Son Of Boar – Son Of Boar

Son Of Boar Album Cover Art

Son Of Boar – Son Of Boar
Stoned Rocka Recordings
Release Date: 02/04/2021
Running Time: 31:10
Review by Alun Jones
9/10

Well, here we are then. The debut album from Bradford based sonic butchers, Son of Boar. And yes, I am quite excited about this release. There are long lost civilisations existing in the South American jungle that, despite having no contact with the outside world, are aware that your pal, Platinum Al, has been desperate to hear this cacophonous compendium for some time.

So, is it any good? Well yeah, obviously. But just what kind of good I shall reveal.

There are five tracks on this eponymous release, across which Son of Boar attempt to cover as much ground as possible. Yes, this is Stoner Doom – it is heavy, it has groove, it has a windswept musical vista that is both fierce and welcoming.

I’ve already reviewed first track, ‘Stoned Wail’, when it was released as a single a while ago. This mix is punchier though, and still satisfying regardless of any familiarity. The calm wash of ocean waves accompanies a benign introduction; until, just over two minutes in, the full electric muscle of the band is released. SOB hit their groove and plough relentlessly on, whilst vocalist Luke roars about some sweet girl called Mary. I don’t know who Mary is, but she seems like a nice, compassionate lady.

The slow sludge of song number one is contrasted by ‘All In Your Head’, where SOB pick up the pace and gallop home with a Kyuss covering Maiden flourish. Great rhythm work from Gaz (bass) and Luke D (drums). ‘Satanic Panic’ then devolves brilliantly into the sort of the Corrosion of Conformity style Sabbath worship that enthralled James Hetfield. Powerful, even graceful, but remorseless.

‘Snakes And Daggers’ reminds me of Motorhead played too slow (33rpm not 45, for the fossils out there). Here the pace varies, with a great, almost psychedelic melodic swash emerging like a surprise visit from a long-lost drinking buddy. Then your old pal gets stinking drunk and kicks off in the taxi rank, and you’re desperately clutching your kebab in puzzlement. What?

You should listen to ‘Cities Of The Deadeyed Priestess’ just because it’s a genius song title. It also has some bizarro samples that I need to investigate. Musically, this is another brutal head crusher: meat and potatoes riffs and fine melodic hues courtesy of guitarists Lyndon and Adam.

And there you have it: five songs, one debut album. A fine band; they’re awesome live, have the best t-shirt designs I’ve seen in donkeys and are creating a real sense of cult-like, underground authenticity that is addictive. If I could afford to buy a copy of this album for everyone reading this review, I would. Even that weirdo at the back.

And Son of Boar have only just begun their journey…

TRACKLISTING:
01. Stoned Wail
02. All In Your Head
03. Satanic Panic
04. Snakes And Daggers
05. Cities Of The Deadeyed Priestess

LINE-UP
Luke Oliver – Vocals
Adam Waddell – Guitar
Lyndon Birchall – Guitar
Gaz Bates – Bass
Luke Doran – Drums

LINKS:

Son Of Boar Promo Pic

Disclaimer: This review is solely the property of Alun Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

EMQ’s with SINS OF MAGNUS

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EMQ’s with SINS OF MAGNUS

Hi everyone! Welcome to our new EMQ’s interview with Philadelphia, Pennsylvania based Stoner/Doom Metal band, Sins Of Magnus. Huge thanks to guitarist/vocalist Rich Sutcliffe for taking part.

What is your name, what do you play, and can you tell us a little bit about the history of the band?

Hey!! My name is Rich, I play guitar and sing. We started in 2009 to do something a little different than everyone else. Sean, our drummer, was the drummer in the very first band I did in 1990. Eric, our bass player and singer, has been in 3 other bands with me since 1995. All our bands were either punk or hardcore, and we just wanted to do something different. We didn’t want to be confined to any one genre. Eric and I were looking for a drummer, and right away Sean was our first choice, and he was on board. So, the 3 of us, collectively, have played together on and off for 31 years.

How did you come up with your band name?

We were originally called Magnus when we first started. Our first EP is under the Magnus name. Do you know how hard it is to search for a particular album by Magnus? There are so many bands with this name that it nearly impossible. We added ‘Sins of’ to it to make it easier to find, and we all thought Sins of Magnus sounded cool.

What Country/Region are you from and what is the Metal/Rock scene like there?

We are from Philadelphia, PA USA. There is a great scene out here. There are a ton of unsigned bands around here, however, and I think it’s a shame. Check out Black Friday Death Count and Victor Traps and you’ll see what I’m talking about. These 2 bands should be household names.

What is your latest release? (Album, EP, Single, Video)

Our latest LP, “The Circus”, came out on 16th February 2021. There’s a limited run CD of 100 copies, as well as all popular streaming platforms.

‘Flux Capacitor’ (Audio)

Who have been your greatest influences?

Personally, Tony Iommi, Alvin Lee, and Fast Eddie Clarke. Eric’s influences are John Entwistle, Steve Harris, and Geezer. Sean’s are Neal Peart and Mike Portnoy. Collectively our influences are Sabbath of course, Motorhead, Slayer, Trouble, Dayglo Abortions, Priest, AC/DC, Danzig, Ramones, old NYHC, Rush, Metallica, Ratt, and Shelter.

What first got you into music?

I grew up in a household where I was subjected to either country music or disco. In 1978 my parents bought me “Love Gun” by Kiss. My whole perspective of music changed from that day on. In terms of wanting to play music, all of us wanted to play our instruments because of Metallica. It was what kids in high school rocked to back then. It is how we all started out.

If you could collaborate with a current band or musician who would it be?

No doubt in my mind it would be John Arch from early Fates Warning. He is one of my top 5 vocalists and I always wanted to write material with vocals that only he could handle.

If you could play any festival in the world, which would you choose and why?

The Doomed and Stoned festival. Every band I currently love plays this festival and it would be an honour to be a part of it.

What’s the weirdest gift you have ever received from a fan?

In one of my old bands, I received a painting of a tree. I don’t know why they thought I would want that, let alone bring it to a show, but I guess it was a nice gesture.

If you had one message for your fans, what would it be?

Listen to everything we have to offer. The songs are so different from one another that there is something for everyone, no matter what genre you most identify with.

If you could bring one rock star back from the dead, who would it be?

Lemmy. I miss him dearly. We need more rock stars like him in this world.

What do you enjoy the most about being a musician? And what do you hate?

I like that I get to be creative and be able to express myself in the music we write. The only thing I hate is carrying equipment up flights of stairs. I’m too old for that!

If you could change one thing about the music industry, what would it be?

There are too many cliques. Everyone should support each other.

Name one of your all-time favourite albums?

“Ignaurus” by Into Another. This album is full of creativity both musically and lyrically.

What’s best? Vinyl, Cassettes, CD’s or Downloads?

I personally like the sound of vinyl, but only for old recordings. It defeats the purpose to record digitally, then release it on an analog format. I don’t care what format it is in, as long as I get to hear it loud!

What’s the best gig that you have played to date?

We opened for Trouble, during their tour supporting The Distortion Field. Really fun night getting to meet one of my favourite bands, and influences, who were really cool, no egos, and down to earth.

If you weren’t a musician, what else would you be doing?

My day job! Nothing else. Music is the only form of art I’m half decent at.

Which five people would you invite to a dinner party?

Rob Halford, Geoff Tate, John Arch, Michael Kiske, and Bruce Dickenson. It would be the best falsetto quintet of all time!

What’s next for the band?

We are beginning to record 5 new songs, at New Sofa Studios, for what looks like will be an EP. Our releases have been 3 or 4 years apart. It’s time to get more out there a little sooner than that. Since there are currently no shows to play, we have really focused on new material, and I think it’s our best to date.

What Social Media/Website links do you use to get your music out to people?

www.instagram.com/sinsofmagnus
www.sinsofmagnus.bandcamp.com/
www.open.spotify.com/artist/3NGmWS7VrQ4o7iM37xzQfl

Jaffa Cakes! Are they a cake or a biscuit?

Our drummer Sean, who lived in England for 4 years said “Biscuit yo”!

Thank you for your time. Is there anything else that you would like to add?

Please support unsigned bands. They work harder than anyone else and have something to prove.

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

EMQ’s with SULLEN GUEST

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EMQ’s with SULLEN GUEST

Hi everyone! Welcome to our new EMQ’s interview with Lithuania based, Death/Doom Metal band, Sullen Guest. Huge thanks to composer/guitarist, Justas G, for taking part.

What is your name, what do you play, and can you tell us a little bit about the history of the band?

My stage name is Tenebra (darkness in Latin), but formally known as Justas. G.

I am the main composer and guitarist of Sullen Guest. The band started in 2013 as a female-fronted melodic doom band. After 10 line-up changes, we are releasing our third album called “Chapter III”.

How did you come up with your band name?

We owned a studio in the street whose name begins with SG letters. So, we stuck with the idea that the band name should begin with these letters. After brainstorming, we have found a name that perfectly suits our mood.

What Country/Region are you from and what is the Metal/Rock scene like there?

Lithuania – Baltic states. There are no big metal names in our region. There are around 50 active bands, and most of them – black metal. In Lithuania, there are two big open-air metal festivals, and every weekend you can find a few metal gigs in Vilnius or Kaunas, mentioning the cities that do have a regularity regarding the metal scene.

What is your latest release? (Album, EP, Single, Video)

It’s a music video called ‘Samsara’ from the upcoming album “Chapter III”.

‘Samsara’ (Official Video)

Who have been your greatest influences?

The main influences were made by Novembers Doom, Katatonia, Opeth, Death. But all these influences were taken into account from the period when the bands had more raw power (albums 1992-1995). Furthermore, October Tide, Deinonychus, Forgotten Tomb…

What first got you into music?

Whenever I listened to metal music. I empathized with it, and I had a feeling if the music were created by myself, this experience would be even deeper. Eventually, I decided to start my emotional journey by creating music.

If you could collaborate with a current band or musician who would it be?

October Tide!

If you could play any festival in the world, which would you choose and why?

It would be “70000 Tons of Metal”. The atmosphere there is not doomish at all, but it would be an unforgettable experience.

What’s the weirdest gift you have ever received from a fan?

A huge wall calendar with a large picture of our recent artwork which was a total surprise.

If you had one message for your fans, what would it be?

We walk forward with hopes of meeting our audience during live shows, otherwise, we thank you for the support, any kind there is or could be. It’s still a long and difficult journey, but we will not give up, regardless we are glad that you have been visited by Sullen Guest!

If you could bring one rock star back from the dead, who would it be?

Chuck Schuldiner.

What do you enjoy the most about being a musician? And what do you hate?

Being on the stage, of course. There I can feel some kind of nirvana, regardless of the quantity of an audience. On the other hand, organizing gigs is the most frustrating part of the game.

If you could change one thing about the music industry, what would it be?

Bands would gain their fame for their accomplishments, and not because of a producer with a big name.

Name one of your all-time favourite albums?

Black Sabbath – “Paranoid”. One of the biggest artefacts of early metal with massive impact for generations of musicians.

What’s best? Vinyl, Cassettes, CDs or Downloads?

For myself, there’s no time to spare for Vinyl or CD’s personally. Currently, I listen mostly to digital formats.

What’s the best gig that you have played to date?

Gig in Königsberg. It was a crazy crowd and a great afterparty after the gig, we did not anticipate such support before then.

If you weren’t a musician, what else would you be doing?

I’m a machine programmer and a musician simultaneously.

Which five people would you invite to a dinner party?

It would be previous Sullen Guest members to remember the great times we have spent together.

What’s next for the band?

Survive till the end of Covid-19 and make a presence on the scene eventually after the disturbances we are facing right now and begin composing new material.

What Social Media/Website links do you use to get your music out to people?

Three main platforms: Facebook, YouTube, Bandcamp.
www.facebook.com/SullenGuest
www.sullenguest.bandcamp.com/
www.youtube.com/channel/UCv0xbKnDWrgJDFkgyqgwa6w

Jaffa Cakes! Are they a cake or a biscuit?

The answer depends on the amount of beer before the question is presented 😊.

Thank you for your time. Is there anything else that you would like to add?

It is a great pleasure to spread the news. I put my hopes in our new line-up and album with a desire for the listeners to experience the emotions we are portraying until you are visited again.

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Interview with Marc Hood of Cadaver Soirée

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Interview with Marc Hood of Cadaver Soirée
By Sheri Bicheno

Hello all, It’s Sheri!

I return from the other side of 2020 (Happy New Year) and boy oh boy, I’ve had a few insightful chats leading up to Christmas… Here I sat down with Marc Hood (vocalist) of one of Leeds’ dark gems, Cadaver Soirée.

Formed in 2016, Cadaver Soirée play a mixture of Death, Black and Doom Metal. Taking influence from various sources and placing emphasis on heaviness and memorable riffing, the guys aim has always been to provide a brutal and diverse listening experience.

Give them a listen!

Sheri: What got you into making music and where you are now?

Marc: I’ve been into being a musician, that sort of thing for about 15 years, I’ve done everything really, in terms of being in a band. I’ve been a guitarist, I’ve pretended to be a bassist haha, I’ve played synth in a band as well. I’ve done near enough everything. I’ve even drummed many years ago. I was in a band with Andy from Cadaver, I was the bassist, it was called Hammer X – I’d pretty much left Hammer X at that point because it was a different style to what I’m doing now so Andy had heard my vocals and had suggested I try out. So, I joined on a whim and it turned out to be one of the best things that has ever happened to me, musically.

Sheri: I love that! You mention you’ve done different things before – have you been in a similar type of band or has it always been different?

Marc: To be honest, I’ve done near enough everything. The band I drummed in was a sort of Amon Amarth/Viking type so that was fun! I was in a groove metal band; I was lead guitar in that. I played bass in a Classic Rock band – I did full spectrum on the bass. The band I play Synth for is a Black Metal band, obviously Cadaver is death metal.

Sheri: Wow, that’s cool! Education wise, did you pick up all of this through education?

Marc: No, I’m entirely self-taught, I wanted to do music in high school, but the teacher didn’t think metal was a viable sort of music, so… (we could do an article on how narrow minded a point of view, by some, so-called teachers this is!! – Rick)

Sheri: Yeah, tell me about it! Haha.

Marc: Haha, so I just thought I’d go my own way, so I’ve had no formal education and everything I’ve done I’ve done myself or by form of imitation.

Sheri: Understood. There’s a lot of musician’s like yourself that are self-taught but to have such a range is awesome. Your debut album “To Betray The Creator”was brought out in 2017…

Marc: The original “Cordyceps” demo was recorded in 2017 with the previous line up and then songs from that were taken for “To Betray The Creator” and that was in 2019.

Sheri: And it was on Morning Star Heathens (MSH Records) – a big shout out to Shane (label boss Shane Giess), I’ve got a lot of time for that guy!

Marc: Absolutely! The original single, ‘Limbless’, that was with Morning Star – the actual album itself was self-released. The original single ‘Cordyceps’, the actual tape was with Morning Star as well.

Sheri: I think that’s probably where I first heard it. This album shows elements of Doom and Black Metal blended into your Death Metal vibe. Is this something that naturally came with making the album? How did you find your fitting?

Marc: It’s kind of a mix of our influences, particularly Andy, our guitarist. He’s big into Extreme metal and all its forms, he loves Black metal, big fan of Grindcore, that sort of thing. So, for the most part of the songs that he’s written – he writes the majority of our music and then me and Neil sort of add our flavour to it and more recently our new drummer he adds as well but the sort of bare bones of the songs are pretty much Andy. It’s more of a reflection of his influence, especially that first album. Some of the songs he’d written many years ago and he’d never really had an outlet to release them and play them live because the other band he was in was nowhere near that heavy.

Sheri: Understood. So basically, it was down to influences for all of you, especially Andy – so my next question is do you put your music together collectively or do you have a certain method that you make work together in your songwriting?

Marc: It used to be entirely that Andy would send us a riff idea, send us a song idea where he would do everything on it except the vocals, he would program the drums and suggest bass lines and then me, Neil and Nate (our previous vocalist) would just add vocals and bass because Neil isn’t like most bassists, he plays something completely different and it just works, he comes up with a lot of very, very interesting things. There’s only two or three times on the entire album he’s actually following the guitar. We all make small suggestions, so on the new album for example, there’s a couple of riffs that have come in and I’ve suggested “that bit needs a blast beat” or “that’s fine” – you know, we’re very diplomatic as a band, almost too nice, I think.

Sheri: Haha, I think as other Artists have said though, you do have to get on as a band.

Marc: Yeah, it helps haha! More recently the dynamics changed a little bit where me being in the band and able to play instruments, I’ve been contributing riffs as well so that takes the form of either me showing Andy a riff in the practise room and then he makes something of it there and then, which he can do…or he records it and sorta takes it away and works on it for the week or we just jam things out as well.

Sheri: So, he has a bit of a play around with it. Cool. Can you tell our readers what inspires your songwriting?

Marc: Well in terms of my part as the vocalist, I come up with the themes of the songs obviously. I have a bit of a broad spectrum of influences, I’m quite a political person as well as historically political. We have a new song written called ‘Napalm Light’ which is about the more horrible side of the Vietnam War. As well as a more satirical song that we’ve got in the works – we’ve got the classic Death Metal splatters and Gore and that sort of thing and then I tend to write about people that I don’t like!

Sheri: Cool! Haha. What better way than to get that out of your system, really? Very resourceful way. Haha. On “To Betray The Creator”vocally, you have some different ranges that reach the listener – For example, on ‘Cordyceps’ and ‘Entombed In Dirt’we see what I would perceive as a more Black Metal range and then on later tracks such as ‘Aeons Of Lies’and ‘Augmented’, more Death growls are present. What are your thoughts on that perception?

Marc: To be honest, that’s a good perception, it’s not one that I’ve heard someone say to me before as well, which is nice. It depends on the song really and certainly on ‘Cordyceps’ it’s certainly rawer. It’s much higher in the mix, not sort of as deep and grunty, again that’s more of a reflection on the song, I kind of listen to the song and see what’s needed and adjust my performance. In the particular case of ‘Cordyceps’, that was written by Nate, the previous vocalist, I’ve just changed it up a bit to suit my vocal style a little bit more and my sort of phrasing, but it really depends on the song. It’s good to hear that there is that noticeable difference because I do think it’s nice to have that kind of range when you’re doing vocals. To me there’s nothing worse than a monotonous sounding vocalist so…if someone’s a one trick pony it’s kind of like “Okay, what else can you do?”

Sheri: Some vocalists, that work on the Black Metal range, have to put work into it but it seems to come naturally to you.

Marc: It very much does yeah because in the previous band I was in, I had to sing clean vocals and I’m not very good at that. I can sing but I prefer not to and when I came to Cadaver, in the first rehearsal, it was really the first time I’d ever done proper Extreme Metal vocals. So, I kinda went in with the view on seeing what happens and it turns out I was quite good at it. Then I sort of developed that over time and became more proficient in techniques and that. To be honest with me, it’s more to do with the raw emotion that’s in it, there’s very little technique involved. People have asked me in the past “How do you make that sound” and it’s like…how do you explain talking? Haha. It’s exactly the same for me, I can’t explain it.

Sheri: As you’ve been hinting, you’re writing new material at the moment! Ease my anticipation – what’s been happening behind the scenes for Cadaver Soiree through the last year?

Marc: Well, we have been affected a lot by what’s been going on, as everyone is. We got a message mid-way through the year from Wiktor, our new drummer. We sorta played together previously when he was in his previous band, so he asked if we wanted to try him out.

Of course, if you’re offered a drummer, you try and snatch him…because there are no drummers anywhere haha. He’s a relay good fit, a really nice guy, great drummer, he picked up our material really quickly. We had been writing some stuff anyway, so it’s been more of a case of teaching him the songs and we’ve been writing new stuff at the same time.

He puts his own flavour to it and it’s great. Really, really natural feel to his drumming so…We are planning on recording some of the songs we’ve got and writing new material as well and we’re gonna be recording that probably early this year. Releasing the same way that we released “To Betray The Creator” – looking at CD and Digital. Potentially a tape release if there’s a call for it, as I know there is a kind of underground tape collecting scene for it as well. If it’s wanted, we’ll do it! We’re gonna look to release it Springtime and tour when gigs can come back.

Sheri: So, your next plans will be promoting the new material and getting back to gigging when you can?

Marc: That’s right! One or two of the new songs we have already played live actually, with the gigs we had in early 2020 and things like that because it’s quite easy just to chop it out if you’re using a drum machine so you can copy and paste it and whatnot – now that we’ve got Victor, it’s great, it’s gonna improve the live show as well because now I’ve come along a lot more with that kind of energy so let’s hope it will pick up and we can get out there a lot more.

Sheri: Yeah, I’m looking forward to it! As your debut album was out in 2017 and you have new material coming to us soon, what do you feel is different or evolved in your songwriting now?

Marc: In terms of the overall sound, it’s gone a lot more aggressive – a LOT more. That’s partially down to me because the way I like to deliver the vocals is a really bludgeoning, belligerent kind of way. The same with the guitar as well, it’s a much more technical direction as well and a lot faster. It’s heading for almost Tech Death in some places whilst keeping it as catchy as we can keep it and again with the live drums as well, that’s making a lot of difference. What we have been doing with the original album as well, we have been doing a lot of synth and orchestral sounds in there, certainly in songs like ‘Evil Breeds Evil’ and ‘Entombed’. There were a lot of sort of orchestral sounds in there and piano and things like that. We are gonna be stripping that back because, first of all, it’s difficult to do that live if you haven’t got a keys player and we don’t really have the intention of doing that. With the addition of the live drums as well, it sort of adds what the synths added. A lot of energy and oomph to the sound so…we’re gonna be heading more towards a traditional Death Metal direction and kinda moving away from the Swedish Death Metal – but keeping elements of it because that’s what we are…but sort of adding the more American style of Death Metal…Cannibal Corpse, that kind of thing. Really heavy and just…like being punched in the face haha.

Sheri: That’s what we’re looking for! Hahaha. In regard to what is happening right now, what are your thoughts on supporting the music scene at the moment?

Marc: It’s absolutely crucial. There are not words enough to say how crucial it is to support the music industry at the moment – because the government are sure as hell ain’t doing it. Whilst I am in favour of supporting musicians at the moment I am also a little bit wary about putting gigs on and the dangers involved, I know of a few promoters at the moment that are doing it, so long as it’s kept safe and distanced as possible – but in terms of local bands, we’re not out there, we’re not playing gigs and we haven’t got the opportunity to come and see people like we would do. Bandcamp are really helpful at the moment where on Friday’s they take away their cut of what they take so it’s really helpful for bands. Social media has really stepped up too – it’s a big platform for bands to engage with people and we like to do that as much as possible, so if someone comments on one of our videos or posts, we make sure to engage with that because really, it’s the only engagement at the moment that we can get. We don’t get to share it with people anymore.

Sheri: I think that it’s important for Artists to engage with their fans anyway because the better it will be for them, ultimately. How do you see things adapting once the worst of the Pandemic is over? Or what would you like to see in way of change?

Marc: In the way of change, there’s always the preference on mobile attended gigs, I mean, we know as much as anyone what it’s like to play to two people and things. So hopefully that will be a thing – that gigs will be more well attended because you see a lot of people out there that just want gigs back. So hopefully that means that interest will still be there in live music. So, I’d like to see sort of more appreciation for Artists. Not to sound too big headed or anything but it’s vital to my own Mental Health – if it wasn’t for music, I think I’d go loco.

Sheri: Absolutely, I agree with you. I think it’s really important, especially in times like this when you’re limited, music is everyone’s outlet isn’t it?

Marc: It’s an escape. I always feel like I’ve had a massage after a gig, sometimes I just drop to my knees and enjoy it for a moment. It’s brilliant. I’ve been more on edge about the lack of gigs than the actual virus in some ways.

Sheri: It’s part of your life so it’s frustrating at having to put your life on hold. But hopefully it’s not going to be too much longer until the world can be safe and get back to normal. What’s the strangest thing you’ve seen happen whilst you’ve been in music?

Marc: Hmmm…I was referred to once as an accident waiting to happen because I move around a lot. I was given a wireless unit to stop the wires knocking things over – so there’s been a few times where I’ve just gone and sat down with people in places that we’ve played – it turned into a bit of a ritual actually – the strangest thing was actually when I think about it, there was a lady who came in part way through, sat down and started sobbing…and I mean tears streaming down her face. She was absolutely intoxicated beyond all belief and then she asked me to sign her chest. I said no because I’m a happily taken man – but I did sign her arm and I signed it “Rob Dukes” (Exodus vocalist). Hahaha.

Sheri: Did you!? Hahaha. Is there a story behind that?

Marc: It’s literally the first name that came to mind haha – I didn’t want to sign mine haha!

Sheri: Any advice for other bands at the moment?

Marc: Don’t give up. I know how difficult it is at the moment and how it was to begin with, sort of reaching your audience, finding yourself musically, getting the right line-up together…everything about it is a challenge but it is really the best reward I can think of. That moment when you are looking back at a crowd and they get it – AH, I genuinely can’t describe it, it is pure euphoria.

Sheri: It’s part of you, part of your life and what makes you up isn’t it? It’s sad to see that a few bands have had to throw the towel in at the moment and are not able to do anything – but equally there are a lot of bands trying to push forward and making new material. The music scene does also club together and support people as much as possible.

Marc: There’s a really, really good scene at the moment in the Death Metal community – we have good friends across the country like Pemphigoid, great guys – they’re really nice people, you wouldn’t think listening to the music, but Death Metal musicians are always lovely. Ashen Crown are absolutely wonderful.

Sheri: Ah, we love both those guys at Ever Metal haha.

Marc: The whole scene – I haven’t come across anyone I don’t like yet, which is unusual for me as I’m a cantankerous sod…

Sheri: Hahaha. There’s always gonna be one though somewhere but not naming names, I’ll stay professional or something along those lines haha. Is there anything you’d like to add?

Marc: Hahaha I know! Just a huge, huge thank you to everyone that supports us and listens to our music, that puts us on at gigs and buys our merchandise and things like that – it’s so unbelievably humbling – I sound like a dick, I know but we thank you. That’s all I can say really.

Sheri: Thank you for your time!

Marc: Thank you, have a good one!

Cadaver Soirée Are:
Marc Hood – Vocalist
Neil Hannaford – Bass
Andy Firth – Guitars
Wiktor Wrona – Drums

LINKS:

Cadaver Soirée Promo Pic

Disclaimer: This interview is solely the property of Sheri Bicheno and Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Cult Burial – Cult Burial

Cult Burial Cover Art

Cult Burial – Cult Burial
Self-Released
Release Date: 06/11/2020
Running Time: 43:53
Review by Steven Hooke
8/10

I’ve been pondering an intro for the debut Cult Burial album for the last 30 minutes now, including multiple rewrites and restructurings, but I’ve settled on taking inspiration from the London three-piece and getting straight into it in the same vein as opener ‘Dethroner’, which explodes in, complete with a guttural war scream, pounding blast beats, and just a general feeling of apocalyptic disaster. For a complete experience, read that first paragraph again, only now imagine a West Country bumpkin screaming at you as you read. Similar vibes.

Cult Burial’s sound can best be described as an amalgam of death, doom and black metal, one of the few times an umbrella term like “extreme metal” can be used generously due to the nature of how the band effortlessly meander from one end of their sound to another. As mentioned, ‘Dethroner’ is an impactful opener that delves into the world of blackened death metal as Simon Langford’s leering tremolo picking sets as the backdrop to César Moreira’s grotesque vocal delivery. For the chorus-y parts, the multi-layered growls give those sections so much more weight and impact in what is shaping up early to be an absolute corker of an album.

As you progress through the album, there is rarely a time where it lets up. Again, the effortless transitions from slow, riff-heavy doom metal into raging old school death metal into shrilling black metal is astounding. It is in the death/doom moments when Simon can show off his chops as a guitarist, etching in Pantera-esque riffs during walking stomps to add texture to songs like ‘Moribund’, ‘Chaos’ and ‘Forever’, or discordant high-range licks in the likes of ‘Abyss’ and ‘Kill’ to add to the enjoyable uncomfortability as well as a bit of NWOBHM flair.

In this venn diagram that the band have cultivated for themselves, where common genre overlaps of death/doom and blackened death are already spoken for, even a blackened doom hybrid can be found, as the dirged stomps are often met by the classic high-pitched tremolo of black metal, add to that the lingering, high-end delays and bends that act as air raid sirens to the warzone riffs below.

Cult Burial’s debut self-titled album is a thunderous opening gambit for the trio, a scintillatingly evil display of crushing extreme metal that makes such great use of classic tropes and bending them to fit a modern songwriting structure. Never settling to just have one identity, being dark and depraved whilst still sounding sharp and crisp, it’s an insanely hot start for the lads.

TRACKLISTING:
01.Dethroner
02. Moribund
03. Chaos
04. Abyss
05. Plague
06. Kill
07. End
08. Forever
09. Sorrow

LINE-UP:
César Moreira – Lead Vocals
Simon Langford – Guitars, Drums
Rick – Bass

LINKS:

Cult Burial Promo Pic

Disclaimer: This review is solely the property of Steven Hooke and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Dayglo Mourning – Dead Star

Dead Star Album Art

Dayglo Mourning – Dead Star
Black Doomba Records
Release Date: 12/02/2021
Running Time: 35:07
Review by Alun Jones
9/10

It was late afternoon when I woke. Sunlight was pouring through the blinds like cheap bourbon into a cracked glass, and my mouth was as healthy as a well-worn shoe. Still aching, I reached for a half-finished bottle of warm beer to contemplate the previous nights events. How had I ended up in this mess again?

The culprit was there before me: all innocent now, but I knew the power that lurked inside. A new album by a band called Dayglo Mourning was to blame. I had spent the night lost in a haze of booze and infernal doom metal, my reverie spiralling out of control by the minute.

“Dead Star”, this work was called. An ode to sludgy riffs, apocalyptic drums and earth-shaking riffs in the traditional, old school style. Right up my strasse, then.

Dayglo Mourning are three barbarian bruisers from Atlanta, Georgia: Joe Mills (guitar and vocals), Jerimy McNeil (bass, vocals) and Ray Miner (drums). Together they have created a huge, monolithic prayer to the riff, with a hint of space rock and some fine bluesy flourishes for good measure.

Songs such as the title track and ‘Faithful Demise’ also offer up a warm groove, whilst ‘The Offering’ has more of a blues feel. ‘Bloodghast’ and ‘Witches Ladder’ feature a more direct, pummelling attack, and ‘Ashwhore’ features some spooky, satanic choir work to up the occult ante before ushering in another hefty riff.

Thundering vocals; a great, thick guitar tone and powerful rhythm section teamwork are enhanced with a fine production that’s crisp and clear, yet doesn’t sacrifice the traditional feel.

It’s hard to find fault with “Dead Star”. Maybe the only thing is that it’s a little too short? But then, doom is perfect for vinyl, and 35 minutes is all anyone should need.

The album even features a fantastically lurid cover, featuring some foxy space princesses in what looks like a 1970’s Marvel comic. It was this image that had woken me from my stupor; the bright supernatural glow piercing my eyelids as they cracked open. Cheers, Dayglo Mourning – fancy another pint?

Witch’s Ladder (Official Video)

TRACKLISTING:
01. Dead Star
02. The Offering
03. Bloodghast
04. Faithful Demise
05. Ashwhore
06. Witch’s Ladder

LINKS:

Dayglo Mourning Promo Pic

Disclaimer: This review is solely the property of Alun Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Black Pyramid – Black Pyramid Reissue

Black Pyramid Cover Art

Black Pyramid – Black Pyramid Reissue
Labyrinth Of Thoughts Records
Release Date: 12/02/2021
Running Time: 55:21
Review by Dark Juan
8/10

Good afternoon, you handsome and beautiful bunch of painted and pierced misfits! It is I, Dark Juan, and it’s fucking freezing up in the North of England. I’m reclined upon my chaise longue, replete with a substantial breakfast that was considerably enhanced by the addition of chipotle chillies in adobo sauce, although my lower intestine begs to differ in that regard. Having quelled the rebellious beast that is my digestive system with copious cups of Yorkshire Tea (all other tea is not real), I have reached into the extensive archives of metal at my disposal and carefully selected another platter to consider and offer my opinions on, seeing as I’m not permitted out apart from to work and therefore my Ministry of the young and nubile virgins of the local area has come to a temporary halt. There are some in West Yorkshire, you know. You just have to do a bit of digging to find them… However, the police took a dim view of my Ministry and tried to fine me for being out without permission. They did not succeed, so they got me for speeding instead, the bastards.

Today’s offering (as you probably no doubt have ascertained already seeing as this piece of nonsense you’re reading is titled) is from American (Northampton, Massachusetts) stoner stalwarts Black Pyramid and is a reissue of their self-titled album, originally released in 2009, and long out of print. Greek label Labyrinth Of Thoughts have created 100 neon orange vinyl LPs and 200 brown vinyl LPs for you to purchase via their page or the band’s Bandcamp.

So what do Black Pyramid offer, I heard literally no one ask? The band themselves describe their music as “psychedelic war metal”. I describe it as sub-Sabbathian stoner metal with psychedelic influences. Yes, boys and girls and all other genders, we have returned to riff nirvana after an extended hiatus plumbing the depths of just what death metal bands are capable of. We have returned to melody, extended jams and the desire to get screamingly high on many party treats and sit there and be beguiled by stoner metal done right. The album is a bit of a surprise to be honest. I was expecting mogadon slow, drawn out riffing and the kind of vocal performance that only happens when you have drunk a bottle of Jack and have been smoking the weed for a long, long time. Instead, the vocals and the music are not afraid of picking up their metaphorical skirts and getting a bloody move on, ‘No Life King’ being a prime example of this and also being a fucking good heavy metal song into the bargain. Vocalist and guitarist Andy “Dinger” Beresky has an engaging voice, not employing the ultra-guttural, whiskey-soaked delivery of other stoner vocalists and instead opting for an interesting mix of Ozzy and John Garcia actually singing. I mean, you all know I love extreme metal but there are times that I get sick to fucking death of vocalists grunting like a hippo on its vinegar stroke or the kind of howling that normally comes from a particularly frantic, cocaine and amphetamine fuelled coupling of a banshee and a werewolf. It’s nice to hear actual words and singing for a change and Dinger is a bit of a tasty riffmeister into the bargain, giving it full beans and no mistake on instrumental track ‘Macedonia’, hammering the fuck out of his guitar until the middle eight kicks in and we are treated to the kind of wah soaked, fuzz-fuelled psychedelia that gets this hellpriest very excited indeed. The sex wee is already flowing…

What is it about wah and phaser that makes it so compelling? The intro to ‘The Worm Ouroboros’ is a drifting, metaphysical thing of beauty before the fuzz and distortion kick you right in the head with dirty great hobnailed boots and keeps on stamping. This song is probably the most stoner song on the record, as it meanders into realms of mist filled, mysterious swampiness in the middle before returning to the righteous path of the riff. The riff is everything… The central riff on ‘The Cauldron Born’ is just sublime. Album closer ‘Wintermute’ does lean a little heavily on ‘Planet Caravan’ on the intro though…

Production wise, this is pretty good. Although the drums sit too low in the mix, they are easily heard and even when tubthumper Clay Neely is leaning hard on the floor toms they don’t overpower the sound. And joy of joys I can actually hear the bass drum properly. The cymbals are crisp and organic sounding and the bass heavy and fuzzy enough to rearrange internal organs and crush bones to jellylike slabs without making the band sound like a giant buzzing hornet an inch from your ear. The guitar is masterfully produced – heavier than several London buses being applied directly to your spine but retaining fluidity and switching effortlessly between distorted violence and fuzz phaser and phaser wah induced psychedelia.

In conclusion then – This is a mighty fine record, even though it brings nothing new to stoner or psychedelia. It’s a combination of actors that just works – good songwriting, excellent riffage, the right mix of psychedelic influences and raging metal, enjoyable vocals and a well-produced and mixed record makes for a wholly satisfying listen.

The Patented Dark Juan Blood Splat Rating System awards Black Pyramid 8/10 for a masterful stoner metal record. Well done, chaps.

TRACKLISTING:
01. …And The Gods Made War
02. Visions Of Gehenna
03. Mirror Messiah
04. No Life King
05. Celephais
06. Macedonia (Vinyl Bonus Track)
07. Twilight Grave
08. The Worm Ouroboros
09. The Cauldron Born
10. Wintermute

LINE-UP:
Andy “Dinger” Beresky – Vocals and guitars
Dave Gein – Bass
Clay Neely – Drums

LINKS:

Black Pyramid 2008-2011 Line-Up
2008-2011 Line-up

Disclaimer: This review is solely the property of ‘Dark Juan’ and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

EMQ’s with WITCHTIT

WitchTit Logo

EMQ’s with WITCHTIT

Hi everyone! Welcome to our new EMQ’s interview with Raleigh, North Carolina based Doom Metal band, WitchTit. Huge thanks to guitarist, Nate Stokes, for taking part.

What is your name, what do you play, and can you tell us a little bit about the history of the band?

My name is Nate Stokes, I play guitar in WitchTit. I joined up after Patrick (drums) and Daniel (guitar) had worked on a couple songs. I thought the tunes were weird, and they thought I could handle it. Here’s this guy that’s a killer acoustic/folk type player that decided to start playing doom metal and something was different about his riffs. A strange twinge towards dissonance that I liked. We sort of started as a joke, (at least in my mind) and we’d sometimes wear these adhesive prosthetic boobs Daniel ordered from some weird Chinese website at shows. It started out pretty rough, but pretty soon more people started liking us and coming to shows. When we got asked to play bigger shows we put our asses in gear, filled out the line-up over time with Justin on bass and Reign on vocals, and got more serious about it.

How did you come up with your band name?

Look, I know the name is a bit goofy, but believe me when I say it wasn’t the dumbest on the list. I think we seriously considered calling ourselves “Spermicidal Doomcicle” at some point, but in our defence, Daniel wanted “Spermicidal,” which is undoubtedly better, but I hated it. So, my plan was to compromise, (by making it worse) and hope we picked something else. So that happened. I don’t remember every detail, and I’m sure if you asked the other guys, you’d get wildly different stories, but that’s what I remember anyhow. The name is definitely a take on the old phrase “cold as a witch’s tit,” and I think that’s about all there is to read into on that one.

What Country/Region are you from and what is the Metal/Rock scene like there?

We’re from Raleigh, North Carolina. The scene is great here. Maybe it’s just that I’ve gotten deeper into it over time, but I do think that compared to the time I moved here sixteen years ago, it’s really exploded. But it’s not TOO big, which is awesome. You can kind of know everyone, while still playing to a good amount of folks, and it’s not so big that everyone is super splintered off into “I’m a doom guy,” or “I’m a death metal guy,” it’s more like “I like ALL this heavy shit, let’s go.” A whole bunch of bands (us included) practice in rooms behind a local venue, The Maywood, and everyone there is pretty tight, which is a pretty cool thing to see and be a part of. Since all the venues are struggling with the virus restrictions, all those bands got together and put out a comp to raise money for this one in particular. Look it up on Bandcamp, buy some stuff, it’s helping a venue that’s supported metal like no other around here. Shoutout to Brenna of CRYSTAL SPIDERS for wrangling up a bazillion knuckleheads in bands to make that operation happen!

What is your latest release? (Album, EP, Single, Video)

The aforementioned Maywood Compilation has an unreleased track from our upcoming album, and before that we did a split cassette with Etiolated. The split is a lot different than what we’re doing now, but I still stand by the songs, and we’ll occasionally bust ‘em out live, with some fresh changes that naturally come with different members.

WitchTit – ‘Crimson Tide’ Exclusive Video Premiere
https://www.ghostcultmag.com/exclusive-video-premiere-witchtit-crimson-tide/

Link to the Maywood Compilation
www.maywoodmayhem.bandcamp.com/releases

Who have been your greatest influences?

This is always the hardest question, because this is the sort of thing that snowballs over time and gets huge, while still constantly changing. For me personally, there were a few early milestone discoveries, when I was craving heavier and heavier like Megadeth, Sepultura, Death, Burning Witch, Sleep, EYEHATEGOD, etc. Lately I’ve been on more of a classic heavy metal/rock n roll fix: Blue Oyster Cult, Mercyful Fate, Motorhead, Thin Lizzy, Witchfinder General. So lately the faster sort of NWOBHM type riffs in WitchTit are often my contribution. I also love Voivod, Samothrace, Savagist, Tempel, Pilgrim, Destroyer of Light, and so many more. Like I said, hard question. Summing this all up in a tight little list is hard.

What first got you into music?

My older brother played guitar, so I just kinda picked it up. Before that I’d had some piano lessons and got into band class in school – for some non-music types, my parents did a good job of steering me towards it, perhaps accidentally. But what REALLY got me excited about writing riffs and stuff, and wanting to be in a band? I heard Megadeth’s “Rust in Peace” and my face melted! It was like my bible from age 14. Everything heavy I’d heard leading up to that was super proggy, and I’d be sitting there in front of a CD player fast-forwarding through the boring parts to get to what I considered the fun ones.

If you could collaborate with a current band or musician who would it be?

Okay, so I’m imagining one of those live on-air KEXP videos here – Joey Karam from The Locust sitting in with us. It’s keyboards, but not like “I play electronic piano,” it’s CHAOS. It’d be a cool addition, I think. We’ve toyed with the synth idea in passing before, I’m just not sure we know how we’d actually want to implement it yet.

If you could play any festival in the world, which would you choose and why?

Shadow Woods. It’s just cool; it’s got heavy stuff from all the subgenres and it’s outside.

What’s the weirdest gift you have ever received from a fan?

Nothing insane comes to mind, but a friend of ours did give us a little ceramic gnome hand-painted in black metal getup to keep in our practice space. I eventually brought him home since he fell off Justin’s amp and a chunk broke off. Don’t worry, the little guy is safe now.

If you had one message for your fans, what would it be?

You’re trying to cheat! Gotta listen to the tunes for that answer!

If you could bring one rock star back from the dead, who would it be?

Phil Lynott, but only if he wanted to. I wouldn’t dare go against his wishes.

What do you enjoy the most about being a musician? And what do you hate?

That feeling when everyone in the band is just on it, everyone’s right there, and it’s all coming together perfectly. It’s great in rehearsal, and then you add a bunch of people there at a show feeling the same way, and it’s even better. I hate loading gear out. Loading in is fine. At load out, you’re sweaty, you’re tired, and you wanna chill and drink beer. But it ends up you’re either wrangling up a bandmate to get all the shit moved, or they’re wrangling you. It’s no fun for anyone.

If you could change one thing about the music industry, what would it be?

Good bassists should get more credit, just don’t tell them I said so.

Name one of your all-time favourite albums?

“Fire of Unknown Origin” – Blue Oyster Cult.

What’s best? Vinyl, Cassettes, CD’s or Downloads?

Vinyl if you love it and need it immortalized, cassettes if you’re about broke at the show, CD’s for the car, downloads for convenience. If you’re supporting bands and/or enjoying music, I ain’t gonna argue about the format too much.

What’s the best gig that you have played to date?

Back in March of 2018 we opened for EYEHATEGOD, Cro-Mags, and Buzzov*en. It was sold-out, packed even for us lowly openers, and all our punk metal heroes were super cool to us. Can’t ask for much more than that!

If you weren’t a musician, what else would you be doing?

Between working at a music venue for about seven years, (Gotta mention The Pour House Music Hall for kickin’ ass) being in bands, and almost all of my friends having some relation to these things, I don’t really know. Video games? A lucrative career? Who knows? The world would be my shitty, boring oyster. My dog would probably stoked to see me more though, and it IS possible I would own more ‘80s/90s Nissan Hardbodies that barely run.

Which five people would you invite to a dinner party?

Donald Trump, four of his cronies, make one of those Rudy, and the food is poisoned.

What’s next for the band?

We’ve got a single coming out Dec. 14, a video for that one sometime in January (see link above), second single in February, and come March 12, the full-length “Intoxicating Lethargy” will be out. We’re a pretty good ways into writing the next, so hopefully we can have that done in time to play shows again and tour!

What Social Media/Website links do you use to get your music out to people?

www.witchtit.bandcamp.com/
www.facebook.com/witchtit/
www.instagram.com/witchtitdoom/
www.twitter.com/WitchTitDoom

Jaffa Cakes? Are they a cake or a biscuit?

I’m from the South. Don’t sound like no biscuit I ever heard of. Plus, it already has cake in the name.

*FULL DISCLOSURE* Above was my first stream-of-consciousness answer. After a quick google search, it just seems like a Moon Pie to me, so…neither? Still closer to cake.

Thank you for your time. Is there anything else that you would like to add?

Nope. Thank You!

WitchTit Promo Pic

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Evangelist – Ad Mortem Festinamus EP

Ad Mortem Festinamus EP Cover

Evangelist – Ad Mortem Festinamus EP
Nine Records
Release Date: 18/12/2020
Running Time: 36:16
Review by Chris Galea
8/10

It’s not often I review a mini-album…for me to do so it’s got to have something interesting to put on the table. Don’t get me wrong, I wouldn’t describe Evangelist as ground-breaking but “Ad Mortem Festinamus” possesses an honesty that makes it appealing and easy to hook on to.

This music style can safely be described as Epic Doom Metal…a sort of mix between Manilla Road, Forsaken (from Malta), Cirith Ungol and Candlemass. In this EP, Evangelist tackle themes that are characteristic to this kind of music, such as a knight of King Arthur’s round table (‘Perceval’) and the concept of afterlife within the mythology of Ancient Egypt (‘Anubis’).

One of the strong points of “Ad Mortem Festinamus” (“We embrace death” in Latin) is the quality of its songwriting, which is very intuitive. On top of that, the guitar solos are just great…in fact the sound of some guitar sweeps reminded me of Cacophony (the 1980’s band).

Not-very-surprisingly, the EP concludes with a cover of ‘Mystification’, the title-track of Manilla Road’s classic 1987 album. Happily, Evangelist breathe new life into the song while remaining faithful to its original spirit.

Oddly, the identities of Evangelist’s members are unclear but there seems to be a connection with the Polish Doom band Monasterium. Evangelist has already released three albums prior to this EP but I don’t suppose the band has played live very much in view of the aforementioned ambiguity. In any case the music sounds great, that much I can say for sure.

So, especially if you enjoy immersing yourself into traditional Metal sonorities, make sure you grab a copy of “Ad Mortem Festinamus”.

TRACKLISTING:
01. Perceval
02. Anubis (On The Onyx Throne Of Death)
03. The Puritan
04. Pale Lady Of Mercy
05. Towards The End
06. Mystification (Manilla Road Cover)

LINE-UP:
Unknown

LINKS:

Misty Grey – Chapter II

Misty Grey Chapter II cover art

Misty Grey – Chapter II
Interstellar Smoke Records
Release Date: 20 November 2020
Running Time: 37:51
Review by Alun Jones
9/10

Can you think of a more apt genre than doom metal for the times we live in? It’s crazy out there. From a global pandemic, civil unrest, ecological destruction and lunatics on the most powerful seats in the world, the 21st century becomes more and more apocalyptic day by day. Party music doesn’t seem right. On the other hand, the retro stylings of bands like Misty Grey hark back to cosier times of the seventies and eighties when we just had nuclear destruction – and yet more lunatics in power – to contend with.

Misty Grey is not the name of a US mattress actress (don’t bother Googling it, just in case), they are in fact a four-piece doom metal band from Spain. They deal in extremely authentic, good old fashioned heavy rock in the Black Sabbath/Pentagram/Saint Vitus vein. We’re in thundering, enormo riff territory, and by ‘eck it’s good stuff.

Originally receiving a CD release back in 2018, “Chapter II” is now available on vinyl from Interstellar Smoke Records. And a very welcome re-release it is, as “Chapter II” could well have been lost in an Atlantean cataclysm of some type, which would be shameful.

Deceptively pretty Spanish guitar opens the album with a laid-back space-jazz feel, before ‘Spellbound’ erupts with Juan’s raw, grinding guitar. The chugging riff is illustrative of what to expect from this album; it’s Iommi worship all the way (and bless Misty Grey for it).

If that first track is the first Sabbath album, ‘Strangers On A Train’ is a missing Masters of Reality cut. It rolls and grooves along, powered by Robin’s bass and Javi’s drums. On the other hand, ‘Rebecca’ is more like The Obsessed or Saint Vitus, there’s a rough, organic, yet aggressive feel to it.

The musicianship is great, the production has atmosphere and pays homage in a credible, affectionate manner to the band’s influences – without becoming a parody. The vocals of Beatriz Castillo really help define an individual sound for Misty Grey, she is both tender and terrifying in equal, devastating measure.

I apologise to the band for my crass comparisons to the old masters. But hey, I don’t listen to this type of music for radical innovation. The last thing anyone wants to hear is some kind of nu-doom, with samplers and turntables. Keep it slow, keep it weird, keep it trippy – but most of all, keep it riffy. Heavy, repetitive and riffy. Misty Grey do just that on “Chapter II” and it’s all kinds of awesome.

TRACKLISTING:
01. Spellbound
02. Strangers on a Train
03. Psycho Vox
04. Rebecca
05. Frenzy
06. The Wrong Man
07. Among the Dead

LINE-UP:
Juan – Guitar
Javi – Drums
Robin – Bass
Beatriz Castillo – Vocals

LINKS:

Check out our EMQ’s interview with Misty Grey

Disclaimer: This review is solely the property of Alun Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.