Sabbath and Soundgarden-like intro with fuzzy, power chord-driven riffage, thunderous drumming and a soulful solo paired with Clarke’s Ozzy Osbourne-like delivery until roughly around the five-minute mark. At that point, the song morphs into a sludgy doom metal dirge for the next two minutes or so before a gorgeous string arrangement carries the song into a gentle fadeout. Lyrically rooted in longing and heartbreak, “Dream Snake” sees the members of Slumbering Sun drawing from different eras one metal and doom metal and crafting something both familiar and new.

  • Album title track “The Ever Living Fire.” Continuing a remarkable run of expansive, mind-bending material, the song begins with a gorgeous 35 second, acoustic guitar-driven introduction before quickly exploding into an expressive and soulful doom metal dirge, built around sludgy power chord-driven riffage, thunderous drumming and Clarke’s crooning. And around the five minute mark, the band introduces a melodic hook that shifts the song in a trippy display of densely layered guitars. The song ends with a roughly minute-long, gorgeous acoustic gutter driven coda making it one of the more prog-leaning songs of the album’s released singles.

Building upon the attention the album’s first three singles have received, Slumbering Sun recently shared an accompanying video for “Liminal Bridges.” Fittingly set in a creepy forest, the video is split between the band performing the song at night — at points shot through a hazy filter. The other half of the video features two women performing a series of weird rituals seemingly meant to get them to a different realm of consciousness. If you grew up watching 120 Minutes, this one definitely will bring back some fond memories.

Single Review by William Ruben Helms

Lyric Video: Eyes of Argus Share Sludgy Dirge “From The Dark”

Currently split between Providence and Salem, MA, emerging doom metal duo Eyes Of Argus — Guitar Hero and Rock Band co-creator and member of Megasus, Ryan Lesser (guitar) and Sam (vocals) — can trace their origins back to the bleakest days of the pandemic when Lesser began crafting tracks rooted in the concept of ugly/pretty: Lesser specifically plays fuzzy, down-tuned sludgy power chords while Sam contributes ethereal vocals and magical lyrics. 

Single Review by William Ruben Helms

Austin-based doom metal outfit Slumbering Sun — Monte Luna’s James Clarke (vocals), Destroyer of Light’s Keegan Kjeldsen (guitar), Temptress‘ Kelsey Wilson (guitar), Monte Luna‘s and Scorpion Child‘s Garth Condit (bass) and Destroyer of Light’s Penny Turner (drums) — is an All-Star band featuring acclaimed members of Texas’ underground metal scene. 

After the breakup of their previous band, James Clarke and Keegan Kjeldsen resolved to forget the bitter pain of an album that would never be released, by creating something new. They decided to start a new band with an album that Kjeldsen wrote between work on other projects. The pair continued the creative process at their rehearsal space with a few songs strummed on a clean, electric guitar: Clarke began to write melodies with the pair finishing lyrics. 

Clarke and Kjeldsen recruited Temptress’ Kelsey Wilson, who made the commute from Dallas for writing and recruiting process. Scorpion Child’s Garth Condit and Destroyer of Light’s Penny Turner, who played in other bands with Clarke and Kjeldsen respectively were recruited to be the band’s rhythm section — and from that point on, Slumbering Sun was a full-fledged band. 

Slated for Friday digital, cassette and CD release, the Austin-based doom metal outfit’s full-length debut The Ever-Living Fire was recorded in a week-long recording session this past summer. Sonically, The Ever-Living Fire sees the members of Slumbering Sun exploring broader melodies while being inspired by Celtic folk, doom metal like Warning, as well as beloved 90s classics like Soundgarden and Alice In Chains. 

In the lead-up to the album’s release later this week, I’ve written about two singles:

  • “Liminal Bridges,” an expansive song featuring an atmospheric introduction with swirling, shoegazer-like textures, followed by stormy, power chord-driven riffage and thunderous drumming paired with Clarke’s melodic crooning and enormous, arena rock-like hooks. The track sonically brought — to my ears, at least — The Sword  to mind — ok but with a prog rock-leaning sensibility.
  • “Dream Snake,” an equally expansive track that opens with Black Sabbath and Soundgarden-like intro with fuzzy, power chord-driven riffage, thunderous drumming and a soulful solo paired with Clarke’s Ozzy Osbourne-like delivery until roughly around the five-minute mark. At that point, the song morphs into a sludgy doom metal dirge for the next two minutes or so before a gorgeous string arrangement carries the song into a gentle fadeout. Lyrically rooted in longing and heartbreak, “Dream Snake” sees the members of Slumbering Sun drawing from different eras one metal and doom metal and crafting something both familiar and new.

The Ever-Living Fire‘s third and latest single, album title track “The Ever Living Fire” continues a remarkable run of expansive, mind-bending material. Beginning with 35 second gorgeous, acoustic guitar-driven introduction, the song quickly explodes into an expressive and soulful, doom metal dirge rooted into sludgy riffage, thunderous drumming paired with Clarke’s crooning. Around the five minute mark, the band introduces a melodic hook that shifts the song into an explosive display of layered guitar work. The song ends with a roughly minute-long gorgeous, acoustic guitar-driven coda. It’s arguably the most prog-leaning of the album’s released singles.

Single Review by William Ruben Helms

Lyric Video: Eyes Of Argus Share Sludgy “Honey’d Dreams”

Currently split between Providence and Salem, MA, emerging doom metal duo Eyes Of Argus — Guitar Hero and Rock Band co-creator and member of Megasus, Ryan Lesser (guitar) and Sam (vocals) — can trace their origins back to the bleakest days of the pandemic when Lesser began crafting tracks rooted in the concept of ugly/pretty: Lesser specifically plays fuzzy, down-tuned sludgy power chords while Sam contributes ethereal vocals and magical lyrics.

The duo’s full-length debut is slated for a February 23, 2023 release, and was recorded and mixed by Lesser, after he studied the techniques of Steve Albini, who he recorded with several years earlier.

Clocking in at about 8:20, the album’s latest single, the expansive “Honey’d Dreams” begins with a brooding “Planet Caravan“-like introduction with glistening and reverb-drenched guitars and then quickly turning into a doom metal dirge featuring sludgy power chords, thunderous drumming paired with Sam’s ethereal crooning. Lyrically, the song is rooted in seemingly Norse-inspired imagery and mythology. The end result is a song that balances brooding sludge with a hazy, nostalgia-tinged dreaminess.

Single Review by William Ruben Helms

Austin-based doom metal outfit Slumbering Sun — Monte Luna’s James Clarke (vocals), Destroyer of Light’s Keegan Kjeldsen (guitar), Temptress‘ Kelsey Wilson (guitar), Monte Luna‘s and Scorpion Child‘s Garth Condit (bass) and Destroyer of Light’s Penny Turner (drums) — is an All-Star band featuring members of Texas’ underground metal scene. 

After the breakup of their previous band, James Clarke and Keegan Kjeldsen resolved to forget the bitter pain of an album that would never be released, by creating something new. They decided to start a new band with an album that Kjeldsen wrote between work on other projects. The pair continued the creative process at their rehearsal space with a few songs strummed on a clean, electric guitar: Clarke began to write melodies with the pair finishing lyrics. 

Clarke and Kjeldsen recruited Temptress’ Kelsey Wilson, who made the commute from Dallas for writing and recruiting process. Scorpion Child’s Garth Condit and Destroyer of Light’s Penny Turner, who played in other bands with Clarke and Kjeldsen respectively were recruited to be the band’s rhythm section — and from that point on, Slumbering Sun was a full-fledged band. 

Slated for a February 24, 2023 CD, cassette and digital release with a vinyl release over the summer, because of pressing plant delays, the Austin-based doom metal outfit’s full-length debut The Ever-Living Fire was recorded in a week-long recording session this past summer. Sonically, The Ever-Living Fire sees the members of Slumbering Sun exploring broader melodies while being inspired by Celtic folk, doom metal like Warning, as well as beloved 90s classics like Soundgarden and Alice In Chains. 

Late last year, I wrote about the expansive “Liminal Bridges.” Centered around a song structure featuring an atmospheric introduction with swirling shoegazer-like textures, followed by stormy, power chord-driven riffage and thunderous drumming paired with Clarke’s melodic crooning and some enormous, arena rock friendly hooks, The Ever-Living Fire‘s first single sonically brings The Sword and others to mind — but with a prog rock-leaning sensibility. 

Clocking in at a little over 8:30, The Ever-Living Fire‘s second and latest single “Dream Snake” further establishes the Austin doom outfit’s penchant for expansive song structures: Opening with fuzzy power chord-driven riffage and thunderous drumming paired with Clarke’s Ozzy Osbourne-like delivery, the song first nods at classic Black Sabbath and Soundgarden-like metal, complete with a soulful yet forceful solo. At the five minute mark, the song turns into sludgy doom metal dirge for a good two minutes before a gorgeous burst of strings carry the song into a gentle fadeout.

Lyrically rooted in longing and heartbreak, “Dream Snake” sees the members of Slumbering Sun drawing from different eras one metal and doom metal and crafting something both familiar and new.

Single Review by William Ruben Helms

Austin-based doom metal outfit Slumbering Sun — Monte Luna’s James Clarke (vocals), Destroyer of Light’s Keegan Kjeldsen (guitar), Temptress‘ Kelsey Wilson (guitar), Monte Luna‘s and Scorpion Child‘s Garth Condit (bass) and Destroyer of Light’s Penny Turner (drums) — is an All-Star band featuring members of Texas’ underground metal scene.

As the story goes, after the breakup of their previous band, James Clarke and Keegan Kjeldsen resolved to forget the pain of an album that would never be released, by creating something new. They decided to start a new band — and with an album that Kjeldsen wrote between work on other projects. The pair continued the creative process at their rehearsal space with a few songs strummed on a clean, electric guitar: Clarke began to write melodies with the pair finishing lyrics.

Clarke and Kjeldsen recruited Temptress’ Kelsey Wilson, who made the commute from Dallas for writing and recruiting process. Scorpion Child’s Garth Condit and Destroyer of Light’s Penny Turner. who played in other bands with Clarke and Kjeldsen respectively were recruited to be the band’s rhythm section — and from that point on, Slumbering Sun was a full-fledged band.

Slated for a February 24, 2023 CD, cassette and digital release with a vinyl release over the summer, because of pressing plant delays, the Austin-based doom metal outfit’s full-length debut The Ever-Living Fire was recorded in a week-long recording session this past summer. Sonically, The Ever-Living Fire sees the members of Slumbering Sun exploring broader melodies while being inspired by Celtic folk, doom metal like Warning, as well as beloved 90s classics like Soundgarden and Alice In Chains.

The Ever-Living Fire‘s first single “Liminal Bridges” is an expansive and towering song centered around three distinct segments — an atmospheric introduction featuring swirling, shoegazer-like textures followed by stormy power chord-driven riffage, thunderous drumming paired with Clarke’s melodic crooning and some enormous, arena rock friendly hooks. “Liminal Bridges” sonically brings The Sword and others to mind — but with a prog rock-leaning sensibility.

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Video by William Ruben Helms

Live Footage: EarthQuaker Sessions: Ruby the Hatchet Performing “1000 Years” at EarthQuaker Devices Headquarters

Philadelphia-based quintet Ruby the Hatchet — Jillian Taylor (vocals), Johnny Scarps (guitar), Lake Muir (bass), Owen Stewart (drums, vocals) and Sean Hur (keys, organ) — quickly established a unique take on heavy psych rock with their self-titled 2011 debut EP, which featured a sound centered around Taylor’s soulful vocals, Scarps’ old-school, power chord-driven riffs and Hur’s Rainbow and Deep Purple-like organ chords.

Their debut EP received attention both locally and elsewhere. And building upon the buzz of the EP, the Philadelphia-based heavy psych outfit self-released their full-length debut, 2012’s Ouroboros.

Ruby the Hatchet’s sophomore effort, 2105’s Valley of the Snake received attention across the global heavy music scene while revealing a band that was constantly evolving their sound and approach. The band then spent the next two years on a relentless global tour, sharing stages with Kadavar, Black Mountain, Earthless, Arthur Brown, Uncle Acid & The Deadbeats and The Sword. They capped off this busy period with their third album, 2017’s Planetary Space Child, which debuted on the Billboard Top Indie Albums Chart and received widespread critical praise.

The acclaimed and rapidly rising heavy psych outfit signed to Magnetic Eye Records, who will be releasing the band’s first batch of recorded outfit in five years, Live at Earthquaker EP. Recorded live to tape at EarthQuaker Devices‘ Akron, OH-based headquarters, during a stop on the band’s US tour with Kadavar, the three-song EP features a cover of Uriah Heep‘s “Easy Livin‘” and two new songs, which the band had road-tested over the past handful of years — and will appear on their long-awaited fourth album slated for release later this year.

The EP’s first single “1000 Years” is a power ballad centered around Taylor’s soulful, powerhouse vocals, Scarps’ bluesy power chord-fueled riffs, Hur’s soaring keys and some enormous, arena rock friendly hooks. Sonically, “1000 Years” is a synthesis of Black Sabbath‘s “War Pigs” and “Planet Caravan” — but delivered with a raw, forceful intensity.

“Our first foray with Magnetic Eye Records is going to be a major ear-tease, showcasing an in-studio live session recorded at Earthquaker Headquarters of two new songs from our upcoming studio full-length”, Ruby the Hatchet’s Jillian Taylor says. :”We had been road-dogging for a few years straight and felt very much in the pocket.  As we tested out new material throughout the tour, these two songs were fan favorites every night. ‘Primitive Man’ is an in-the-pocket groover that everyone gets to riff on. ‘1,000 Years’ is an emotionally long-winding melodic ballad that had me sharing tears with strangers in the crowd as we closed our set with it each night. Jeff France and the Earthquaker crew captured us at the height of our tour tightness, and we love that these songs were captured live with footage from EQ and exist in their own realm, apart from their studio versions which came a year later. Oddly enough, our cover of ‘Easy Livin” was also tracked live and without computers, so it only felt right for it to make a vinyl debut along with our other raw cuts. This live session deserved a special release of its own, and we cannot wait to get it out and build some excitement for what’s to come on our new album.”

Live at Earthquaker EP is slated for an April 22, 2022 release.

Single Review by William Ruben Helms

New Audio: Gothenburg’s Firebreather Shares Scorching “Sorrow”

With the release of 2019’s sophomore album Under a Blood Moon, the Gothenburg, Sweden-based doom metal trio Firebreather — currently, Mattias Nööjd (vocals, guitar), Axel Wittbeck (drums) and the band’s newest member Nicklas Hellqvist (bass) — found the band quickly establishing a raw, in-your-face and incendiary sound.

The Swedish doom metal trio’s third album Dwell in the Fog is slated for a February 25, 2022 release through RidingEasy Records. Much like their preceding two albums, Dwell in the Fog was recorded and mixed by engineer Oskar Karlsson at Gothenburg-based Elementstudion. The album’s material features a streamlined focus on driving, symphonic riffs in the vein of acts like High On Fire, Inter Arma and labelmates Monolord among others, while rumbling and raging with a fury that the band has only hinted at on their previously released material.

“The album is a cathartic journey inwards and a musical continuation from Under A Blood Moon, but with more emphasis on groove and feel,” the band’s Matthias Nööjd says in press notes.

Dwell in the Fog‘s third and latest single “Sorrow” is a furious and sludgy dirge centered around thunderous drumming, scorching riffs and tweeter and woofer rattling low-end paired with Nöörd’s guttural yet melodic howling. While arguably being among the hardest and most forceful songs I’ve written about so far this year, “Sorrow” evokes the frustration, heartache and despair of sorrow — and in turn, loss — with a simmering yet visceral fury.

Video by William Ruben Helms

New Video: French Act Chafouin Releases a Punishing New Single

Chafouin is a Brest, France-based outfit with a rotating cast of collaborators. Clocking in at a little under two-and-a-half minutes, “Tout Casser,” the French outfit’s latest single is a slow-burning and bruising bit of doom metal centered around sludgy power chords, thunderous drumming and vocals delivered with a menacing yet child-like sing-song delivery.

The end result is a song that to my ears reminds me a bit of The Melvins and Spelljammer among others.

The recently released video for “Tout Casser” features home video of the band’s members shot in 1995. It’s sweetly nostalgic — and a reminder of how the time has flown by.

Video by William Ruben Helms

New Video: Spelljammer Releases a Trippy and Brooding Visual for Bruising “Abyssal Trip”

The members of Stockholm-based doom metal/stoner rock act Spelljammer — currently, Niklas Olsson (vocals, bass), Robert Sorling (guitar) and Jonatan Remsbo (drums) — have developed and honed a unique, attention grabbing sound rooted in their penchant for sludgy, power chord riff-driven dirges with dramatic interludes.

Spelljammer’s third album, 2015’s Ancient of Days was in many ways a rebirth of sorts for the band: it was their first recorded output as at trio — and sonically, the album was a decided move towards a heavier, doom metal-leaning sound. Lyrically, the album was inspired by Swedish author and Nobel laureate Harry Martinson’s epic poem “Aniara,” 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’s nothing they can do about it. The poem ends with the spaceship’s passengers dying as the ship continues on its journey through the vast nothingness of the solar system. 

Released earlier this year through RidingEasy Records, Spelljammer’s fourth album Abyssal Trip is the first batch of new material from the Swedish doom metal band inver five years, and the album finds the band bridging their early desert rock/stoner rock leanings with their recent penchant for slow-burning, massive, sludgy riffs. Continuing Olsson’s long-held obsession with the vastness of everything, Abyssal Trip derives its name from the perpetually dark, cold, oxygen-free zone at the bottom of the ocean. Interestingly, the album’s six songs embody that bleak and dark realm with rumbling and oozing guitars and dramatic melodic interludes. But unlike the band’s previously released material, the album finds the band crafting material that slowly unfurls, which gives the album a brooding and hypnotic quality. 

“The lyrical themes we address, like the ultimate doom of man, and the search and longing for new and better worlds, are still there,” Olsson says. “The concept of something undiscovered out there in vast emptiness is pretty much always present.” Additionally, the band employed a much different recording process: the trio opted to capture the performances live while holed up in a house in the countryside, just outside of Stockholm. “The songs benefitted from the relaxed environment of being away from everything,” Olsson explains. 

Beginning with some ominous film dialogue discussing blood sacrifices, album title track and latest single “Abyssal Trip” is an unrelenting bruiser of a song, centered around rumbling down-tuned guitars, thunderous drumming and howled vocals. There’s a brief respite from that punishing dynamic through a scorching lead solo before the song ends with an abrupt jerk. The song evokes the vast and unfathomable power of nature — and its ability to crush everything and everything in its path. And as a result, the song seems like a desperate howl into the indifferent and uncaring void. 

The recently released video for “Abyssal Trip” features footage of the band performing the song in front of some trippy, lava lamp-like lighting and equally trippy stock footage of wintry forests, of diver struggling to survive in the ocean and more.

Video by William Ruben Helms

New Video: Stockholm’s Spelljammer Releases a Technicolor Fever Dream Visual for “Lake”

Stockholm-based doom metal/stoner rock act Spelljammer — currently, Niklas Olsson (vocals, bass), Robert Sorling (guitar) and Jonatan Remsbo (drums) have crafted a unique sound centered around a long-held penchant for massive, sludgy power chord riff-driven dirges with dramatic interludes.

2015’s Ancient of Days was the Stockholm-based act’s third release — and in many ways it was a rebirth of sorts: it was the band’s first recorded output as a trio and sonically the album represented a decided move towards a heavier, doom metal-leaning sound. Lyrically, the album was inspired by Swedish author and Nobel laureate Harry Martinson’s epic poem “Aniara,” 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’s nothing they can do about it. The poem ends with the spaceship’s passengers dying as the ship continues on its journey through the vast nothingness of the solar system.

Spelljammer’s fourth release, Abyssal Trip is the first bit of new material from the acclaimed Swedish act in over five years, and the album reportedly finds the band bridging their earlier desert rock/stoner rock leanings with their more recent massive, slow-burning sludgy riffs. And while continuing Olsson’s long-held obsession with pondering the vastness of everything, Abyssal Trip derives its name from the perpetually dark, cold, oxygen-free zone at the bottom of the ocean. The album’s six songs manage to embody that bleak and dark realm with rumbling and oozing guitars and dramatic melodic interludes. But unlike its predecessors, the album finds the band crafting material that slowly unfurls, which gives the proceedings a hypnotic quality.

“The lyrical themes we address, like the ultimate doom of man, and the search and longing for new and better worlds, are still there,” Olsson says. “The concept of something undiscovered out there in vast emptiness is pretty much always present.”

Additionally, the album finds the band employing a much different recording process than previously releases: the members of the Swedish act opted to capture the performances live while holed up in a house in the countryside, just outside of Stockholm. “The songs benefitted from the relaxed environment of being away from everything,” Olsson explains.

Clocking in at a little under 7:30, “Lake,” Abyssal Trip’s expansive first single is centered around alternating sections of crushing, sludgy doom-laden dirge and menacing galloping thrash, a gorgeously shimmering, melodic break and a scorching guitar solo — and it’s all held together by mosh pit friendly hooks. “Lake” manages to find Spelljammer crafting a song that evokes the vastness and and power of a brewing storm over an enormous body of water — and the smallness and powerlessness of humanity.

The recently released video is a uneasy and hallucinogenic fever dream that features grainy Super 8 footage of a devil a technicolor field, pulsating to the oceanic sounds of the single.

Abyssal Trip is going to drop tomorrow release through RidingEasyRecords.

Single Review by William Ruben Helms

New Audio: Stockholm’s Spelljammer Releases a Brooding and Forceful Ripper

Stockholm-based doom metal/stoner rock act Spelljammer — currently, Niklas Olsson (vocals, bass), Robert Sorling (guitar) and Jonatan Remsbo (drums) have crafted a unique sound centered around a long-held penchant for massive, sludgy power chord riff-driven dirges with dramatic interludes.

2015’s Ancient of Days was the Stockholm-based act’s third release — and in many ways it was a rebirth of sorts: it was the band’s first recorded output as a trio and sonically the album represented a decided move towards a heavier, doom metal-leaning sound. Lyrically, the album was inspired by Swedish author and Nobel laureate Harry Martinson’s epic poem “Aniara,” 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’s nothing they can do about it. The poem ends with the spaceship’s passengers dying as the ship continues on its journey through the vast nothingness of the solar system.

Spelljammer’s fourth release, Abyssal Trip is the first bit of new material from the acclaimed Swedish act in over five years, and the album reportedly finds the band bridging their earlier desert rock/stoner rock leanings with their more recent massive, slow-burning sludgy riffs. And while continuing Olsson’s long-held obsession with pondering the vastness of everything, Abyssal Trip derives its name from the perpetually dark, cold, oxygen-free zone at the bottom of the ocean. The album’s six songs manage to embody that bleak and dark realm with rumbling and oozing guitars and dramatic melodic interludes. But unlike its predecessors, the album finds the band crafting material that slowly unfurls, which gives the proceedings a hypnotic quality.

“The lyrical themes we address, like the ultimate doom of man, and the search and longing for new and better worlds, are still there,” Olsson says. “The concept of something undiscovered out there in vast emptiness is pretty much always present.”

Clocking in at a little under 7:30, “Lake,” Abyssal Trip’s expansive first single is centered around alternating sections of crushing, sludgy doom-laden dirge and menacing galloping thrash, a gorgeously shimmering, melodic break and a scorching guitar solo — and it’s all held together by mosh pit friendly hooks. “Lake” manages to find Spelljammer crafting a song that evokes the vastness and and power of a brewing storm over an enormous body of water — and the smallness and powerlessness of humanity.

Abyssal Trip is slated for a February 26, 2021 release through RidingE

Single Review by William Ruben Helms

New Audio: Elephant Tree’s Scorching Live Version of “Aphotic Blues” off “Day of Doom” Live Album

London-based doom metal/stoner rock quartet Elephant Tree — currently founding members Jack Townley (bass, guitar) and Sam Hart (drums) with Peter Holland (bass, vocals) and John Slattery (guitar, synths) – can trace its origins back to 2013: Townley and Hart would meet every week at a rehearsal space nestled behind the now demolished 12 Bar Club, where they actually started cobbling the first notes of what would eventually become their debut single “Attack of the Altacia.”

Townley and Slattery had a random encounter with Peter Holland, who had an almost mythical status in the scene at a local bar. After talking for a few hours, they all agreed that they should get together to jam. The idea was further cemented after the trio caught OM play at The Village Underground — with Holland taking bass duties, allowing Townley to switch to guitar. As a newly constituted trio, the members of Elephant Tree began polishing “Attack of the Altacia”‘s rough edges before progressing onto newer riffs and melodic ideas paired with Holland’s vocals. And yet, the trio felt something was missing from their sound — until they met Canadian-born Riley MacIntyre (guitar, sitar, vocals), who competed the band’s first lineup.

In 2015, Elephant Tree was handpicked by Magnetic Eye Records from an early demo submission that featured a unique blend of stoner rock, doom metal and sludge centered around a warm, syrupy fuzz and soaring vocal harmonies. Their debut effort Theia and 2016 self-titled effort wound up becoming two of the most popular records of the Magnetic Eye Records’ catalog.

Although the band has gone through a series of lineup changes, their third album, this year’s critically applauded Habits finds the band’s sound and stylistic range expanding to include elements of post-metal and acoustic folk paired with unconventional songwriting.

Last year, Magnetic Eye Records celebrated their first decade with the Day of Doom Showcase at Saint Vitus Bar, which featured nine of the label’s acts including the Swedish doom metal act DOMKRAFT and Elephant Tree. Much like DOMKRAFT’s Day of Doom set, the British quartet’s set was recored by Deafheaven‘s and Summoner’s Chris Johnson as part of a set of four exclusive live albums. Elephant Tree’s Day of Doom set is a career-spanning set of what Metal Injection describes as “gloomy atmosphere with head-bobbing grooves.”

“Aphotic Blues,” is the first single off Elephant Tree’s live album and the single is centered around syrupy and sludgy power chords, thunderous drumming, Alice in Chains-like harmonizing within an expansive song structure. And its all delivered with a snarling forcefulness.