Thursday, 27 October 2016

An Interview with HORNSS

San Franciscan power trio Hornss have been in business for about six years. They released their demo-record “The Red Death” in 2012, then it took two more years to finish the debut full-length “No Blood No Sympathy” and now they've prepared sophomore album “Telepath” which will released on 18th of November by Ripple Music / STB Records.

Some could ask – why should I pay attention for this band? Probably because they professionally perform a powerful blend of doom, stoner and punk! Yes, something like Saint Vitus did in their earlier days but with slightly better production (and another lineup). Mike Moracha (Vocals/Guitar) and Nick Nava (Vocals/Bass) are here to tell few stories about how they forge this infectious doom’n’roll.

Hello Hornss! How are you? How effectively do you spread “Telepath” vibe?

Nick: we recorded Telepath in the Sierra Nevada foothills at Louder Studios with Tim Green. We stayed in a cabin away from everything and only came out to work in the studio. It took us 5 days I believe. We stocked up on beer, Mike's homemade Cider, Tequila and weed and just relaxed and concentrated on the work of getting those songs onto tape. We had been working on Telepath for about three years before we went into the studio but a lot of what ended up on the record was written during or right before it was recorded. I wrote some of my lyrics just hours before recording them.

It sounds like you had pretty nice romantic vacations there! Did you face any difficulties during this session? Did you come at the studio with all ideas already in your heads?

Mike: We started drinking at 8 a.m. and the recording sessions didn't start till around 1 p.m. That was the hard part...

Nick: It wasn't all drinking though, there was also some swimming and BBQn'! But seriously, I spent most mornings working out lyrics and experimenting with synth sounds and playing acoustic guitar.

When I was looking for information about Hornss’ lineup I only found out that Hornss is power-trio with – Nick Nava, Mike Moracha and Bill Bowman. Are you together since the release of “No Blood No Sympathy” debut?

Nick: Yes same lineup, you can't replace any of us without changing the vibe and sound of HORNSS. It's like a really good BBQ sauce that grandma learned from her grandma. Original recipe!

I was surprised with that well-balanced combination of doom and punk rock. So what’s the story of your relationships with punk scene? What did you take from it?

Mike: I started listening to hard rock like KISS, Queen, and AC/DC in the 70s as a kid. My older cousin gave me some Dickies, Adam and the Ants, and Cramps records in the early 80s, but I was still a hard rock/metal kid till the end of 9th grade when I started skating and buying as much punk as I could find. I don't remember a time I didn't like the Ramones though, they are above genre labels.

Okay, Mike, now we know about your punk rock background, you speak damned confidently about it. But then I have to ask from where you guys draw all your doom influences?

Mike: Well, I liked Sabbath from a pretty young age...who didn't like Sabbath in the 1970s?? St. Vitus in High School...when the Melvins released Ozma I really got back into listening to heavy music again. I don't know if we really play doom or not...we always just say "heavy music for fellow dirtbags"!

Nick: Heavy music has always been a part of my life. As a kid the album MY WAR by Black Flag put a lot of those false distinctions between punk and heavy slower music to bed. The band FLIPPER and the Butthole Surfers and of course early Melvins we mixing things up in original ways back then.

Telepath” has nice artwork. I just can’t avoid the question about its origin, so who’s its author? How did you explain that you wanted from him?

Nick: Dennis Dread did the art and lettering, I first heard of him through his work on Darkthrone and Dead Moon records. The actual Ouija board plancette was made by Mike and we had the artist Hannah Wednesday draw the eye design on it.

Mike: We all throw ideas around and once we agree on something, I'll usually do a mock up. First LP, we sent a rough sketch to Cory at Dirty Needle and let him go to down and recreate it how he saw fit. Last LP we came up with the concept for the cover, I carved the Ouija planchette, Bill's friend took the photo, I did the comping and color work. Nick wanted Dennis Dread to do the back cover, so we told him what vibe we wanted, and let him do his thing. We're really happy with the way it turned out, especially the special editions. So basically, we concept it, but trust the artists to do what they do best.

Do you have an album of any artist which artwork is something ideal for you? A perfect example of rock or metal artwork!

Mike: I'm a fan of Drew Struzan and Mike Diana.

Nick: Obviously Dennis Dread. Also Dirty Donny and Skinner do great things with album art.

Do you have a vision of ideal sound for Hornss? How did you achieve it during the work over “Telepath”?

Mike: I'd like it if no one could place who or what we sound like. If we sound like a few different things, that's great...but I don't want us to fall into any one sound like a "Kyuss band" or a "Sabbath band". The stuff I write, I just try to make up a song I'd like if it wasn't our band.

Nick: I wouldn't say it's a vision or concept really. Our songs do tend to work out naturally but there is a lot of work and cooperation and trust that goes into writing a HORNSS song.

Men, there are a bunch of interesting titles in album’s track-list – “St Genevieve”, “Mazanita”, “Sargasso Heart” and etc. Seems like you have a rich imagination! What is it all about?

Mike: Nick wrote the lyrics on those! Mine are all over the place, but range from books I've read to little stories I make up. "In fields of Lyme" is about aliens sending bugs to Earth that cause all the humans to die, then once the Earth has healed itself, they blow the ticks away and inhabit our planet...meanwhile "Old Ghosts" is about growing up skateboarding.

Nick: All of the songs have a deeper meaning, more than one meaning and sometimes no meaning.

Metal-archives point that Hornss lyrics are about “Science Fiction, Drugs and Conspiracies”. How do these things connected in your songs?

Mike: Hopefully very well!

So can you say that Hornss is about conspiracy of scientists influenced by drugs? Or how would you resume Hornss’s message?

Nick: It's about whatever you want it to be about.

Mike: I want our music to be the soundtrack of a flesh rotting krokodil high.

With new album you switched from Riding Easy to Ripple Music who release new album in collaboration with STB Records, do you feel a difference in a work of these labels?

Mike: STB is more punk rock.

Nick: Riding Easy was a great place to start and we are happy with that first record, it gave us a lot of opportunities, We are excited to be working with STB and Ripple now and really looking forward to the next album!

Hornss is signed now on the label with serious reputation. How you are serious consider pushing the band further? Or is the status of weekend warriors enough for you?

Mike: We're working on new songs for a 3rd album, and so far I think it will be my favorite. Hard to predict what life vomits on you, but we are looking to do another European tour before too long.

Nick: We have a new album to work on and a Euro tour in the early planning stages, other than that we are taking it one day at a time and just trying to pay rent and keep beer and food on the table! the life of an artist is not very glamorous.

I see that you already know how the next album will sound, what kind of ideas do you put into it?

Mike: Mine are varied, but death and the 6th mass extinction are up there...Nick and Bil always have great ideas, so pretty excited to start working on it all -- our records are pretty collaborative.

Nick: I'm leaning towards more straight ahead hard rocking with some ZZ Top grooves provided by drummer extraordinaire Billy "Ten Toes" Bowman.

Your music is perfect for live shows, how often do you play gigs? And what are highlights of your live experience?

Mike: Nick and I have played together for like 25 years, and a few favorite shows have been opening for Radio Birdman in Germany, opening for the Melvins and Acid King in 1994, and opening for Turbonegro with Plainfield in the late 90s. As for HORNSS, we play once a month or so...some great shows have been with YOB, Fu Manchu, Fatso Jetson, Bang, Elder, UFOMAMMUT, Big Business...lots of great local bands too. Too many to mention. Playing the same festival with Alice Cooper, Arthur Brown, and Blue Oyster Cult wasn’t too shabby either!

Speaking about mix of doom and punk it’s easy to come to definition with Saint Vitus or Satan’s Satyrs. This blend is original, though it isn’t unique. Did you cross with these bands on your road?

Mike: I've been a fan of St. Vitus since High School...I don't think of them as a punk band though, even though they toured with Black Flag and were on a mostly punk label. Satan's Satyrs sounded really good when I saw them. I think people should just play what they feel, and not worry too much about anything else. If it's good, I'll listen to it. When we started we did want to have a bit of the early SST vibe though…heavy music for punks, stoners, and dirtbags.

Man, you’re from San Francisco, how does the city influence on you? How much of its culture in your songs?

Mike: That's a tough one cause it's not the same city we moved to in the mid ‘90s. In the beginning it had a pretty big influence with its thriving music and art culture and fantastic crystal meth. There's still a lot to love here, but along with it is anger and frustration. Maybe that seeps into the music, or maybe the music is one of the few things we have left here.

Words by Aleks Evdokimov and HORNSS

Thought Eater / Iron Jawed Guru - Vortex 6 (Album Review)

Release date: October 21st 2016. Label: Grimoire Records. Format: CD/DD

Vortex 6 – Tracklisting

1.Thought Eater - Vortex 6 03:06
2.Thought Eater - Crystal Maze 05:17
3.Thought Eater - Crushing Metaphysical Crisis 05:20
4.Thought Eater - Gift of Death 03:48
5.Iron Jawed Guru - Black Fortress 04:24
6.Iron Jawed Guru - Emerald Seer 03:10
7.Iron Jawed Guru - Glaive 02:57
8.Iron Jawed Guru - Widow of the Web 06:23

Thought Eater - Band Members:

Douglas Griffith (guitar)
Darin Tambascio (12 string bass, 12 string guitar on "Gift of Death")
Bobby Murray (drums)

Iron Jawed Guru - Band Members

Mike Lorenzen (guitar, octave pedal)
Roy Douglas Brewer (drums)


Vortex 6 is a split album release between two Instrumental Sludge/Stoner Metal Bands. Thought Eater and Iron Jawed Guru. Both bands play very different music to each other.

Thought Eater play Sludge/Stoner Metal with a Progressive Math Rock feel to their music. Parts Black Sabbath and High On Fire but with a more experimental edge.

Iron Jawed Guru play a more Stoner/Post-Rock/Post-Metal sound that gives them a lot of scope to play with their music.

Thought Eater's side is a colossally heavy affair with the band showing their passion for all things progressive. They do play some intriguing riffs and they excel in changing the tempo from fast-paced Sludge/Stoner riffs to the more classic sounding Doom Metal sounds that appear from time-to-time.

Crystal Maze and Crushing Metaphysical Crisis are the standout tracks where Thought Eater excel the most as they create some fantastic original music of their own. A doomy psychedelic affair with moments of heavy progressive doom based sounds. Thought Eater have quite a demonic playful vibe to their music. Parts of their music is slightly creepy but with a sense of huge fun as well. .

Iron Jawed Guru is a duo who excel in confusing the hell out of the audience. Do they play Stoner Rock, Post-Metal, Prog Rock, Psych Rock!!!! - It's hard to say as the band play a mixture of those genres and then some. Their side of the split is just as crazy and experimental as Thought Eater though it's more focused and perhaps more riff-orientated.

The band's first track – Black Fortress – has shades of Kyuss, Karma To Burn and Russian Circles running through it. It's quite a dark song to open with but it has some great riffs driving the song to it's natural conclusion.

Second track – Emerald Seer – is a more stripped back affair with the band opting for a faster style of Instrumental Stoner/Sludge Rock with moments of psychedelic rock being added to great effect.

Third track – Glaive – carries on the same vibe as Emerald Seer but the band adding a Desert Rock groove with shades of classic 90s sounding Stoner Rock/Metal.

The final track – Widow Of The Web – is perhaps Iron Jawed Guru's standout song on the album. It offers more of the same sounds heard on their previous tracks but on a more epic and experimental scale.

Vortex 6 is one of the more intriguing and exciting split albums I've heard this year. Both bands have created an excellent slice of Experimental Sludge/Stoner Metal riffs. It's hard to say which side I dig the most. One moment it's Thought Eater and the next it's Iron Jawed Guru. I will say that Vortex 6 is a great album to have your in collection if you're a serious fan of Instrumental Sludge/Stoner Metal.

Excellent and Highly Recommended.

Words by Steve Howe

Thought Eater Links:

Iron Jawed Guru Links:

Facebook | BandCamp

Varego - Epoch (Album Review)

Release date: October 10th 2016. Label: Argonauta Records. Format: CD/DD

Epoch – Tracklisting

1.Alpha Tauri 07:01
2.Phantasma 05:09
3.Flying King 04:44
4.The Cosmic Dome 06:16
5.Swarms 06:23
6.Dominion 06:53

Band Members:

Voice/Bass: Davide Marcenaro
Guitar: Alberto Pozzo
Guitar: Gerolamo Lucisano
Drums: Simon Lepore


Varego return with their 2nd album – Epoch. A blend of progressive sludge rhythms and tribal post-metal sounds sees Varego add more scope to their music. Drawing from their sludge/post-metal contemporaries, Varego show a dramatic flair to their music with post-rock sounds starting the album off with the first track – Alpha Tauri for the first few moments before Davide's start to arrive. The atmosphere becomes quite frantic at times with the dual guitar work from Alberto and Gerolamo.

Epoch contains some stunning ideas that allows Varego to create addictive progressive sludge riffs. Shades of early-era Mastodon and Baroness can be detected throughout the album but Varego excel in creating their own musical identity. The album has a certain cinematic edge to it especially on songs such as Phantasma, The Cosmic Dome and Swarms.

With this being a sludge metal album, Epoch has a slight depressing doom and gloom feel to it. It does allow Varego to inject heavy moments of psychedelia into the mix. The lyrics are another highlight with the band writing lyrics with actual meaning to the music being played around you. The album sounds excellent which isn't surprising since it was mixed and mastered by the legendary Billy Anderson.

One of the albums main strengths is how Varego experiment with their sound on every song. Each of the songs sound very different to each other. With more of our favourite Sludge/Post-Metal bands starting to embrace the more aspects of commercial rock/metal music, it's good to hear a band such as Varego creating heavy moments of Post-Metal/Sludge Metal that their more famous contemporaries used to make back in the day.

If you're a fan of the classic sludge/post-metal style of music then Varego have a few surprises waiting for you on the final two tracks of Swarms and Dominion. Dominion is perhaps the standout track on the album as Varego unleash the albums heaviest and perhaps most catchiest riffs.

Epoch is an album more people should be checking out as it would be a shame this album not getting the full recognition that it deserves.

Excellent and Highly Recommended.

Words by Steve Howe

Thanks to Barbara at NeeCee Agency for the promo. Epoch is available to buy now on CD/DD from Argonauta Records.


Facebook | BandCamp

Monday, 24 October 2016

Outlaws Nation Joint Interview: An Interview with YEAR OF THE COBRA

Year Of The Cobra are about to release their colossal debut album ...In The Shadows Below. The band which is comprised of married Drum and Bass riffsters – Amy Tung-Barrysmith (Bassist/Vox) and Jon Barrysmith (Drums) have created a delicately played and loud as hell debut album. It's an album that strikes the perfect balance between heavy Doom sounds with a pounding Sludgy/Stoner based groove.

Year Of The Cobra have been making a name for themselves over the last 18 months or so. They already have a fearsome live reputation and have already released a split single with Mos Generator. Signed to ace record label STB Records who will be releasing their debut album on October 29th 2016, Year Of The Cobra are going to become one of your favourite bands.

I asked my good pal Matthew Thomas over at Taste Nation LLC if he wanted to do one of our joint interviews that we've been doing recently. He agreed and this is the result as Year Of The Cobra have agreed to do another Outlaws Nation Joint Interview.....

OOTS/TN – Hi Amy, Jon. Thanks for doing this joint interview. Congrats on the new album. How are things with you both today.

YOTC - We’re doing great! Thank you. Excited about the album release. It’s been a busy week for sure!

OOTS - Can you tell our readers how the band came together. Or why you decided to form the band.

YOTC - We met on Halloween 2007 at a club called the King King in LA. We were playing in separate bands at the time and didn’t really talk much at that show. It wasn’t until the second or third show we played together before we became friends. We actually didn’t start writing music together until 2014, after moving to Seattle. We didn’t really know anyone in the music scene at the time, so we just started writing songs. Luckily, we both wanted to write the same style of music. For the most part, it was easy.

OOTS – Why did you choose the name Year Of The Cobra for your band. Any specific meaning.

YOTC - It took quite a while to find the right name. We had long lists that covered many pieces of paper before we decided on Year of the Cobra. It was actually supposed to be a temporary name, but it stuck and we’re glad it did.

TN – We are here to talk about your new album. What was your recording process like? Was it spread out over days, weeks, months…….?

YOTC - We booked 10 days with Billy Anderson to track everything. Billy did a few mixes for us remotely after tracking, but we went back for the final mixes to make sure it was exactly what we wanted. All in all, it took about 3 months from the initial tracking to the final masters. The recording process itself was amazing. The studio, Hallowed Halls, was magnificent and working with Billy was life altering. He’s a genius. We consider him a third member of our band now.

OOTS – How did you manage to hook-up with the legend that is Billy Anderson to Produce the album. Especially for your debut album. What was it like working with Billy. Did he provide any helpful advice when you were recording the new album.

YOTC - Billy was at the top of our list for many reasons. He was the first and only one we reach out to and he really liked the EP. The first time he came to watch us play, we were scared shitless, to say the least. After working with him, we’re still scared shitless, haha, but we’re all good friends now and we have the utmost respect for him. His ear, his ideas, his knowledge, is beyond anything we’ve seen or experienced before. He just knew exactly what we were going for, without ever having to tell him. It was amazing.

TN – What does Billy bring to the Year Of The Cobra sound.

YOTC - One of the first things Billy said to us when we first met him was that he knew how to make it sound big, without making it sound like we added a ton of tracks, and that’s exactly what he did. Billy brought a bin full of pedals that we tried in every configuration until we found the exact tone. We’re sure no one noticed, but right after the recording, Amy’s pedal board got much larger.

TN - Did you "test" the new tracks at live shows to see what people's response to the new material.

YOTC - Absolutely. We always test out songs live first. It’s one thing to play it in the studio, but you won’t know how it works until you see how a crowd reacts.

OOTS – The album is being released on STB Records. Perhaps one of the best independent record labels currently out there. Did you guys have offers from other labels. Or was their no hesitation in signing for anybody else.

YOTC - STB was actually the only label we contacted directly. Jon sent an email when we released the EP to say that we were a brand new band and that we wanted to be on Steve’s (STB) radar. Steve wrote back the next day and said that he liked our debut EP, and in his own words said, “you are definitely on my radar”. From there, we started some cool and casual conversations via email and bonded over our punk and hardcore roots and our DIY ideals. Within that week, we signed with STB. The STB Family is real. We’re so stoked to be a part of this movement. It’s home.

OOTS – Did you have any involvement with the final design of the Vinyls or Cassettes. Or was this left down to Steve STB.

YOTC - We definitely had involvement. Steve wouldn’t have it any other way. Before we even recorded, right when first signed with Steve, he was chatting with us separately just to figure out who we were as people and our take on the band. It’s important to him to make sure the band is represented properly, not in the image that he wants, but in the image that the band wants. He’s the real deal, all heart.

TN - The album crossovers and melds many genres from Doom, Stoner, Psych, and Sludge. How would you classify the album's sound? Your thoughts on the use of the Doom/Stoner Rock designation which many describe your album as?

YOTC - The album does have many crossovers. We intended it to be slightly diverse, to shake things up a bit. Our main shared background is hardcore punk, but as individuals, our musical tastes span the spectrum which helps when we’re writing music. We’re willing to move in whatever direction the song takes us.

TN - What contemporary Bands do you like? Do you have any guilty pleasures that you would like to share with us?

YOTC - That’s a good one….. I don’t think anyone should have a “guilty pleasure”. Music is music, you like what you like. Don’t give a shit what people think and don’t be ashamed. We could go on forever about current bands we love. We play out a lot and have toured quite a bit this past year and are always in awe of the talent that we’re surrounded by, not to mention the cool people we meet.

TN - Will you be hitting the road on an extensive tour to support the album or have multiple, shorter outings? For my own selfish reason, will you be coming to Southern California to play??

YOTC - We have some short tours planned in the near future. A west coast tour the end of this year (2016) with Mos Generator and Castle, and Europe in March and again in April/May. So far, no plans to play LA, but it is on our list. We’ll definitely do a full US tour for summer of 2017 again like we did this year.

OOTS – How hard is it for you to tour and perform with Year Of The Cobra especially with your young family. Are your kids proud and happy of their “Rockstar Parents”.

YOTC - Our family is always our first concern, but to have a happy family, we both feel it is important for us to focus on things that fulfil us as well. We’re just both lucky (and unlucky) that we want to do the same thing. We believe it’s important for us to show our kids that we’re willing to work hard on something that we believe in and hopefully, they find the same drive in whatever fulfils them.

TN – You've only been going as a band for about 20 months or so. Has is it surprised you the responses you've received for your music from the Doom/Stoner Metal community. Looking back then did you ever think you would be releasing your debut album.

YOTC - We started the band because we just wanted to play music we both loved and somehow, we found a crowd that happens to like it too. Whatever happens, we will always write and play music. Hopefully, it will be music that resonates with others as much as it does with us.

OOTS – Who designed the awesome artwork for the album. How much input did you have into the final design of the artwork.

YOTC - The artwork for the album was designed by our good friend, Esther Heckman. She is one of the most amazing artists we have ever met. She doesn’t normally do album art, but we sent her one song off the album as inspiration (Electric Warrior) and gave her no direction. Everything after that was her own creation.

OOTS – For a Drum/Bass Duo. You have quite a loud sound compared to other Drum/Bass duos. How do you create this sound. Do you use an advanced setup or basic setup when recording and playing live.

YOTC - It was important for us to sound big because being a duo is very limiting. Amy’s setup is very fluid. She can find a setup that works for the moment, but is constantly on the lookout for something that can help advance it. Splitting the bass tones was a no brainer, but finding the right amp/cabinet and pedal combination was much harder. It is always in flux.

OOTS/TN – We both wish you every success with it. As it's a fantastic album that will no doubt receive a ton of praise when it's fully released. Do you have anything to say to your fans before we go.

YOTC - We just want to thank everyone. We’re so appreciative of the response we’ve received so far. We have put so much heart into this project, it’s nice to see that other people like it as well. Many thanks to you, Steve and Matthew, for the killer review and for doing this interview.

Words by Steve Howe, Matthew Thomas and Year Of The Cobra

Thanks to Amy and Jon for taking the time out talking to Matthew and myself. ...In The Shadows Below will be available to buy on Cassette/CD/DD/Vinyl via STB Records from October 29th 2016.


Mother Mooch - Nocturnes Vinyl News



Dublin psychedelic doom-grunge five piece Mother Mooch self released their debut album Nocturnes in digital format on Friday 13th November 2015 to critical acclaim throughout the international stoner/doom/psych underground. Always intended for vinyl release, the band were on the verge of pressing a vinyl edition of the album themselves when they were contacted by Henry Fauser of Germany’s Krauted Mind Records who had discovered the album on bandcamp and offered a vinyl release through his label. Aware of the fertile stoner/doom/psych scene in Germany and the rest of mainland Europe, Mother Mooch jumped at the chance to get their music heard by a wider audience.

The marbled orange vinyl limited edition comes in a gatefold sleeve with a new interior piece from Illustrations by Emmet Mulligan to accompany his beautifully rendered cover art, and will also shortly be available in the US through Ripple Music’s Heavy Ripples Distribution.

Earlier this year, Mother Mooch recorded and released their darkly cinematic ‘Hive Mind’ video – which was nominated for Dublin Underground Cinema’s Best Music Video Award 2016 – and recruited new bassist Léon Ó’Gríoffa before a setting off on a successful September tour of Ireland’s major cities with an inspired cross section of Ireland’s rising stoner/doom/sludge/psych bands.

Mother Mooch are set to play their first ever European shows in November with dates in Netherlands and Belgium and have plans to tour the U.K. in early 2017.

“The music flows seamlessly through grungy Alice in Chains style vocals, up-beat Venom-esque tempos and groovy psychedelic solos.... A full spectrum of heavy music – from psychedelia to doom to grunge – wrapped up in one beautiful package.” Doomed & (US)

"Another fine debut from a band of the heavy underground global scene... Besides the musicianship which is quite impressive, you’ll hear one of the best female vocal performances of the last year." 
- More Fuzz (FR)

"[A] wonderful and weird sounding mix of Psych, Desert Rock, Blues, Grunge and Stoner Rock given a trippy modern makeover."
- Outlaws of the Sun(UK)

"It is the group effort that makes Mother Mooch who they are. I believe their strong suit is serving the song like many of their 90's elders did."
- Stoner HiVe (NL)

"Behind the relatively simple song structure there’s a concentrated effort of arrangement and technique, and behind the forceful vocal delivery there’s a dedication to honest storytelling. This may be, in fact, why ‘Nocturnes’ manages so successfully to conjure up such a melancholy, introspective atmosphere across its eight tracks." 
- GoldenPlec (IRL)

“Nocturnes” Vinyl Limited Edition is available through Krauted Mind Records:

US distribution through Heavy Ripples:

Download the album from Mother Mooch’s official store:

11Paranoias - Reliquary for a Dreamed of World (Album Review)

Release date: October 28th 2016. Label: Ritual Productions. Format: CD/DD/Vinyl

Reliquary for a Dreamed of World – Tracklisting

1.Peripheral Metamorphosis
2.Destroying Eyes
4.Mutus Liber
5.Meditation on the Void
6.Phantom Pyramid
7.Milk of Amnesia

Band Members:

Adam Richardson - Bass, Vocals
Mike Vest - Guitars
Nathan Perrier - Drums


11Paranoias return with full length, “Reliquary For A Dreamed Of World”, which is by no means a modest album. It is more the keeping of a procrastinated appointment with a voluntary, therapeutic treatment process through a heavy audible nightmare, experienced by the intelligent schizophrenic audiophile. This record augments and holds the listener with heavy eyelids shuddered down by the sound of bedlam, as your mind runs from reality into the album’s outstretched chords, which embrace beyond the mere cortical structure of auditory reason. The songs provide an overdose through a variety of noises, all with different tones and glowing resonances. The tunes are as follows…

Peripheral Metamorphosis - this track dangerously throbs along with the band’s own brand of distortion through nicely chosen amplifiers and slowly keeps time while nudging vocal pain forward through the crude atmospheric noise.

Destroying Eyes – this is essentially metal music created in a sewer by slimy “fishmen” who have been accidentally grown through an unexpected experiment in waste management. These guys moonlight with the underground utility company, speak to us in echolocation and once they snake the pipes, they pick things up as the sound drives without hindrances through a subterranean maze craze of crunch and commotion.

Avallaunius – in this track you will hear octaves from the ocean fathoms, showcasing a sea accident or maritime disaster with no identifiable injuries. Cymbals explode and guitars feed back their surplus power. Great stuff.

Mutus Liber – this song is constructed with sepulchral bass donations that fill an empty casket, alongside painful distorted guitar zooms, both amidst mudslide vocals, all accompanied by drums to make your earlobes quiver.

Mediation On The Void – It is time to take a psychedelic ride down the Floydian Fallopian tubes in order to witness the birth of besmirched meat on Iommi’s butcher block. The use of sonic effects are sheer perfection on this tune, advertising electric frenzy, manifested under hallucinogenic influence, forever increasing the strength of echoes, screams, whispers and unmitigated cybernetic madness. Lock the storage shed, turn the volume to 11 and go somewhat insane on your way to becoming a better person. This is a confident and choice favorite.

Phantom Pyramid is a track that was captured by the demented choir who provide the background music for your confession to a mummified priest who is stuffed with berries and oil, giving you your resultant penance as a doom loaded milkshake with a multi paranoid sound sprinkled topping. This is a splendidly made song and truly another clear favorite on this album.

Milk Of Amnesia is the most traditional song on the entire album. It is short and catchy, making it time to shake hands once again with Mr. Reality.

Overall this album is a magnificent musical concoction that trudges through one’s acoustical plumbing, removing the clogs of melodious blandness that have accumulated through the common drivel barraging our tune filled library.

This is a recorded shrine, made by masterful princes, through radiculopathic, doom trumpeted daffodils, that contains all the musical relics and strange thoughts dedicated to a sonic dream world of altered consciousness.

Words by Nick Palmisano

Thanks to Jack at Rarely Unable PR for the promo. Reliquary for a Dreamed of World will be available to buy via Ritual Productions on CD/DD/Vinyl from October 28th 2016.


Saturday, 22 October 2016

Captains Of Sea And War - Remote (Album Review)

Release date: September 30th 2016. Label: Self Released. Format: CD/DD

Remote – Tracklisting

1.Ny Alesund 01:12
2.Aral Tengizi 05:56
3.Socotra 07:33
4.Bemaraha 05:25
5.Assale 08:04
6.Atacama 05:36
7.Aokigahara 04:18
8.Kerman 07:26

Band Members:

Àlex Garcia / Gerard Gual / José Martinez / David Montón


Remote is the second album from Spanish Progressive Post-Rock Stoners – Captains Of Sea And War. I remember listening to their 2014 self-titled debut album and being impressed by their style of highly anthemic post-rock vibes with a heavy Stoner Rock influence. Fast forward two years and Remote is here to impress you from the very start.
Opening track – Ny Alesund – is a brief semi-acoustic post-rock interlude before the real business of heavy post-rock/stoner riffs that appear on the remainder of the album. This is a nicely played track but a stark contrast to the rest of the album.
Second track – Aral Tengizi – is where Captains Of Sea And Water create a powerful musical odyssey by combining Prog Post-Rock Riffs with a distorted psychedelic stoner rock sound. It has moments of quiet passages set against the heavir stoner vibes. The band weave an exciting tale without the need for vocals. If you're a fan of early era Pelican and Russian Circles then you will find much to enjoy here.
The instrumental work sounds fresh and exciting throughout the album. As Captains Of Sea And Water inject a fresh perspective into the world of Instrumental Stoner Rock. The production of the album is handled superbly well though there a few moments where the volume could have been turned down to get a more dramatic effect.
Remote gives you the impression that you're on a musical journey of some sort. With each song representing a chapter in that journey. Some songs are very emotional such as the excellent third track Socotra where the band add soothing vocals to the mix.
Captains Of Sea And War are very much a cinematic band as they create musical landscapes that demand your full attention. Remote is a very hard album to define as the band don't favour one genre over the other. So you end up with a thrilling and quite challenging album to listen to at times. Though it will appeal to fans of Instrumental Rock/Metal music the most.
Remote is an excellent and well rounded album that will last long in the memory.
Excellent and Highly Recommended.

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