Wednesday, July 3, 2013

...CTHULHU DOOM QUIZ part 2 : GRIMPEN MIRE, LORD VICAR, EVANGELIST, REALMBUILDER, TORTURED SPIRIT, etc...

Here is the second part of Cthulhu Doom Quiz! Let me remind you questions which were asked to the bands:

1. What is the band’s state at the moment? What kind of sinister affairs you plan to perform for summer and on?
2. How did listeners and critics meet your last album?
3. What does stimulate you to play that kind of music against all difficulties? A thirst for glory? An itch for countless treasures? Obsession? Government?!
4. How does your vision of Lovecraftian revelations differ from vision of other bands of that kind? Do you consider it as original? Can you name bands which Cthulhian dreams you like too?
5. What is your greatest achievement in the sphere of Elder Gods cults?
6. What will you do (or rather where will you run?!) when Elder Gods awake?

If you missed it, click here for Part 1 ... 

Today our quests are extraordinary Aarni, morose Astral Sleep, avant-garde and geometrical Cthulhu Rise, unholy Evangelist, raw and angry Grimpen Mire, plutonic Innzmouth, honorable Lord Vicar, inexhaustible Realmbuilder, gloomy and solemn Tortured Spirit and cryptic Y'ha-nthlei.


AARNI (Finland)
Master Warjomaa (all instruments and vocals)

1. Aarni currently feels TV- and radioactive; and not forgetting the Net, for that is where you and I are going to spend the rest of our lives. Things get done slowly but unsteadily...too much free time and entertainment at our hands. Yet the work on 'Lovecraftian' and other releases too continues. The summer so far has proven too hot for any kind of intelligent (or otherwise)
undertakings, but we must try. Try or be tried as the Bad Book says.

2.  The album in question would be the split CD with Persistence In Mourning and everybody loved it. At least secretly, because it may not always be wise to confess such things publicly. That may also explain why so few people actually bought the album from us...that's right, you damaged minds reading this drivel should contact us for your copy, ASAP! Your continued existence as space-time larvae depends on it.

3. Sheer perversity, obesity and general unhappiness with an easy life. Mental problems and their solutions, too.

4. My vision differs from others' by being mine, to put it diplomatically. I am not sure if that makes it orginal, although I certainly hope so. I would hate it if there's more "mes" in the world and they haven't contacted me. Maybe that's for the best, maybe I would learn that I am just a clone. In such a case I would have no option but to start making commercial music. You know, all this trendy metal subgenre shit going around nowadays.
I can name one band here whose take on Cthulhoid matters I like: 'Cthulhu Rise' from Ukraine.

5. Preventing the return of Jesus disguised as a pangalactic love-shoggoth, whose very form exists not in the universe as we know (and love) it, but outside of it, in the small infuriating spaces between the li(n)es you cannot and must not recall from your sweet/sour dreams, which of course became reality in various, mostly embarrassing ways back in the spring of '78.

6. I shall actually get an Aarni album finished. With a little help from my so-called friends.






ASTRAL SLEEP (Finland)
Markus Heinonen (vocals, guitars)


1. Currently we have been on a hiatus almost 2 years now. We are planning to do a pilgrimage to the deep woods and center of wildlife later this summer. We will seek inspiration and hopefully find the right themes for the next album. We are planning on recording the 3. album next year and also do something special because of our 10-years anniversary. Before that we are on a break. 
  
2. Mostly with high acclaims, some liked to criticise it more, some less. “Visions got lots of almost full points in reviews and "album of the month" nominations, and listeners have liked it also.

3. Obsession, or more likely possession! An artist must create music, spit out the evils and open up the spiritual knots within his soul in order to be complete as a person. And the music that we create comes from within, and we cannot alter the way we perform our songs. When the song that has been haunting in my head is made into a recording with success, it is the best kind of glory and treasure there is to be found.

4. Unlike most Lovecraftian bands, we don't take lyrical themes from his work and don't use references to it. But I have always made music that has very similar atmosphere to the works of Lovecraft. Some of his works have inspired me to do that, some have influenced in more subconscious level. I consider the concept of Astral Sleep very original.
My favourite Lovecraft-inspired bands that pop into mind this instant are: Colosseum, Thergothon and Aarni. This is not that Lovecraftian as many others but it is one of our best works so far, so I will choose "Towers", from our latest album "Visions".

5. In Astral Sleep we believe, that the spirituality of our music and the slow and heavy tempos have been affecting the slumber of the Great Old Ones bringing them a bit closer to the moment of awakening. 

6. Why should we run? I am not sure what I will exactly. I might be too scared to do anything. I just hope I can return into the bosom of Ubbo-Sathla. 


                           


CTHULHU RISE (Ukraine)

1. We’ve got a new bass player recently, so we will probably make only two shows this summer. However, we are recording our second LP, which will be 9 tracks of devastating Cthulhu prayers.

2. There is not that much demand in Ukraine for such sort of music, but still we have a couple of people who enjoy it, and even a couple of freaks who bought our CD “42” :) However, we’ve got some reviews ranging from “inconsistent bullshit” to “world spiraling towards a white hot centre” (we can mention getreadytorock.com, sonicabuse.com and “Fireworks” magazine from UK, “iO Pages” magazine from Netherlands, and musikreviews.de from Germany). It was fun to read those :)

3. We used to play in various much more straightforward bands before, but at some stage it became boring. We started to put this band together in 2007 with not so much vision or concept, but with enough courage to make it happen (despite it did not seem to fit anything). By end of 2009 we stopped doing any vocal music, because we did not see any prospects. Challenging ourselves musically was always the best motivation for us.

4. Mr. Lovecraft is more interesting for his horror ideas than for literary interpretations he made of them. Maybe this is why he is not as famous for his compositions as E. A. Poe or S. King, but his very idea of the Deep Ones is much more live now than children of the corn for example. For us Cthulhu is more about internet meme eating your brains, so all of our tracks are “Lovecraftian” in that sence :) “Cthulhu Rise” should be read as imperative, but there is no pathos about it. It is more a joke for us, so we would not claim for any “originality” or “specific approach” :)

5. Probably the fact that we still do what we do. If They did not like it, They would stop us :)

6. We will play for them.



http://cthulhurise.com/



EVANGELIST (Poland)

1. Well, we're gathering our strength to perform first live masses later this year, plus maybe we will find some time to work on new songs.

2. Reception is mixed, which is good, but looks like majority of opinions is positive. We know that new album is much less "user-friendly" than "In Partibus Infidelium", that was his mission - to sift weekend metalheads from true worshippers of DOOM!

3. Desire to wallow in chicks and mayonnaise! Come on, Comrade, playing that kind of music is like Via Dolorosa, we just pray for the end, but we must endure it for the good of metal...

4. I cannot answer first question precisely, we just do it the way we feel it, others probably use the same strategy. We would never consider ourselves revolutionists in the area of lovecraftology, we are humble acolytes of the Master! As for other bands: Manilla Road, Nile, Reverend Bizarre, Ironsword and Bal-Sagoth.

5. Our greatest achievement in the sphere of Elder Gods cults is that we’re still staying alive!

6. No need to run, all resistance is futile... Embrace their majesty and join their joyous holocaust!

                    




GRIMPEN MIRE (England)
Ian Davis (drums)

1. The bands state is very healthy at the moment, we've been picked up by Future Noise who we will be working with for the foreseeable future. We have a few things in the pipeline, first up will be a split album with Bastard Of The Skies, we recorded our 4 tracks of filth earlier this year in very cold, grim and wintery conditions.
There is also talk of Death On The Moor being re-released as well but this is very much in the early stages.

2. Very well, “A Plague Upon Your Houses” got panned by one critic but overall the feedback has been superb the world over. I've had loads of emails from fans that have said very kind and humbling things about it.

3. I would have to say obsession out of any of those, we just love to play live and see the whole thing as a release. We really challenge ourselves with our songwriting at times as well, I just love the whole process of creating something from nothing.

4.  I've no idea to be honest, we do write about subjects that will have been touched on a million times before so I doubt that there is much originality is left nowadays where songwriting is concerned. I just know Paul (the vocalist) just tries to paint a decent image with his lyric writing, at the end of the day we're 3 blokes from the West Midlands.

5. Finally getting recognized by a decent record label and having some awesome people to work with!

6. We will run to Grimpen Mire most likely! :)


          




INNZMOUTH (USA / Syria)
Reverend John Hex (guitars)

1. Currently Innzmouth is conjuring & manifesting music for a new album, so we will be spending a good part of the summer/fall recording. Awakening creatures from a deep slumber takes time, and is a very slow and careful process, we will ensure each tentacle, each hook is hungry. Also a very special limited release will be announced soon.

2. Our last album “Lovecraft's Dreams” people were very receptive to it, I was surprised how it got around online, plenty of good reviews, but there were a few reviews that pointed different things we as a band could improve on, but at the same time they praised us for putting out a good album. Overall we were very pleased with the great response we got from our release especially since we don't really promote the band heavily.

3. A true passion for music & horror stimulates me to create the kind of music we do. The music I create I do out of the sheer love for of it, I have no thirst for glory if I did I would be playing something popular just to make money and get automatic fans, but that is not me, that is safe and manufactured, music/art is supposed to be raw, dangerous, thought provoking, and challenging to not only us but the listener. The true treasure in all of this is to have a fan thank us for what we have done, if Innzmouth can create a song that a person really enjoys, that is the true treasure.

4. As a musician I never really set out to listen to other bands paying homage to H.P. Lovecraft, if I was into a band it was based on their music. This is good as I have not been influenced with what has already been done, so in that aspect it is good as I have no boundaries, I do not feel confined in what we are creating. As a musician/artist my main objective has always been horror and doing what I can to create a tapestry of darkness for the listener. Since I have been in Innzmouth naturally I have come across other bands that are doing Lovecraft music, but it is for the listener to truly decide if we come across original sounding, I will say we are a unique band that has exotic influences and believe it helps give us our own sound.

5. I would have to say my greatest achievement in the sphere of Elder Gods Cults is that I am a vessel for them, through me I help spread their horrific darkness through music/song. We cannot begin to fathom what awaits beyond, what we do not know, what we cannot see, what we have unlearned from the Old Ones. I am a foot soldier for them and do what I can to help continue laying foundation for future artists to build upon.

6. When the Elder Gods awake I will run to my guitar and turn my Marshall Amp up to full volume to greet them with the loudest ugliest chords/riffs with maliciously macabre intentions until my final moments, my final breath.

                   
http://www.facebook.com/innzmouth


LORD VICAR (Finland)
Kimi Karki (guitars )

1. We are slowly preparing to record our third full length album GATES OF FLESH, right now we aim to hit the studio in early 2014. Our drummer Gareth works in Kuwait, which makes gigs and especially rehearsing a bit tricky to arrange.
We will play at Stoned From the Underground festival in Germany in mid-July. Some other gigs and perhaps even a tour are planned for the Autumn.

2. The response for “Signs Of Osiris” was amazing, I think 95% of the actual reviews were totally positive, 9 or 10/10, four or five stars. And the direct feedback from the listeners has followed along those lines as well. Thank you, everyone, it truly makes it all worth doing!!!
3. I love heavy music, I love riffs, the intensity of doom and heavy metal! I also love lush acoustic passages, and try to incorporate different dynamics within the music. This love for music drives me forward, it is an obsession...

4. I am not thinking about other bands that much, but rather what fits into the vision about our own music. Having said that, perhaps Manilla Road deserves a mention. I am not very interested in the question of originality either, I don't change our riffs because of possible similarities. Having said this, I am against direct copying of already written music.

Here's a link to 'Pillars Under Water', which was obviously very much influenced by the feel of the works of H.P.L., for example 'Dagon', 'The Shadow Over Innsmouth', and 'The Temple':

5. Perhaps the take on fertility rites in the song 'Sign of Osiris Risen'. Powerful and very real ideas.

6. To the top of the mountain, to sit and watch them dance and destroy.
Yogge-Sothothe Neblod Zin!






REALMBUILDER (USA)
Czar (vocals, drums) and J.H.Halberd (guitars, bass, keyboards, vocals)

1. Czar: We have just finished our new album, Blue Flame Cavalry, which we expect to be released by I Hate Records later this year.

2. Czar: Most of the responses to “Fortification of the Pale Architect” were positive.  People who liked the first album enjoyed the second one more and some people who were critical of the first album enjoyed the follow up release.                             


3. Czar: JH Halberd and I are longtime metalheads and we create the kind of heavy metal music that we want to hear.                                                    


4. Czar: As a songwriter (and author of the horror western novel Wraiths of the Broken Land), I am influenced by the palpable mood and dread of H.P. Lovecraft's work.  And his manner of indirect storytelling is masterful.  I adore the writings of H.P. Lovecraft, and the works of several of his peers and predecessors, like Algernon Blackwood, Arthur Machen and my favorite short story author ever, Clark Ashton Smith.                                                        


JHH: Czar is a brilliantly creative writer and lyricist.  Though he would rarely be called modest, I think he is in relation to his work as a lyricist.  His work shows his awareness of great writers like the ones he has mentioned, but Czar is always original.  I first read his writing in junior high school (at age 14) and I remember being astonished by the atmospheric quality to his writing even then.                                                                                              


5. Czar: I'll let the Elder Gods decide that one.                                            
JHH: It's "The Stars Disappeared from the Sky When We Uncovered the Bones of the First Gods." (Unfortunately there’s no this brilliant song on YouTube, please check I Hate Records bandcamp link below, - Aleks)                           

6. What will you do (or rather where will you run?!) when Elder Gods awake?
Czar: JH Halberd and I will probably enjoy some beer as the Elder Gods topple the bloated homes of the many weak manmade gods that infest this planet..



TORTURED SPIRIT (Germany)  


1. Hey. Thanks for your interest in Tortured Spirit. At the moment, the band is slowing down the pace not only in the music but with the music as well. Life tought us a few lessons but we are still there, lurking in the shadows, haunting the sub-basements and brooding some more wicked tunes. 

2. Critics where mainly good, most guys that listened were more pleased with “Arkham Sanitarium” than with the first one, us included. 

3. That one is tough to answer. It is definatly not the hope for glory, not the strife for big money. Government did not encourage us either. But we do not care. The urge to do what we like, to produce something that we think is missing. I know I could not do without this band.

4. I have no clue actually. I think I like a bit of the old band H.P. Lovecraft. Weird stuff. A few Doom Metal bands like Electric Wizard, Argus or The Gates Of Slumber and Lord Vicar. The only thing that migth be considered more original compared to these guys, is that we did not do onyl a few songs but a whole concept album based on the Mythos. Both with a lyrical and a music theme. Most people did not realize that. Check out this live video with the band, that is now back to being a trio, with a rare gig with our former second guitarist. The first two songs are from the Akrham Sanitarium Album.

5. I would say the way it conviced people that it might not be real, but just fantasy. People are not prepared.

6. Why should we run? I am not sure what I will exactly. I might be too scared to do anything. I just hope I can return into the bosom of Ubbo-Sathla;

http://www.facebook.com/tortured.spirit.9

                 


Y'HA-NHTLEI (Italy)

1. Now was released on CD with the label Russian Satanarsa Record, now we are writing two new songs.

2. We did not believe that the album she liked it so much, we sent five copies of which three in America, one in London to Robert Mura of the Urna, and one in Ukraine for a review, Russian label has published 200 copies of the CD “Vol.1: The Night Opens on the Brink of the Abyss” that 20 has given us.

3. We play funeral doom metal with passion, we like to play and we do not do this for profit but only for passion.

4. It's not that original, but we consider ourselves not personal abbbiamo a band from which prendimo inspiration, I find it very charming Lovecraft because I think is a genius who created the fantasy genre with his horror stories then is a very mystical and mysterious.

5. I think it's Nyrlatothep and Azatoth the two largest and most powerful creatures of Lovecraft.

6. I do not know how to answer this question

http://www.soundclick.com/bands/default.cfm?bandID=1275829



KOLOSS (Ukraine)
Eugene (all instruments)

1. Hi! State of the band? We always are in one state - writing new music! Plans? By the end of this summer we planned to do final chords to write new material. Our new material will be more aggressive and harder, but, oddly enough, more and more melodic... Also we plan to release our own T-shirts.

2. I'll tell you the truth I do not know what the critics are telling, and if they say anything there about us at all. But listeners took our stuff quite positive. In this case, I judge only by the letters received.

3. Lovecraft's works have always stirred my imagination, creativity and dedication of KOLOSS to Mythos was a matter of time ... In addition, our style, funeral death doom, is ideal for this.

4. It's hard to say ... Band is on the topics of Lovecraft lot, unfortunately no more than one or two songs on the album ... Of course, there are those who devote their creativity to it, but there’s not a lot of such bands. Even fewer groups that adhere to the immediate mythological lines laid directly writer. Many great bands, it's hard to stand out, someone one, I can only mention FUNGOID STREAM, Argentine funeral doom the project. His work on me impressed.

5. The existence of our group KOLOSS, this is a significant sacrifice for the Elder Gods!


6. When the gods wake up, there's nothing we can do. Yet nothing will happen because everything is different ...


... Worth a few bucks : TEN FOOT WIZARD / COLOSSUS / SUPERHALO

TEN FOOT WIZARD are a Heavy Blues Rock band from Manchester (England) with a penchant for tasty groove-heavy riffs and “Return to the Infinite” is their debut album released a couple of months ago.
From the first notes of opener “Rise from your Grave” one can quickly feel that we’ve got here a band whose bluesy beard rock owes as much to classic stuff like Black Sabbath, Led Zeppelin or even The Doors, as to more contemporary acts like Clutch, Orange Goblin, Kyuss or Danzig…
I would add “but not only…” because the music of T.F.W. is definitely more than a vulgar addition of influences without inspiration, textures and flavor ! Edgy, thick and burning for the most parts with hooky guitars and warm whiskey-soaked vocals, the tempo can occasionally slow down, the tone getting darkened and eying towards sweet and throbbing psychedelia (“Six Feet Rising” and the excellent title song “Return to the Infinite”). Also what makes TFW interesting and slightly different - from many upcoming bands from the genre - is that there’s nothing Metal at all that can be found in here, just blues and groove blended with pure heaviness !!!  With T.F.W. we've got here another english band of the highest order…





COLOSSUS is a Swedish trio from Stockholm and their 1st album “Wake” has been released in April via Perennity rds… The guys describe their music as Progressive Sludge - which must be right if we consider some influences heard here and there from Mastodon, The Sword, Tool and Baroness…

Before thinking about anything progressive, the first thing to have in mind is that COLOSSUS is a massive and roaring machine, with vibrant guitars and impressively hammering drums !!! progressive, yes, but with a well measured sense of intricacy and variations in the moods, rather than a technical demonstration of unbridled instrumentation and/or a succession of different chapters within a single song who in the end often lead to loose its dramatic essence. The guys focus on the dynamic and catchiness of their songs with strength and conviction and they are pretty good and promising at it.

Even if the apparition of LG Petrov from Entombed, on “Pillars of Eternity”,  is certainly a nice wink to their early (death) Metal years as fans, there’s no special highlight here, but everything flows well and the band delivers cohesively an hard hitting debut !!!


Our 3rd band today is SUPERHALO from Poland, again another country and again another style of heavy music !!! "Czerwona" (the Red) is the debut album of this 4 piece from Porazin and it contains 11 songs for a total length of a short forty minutes... There's a lot to get from this album, a refreshing stoner'n roll assault, at times dry and hallucinatory, at  others raw and punkish, even a few parts can be serioulsy mellowed and almost poppy... This is cohesive though with a potent and hazy live sound, also the fact of having vocals in polish certainly helps to enhance it ! 

It's been a very long time since I heard singing in polish, what i heard back then was raw and furious HC/Punk which certainly didn't served the hidden and relative (?) beauty of this language, cause here it's often very lyrical and melodic, dry and low droning too which is giving a special touch to an overall that generally sounds pretty american and Hommesque in particular... 

Need some good kick-ass songs with a subtle Desert Rock touch interspersed with nice melodic moments ? then you simply have to check out this great album !

 https://www.facebook.com/SUPERHALO





Tuesday, July 2, 2013

In the name of Satan, I place a curse upon you…THE GRAVE – ‘Demonia’ (Demo review)

Every year it seems a handful of promising demos enter the fray to pique the interest of discerning doomheads and sludge worshippers across the realm. When these bands finally get around to recording their debuts the results can be stunning as with Windhand’s self-titled debut and Pallbearer’s ‘Sorrow and Extinction’. Both Windhand’s ‘Practice Space Demo’ and Pallbearer’s ‘2010 Demo’ kept fans anticipating studio albums for a very long two years before proper studio albums were released. Hopefully we won’t have to wait until next year for Apostle of Solitude’s answer to their ‘Demo 2012’. While perhaps not yet in the same league as the aforementioned bands, Argentina’s traditional doom trio The Grave have thrown their wizard caps into the ring with their ‘Demonia’ EP. Needless to say, I hope it doesn’t take these guys two years to give the five tracks of their initial demo a proper studio recording.
 The Grave play an infectious style of traditional doom with a few psychedelic flourishes and they don’t confine their style to a mere slug-paced plod and are just as confident with more upbeat tempos. The opening track, “Lord of Mirrors”, opens with a sample from the schlocky early seventies flick ‘Simon, King of the Witches’ before a plodding bass line is accompanied by a moody introductory riff that could have been composed by Steve Mills of The Wounded Kings. While the recording gives the entire demo a one-dimensional, monochromatic feel, “Lord of Mirrors” really hints at the potential of some serious swing courtesy of the rhythm section of bassist Ramon Araoz and drummer Facundo Correa.
 If it wasn’t crystal clear before, the band makes their love of occult cinema apparent on the demo’s second track “Luciferian Woman” (and further evidenced by tracks “Psychomaniacs” and “Blind, are the Dead”) with a sample from Mario Bava’s excellent ‘Black Sunday’. Barbara Steele commands, “"Look into my eyes. Embrace me. You will die, but I can bring you pleasures mortals cannot know,” before a flanged-out guitar riff kicks off the proceedings. The majority of the tune falls comfortably into a driving, head-nodding groove accented with some blistering fretwork during the chorus.
 The shortest track, “Black God of Death”, features the demo’s most discordant riffs accompanied with probably the most dynamic bass lines which makes for a stellar track. While guitarist/vocalist Diego Benedetto’s vocals are similar to Balam’s Alexander Carellas, the semblance is even more notable due to Diego’s melodies. With the title of “Psychomaniacs” I expected the fourth track to totally rip and melt my face off. While it’s not bad by any stretch of the imagination, it just doesn’t hold up against the other four tracks. The last track, “Blind…are the Dead”, has moments of classic doom crawl and up-tempo rocking in equal measures until the song’s final moments which is a slow, moody lurch layered with spacey guitar leads.
While I’m a huge fan of a lo-fi gritty production The Grave could really benefit from a fine-tuned, polished recording. There are moments on ‘Demonia’ where the bass lines are just ready to take-off into the stratosphere, but instead sound grounded or restrained. Overall ‘Demonia’ is a more than a solid first outing and hopefully signals great things to come from the Argentinian trio. All of the tracks of ‘Demonia’ have also been captured on the  band’s ‘En vivo 2013’ live recording on their Bandcamp page with the addition of a sixth track entitled “Angela Blake”—all of which are worth checking out. Killer stuff…
Words: Steve Miller


Monday, July 1, 2013

... Exclusive BLACK PYRAMID "2013 Adversarial TOUR-Diary" by Darryl Shepard !!!!

Black Pyramid recently toured Europe in support of our new album “Adversarial” (Hydro-Phonic Records). I was asked to write up a tour diary for it. Here is it. I tried to cover as much as I could as concisely as possible. I hope you dig it.

June 12 – We arrived in Frankfurt around 7 am and discovered none of our phones worked, so we couldn’t call or text our driver Sylvain to let him know we were there. I decided to walk outside the terminal and within about 20 seconds he spotted me and came over to introduce himself. We got in the van, promptly backed into someone’s car, exchanged words with the driver and then left the airport for Freiburg, Germany, the first show of the tour.

We got to the venue,  Slow Club, around noon, which was really early, but we were exhausted and were able to take a nap in the upstairs apartment above the club, which was outfitted with bunkbeds, a shower and a kitchen area. After resting for a bit we headed downstairs for soundcheck. There was a large box awaiting us which contained out shirts for the tour, which were printed over in Europe. We hadn’t seen them yet, even though we were supposed to have received an email with a photo beforehand. We opened up the box and had a genuine Spinal Tap moment. You know when they receive their copies of “Smell the Glove” and the cover’s all black? Well, we pulled out the shirts to discover that the band name had been left off of them. Excellent! A tour shirt with just the album cover and no band name. Oh well. At least we had the vinyl and CDs to sell.

The show was excellent, we were the only band on the bill, it was sold out (around 100 people), so it was a great start to the tour. The venue was cool, there was a curtain around the stage so we stood behind it while someone introduced us and a smoke machine did its thing. We finished the set and when I tried to get off stage was literally pushed back on, so we did an encore of “Metropolis” by Motorhead, The crowd was great, very responsive and into it. After the show a DJ spun some great records, and then Gein and I went to a bar called Keet’s with some of the locals until around three in the morning (I even shot some pool and won a game), and then we headed back to the band apartment and crashed out. A great first night on tour, for sure. Couldn’t have gone better.



June 13 – The second show was in Geneva, Switzerland with Black Cobra, Bison BC and Arabrot, who were all on tour together. It was at L’Usine, which is a pretty big club, much bigger than Slow Club. Right outside was a river with the greenest water I’ve ever seen, and it was a perfect day out. There was also a giant Great Dane in the club who belonged to the soundguy. He was about the size of a small horse. During soundcheck he decided to take a piss and left a trail across the entire floor of the club. He was promptly ejected.


I met up with a friend of mine from Boston who lives over in Switzerland now, and it was good to hang with him for a little bit. The show went well, the bands were all great. Arabrot in particular blew me away. We closed out the show. Afterwards we went to find the hostel where we were staying. We finally arrived at some place that was straight out of a Stanley Kubrick movie, all weird lighting and minimal furnishing. But alas, there was a mix-up and we weren’t booked there, so back to the venue we headed, which also had band apartments, so we crashed there and tried to fall asleep while deafening techno music from the upstairs club blasted until around six in the morning. With four bands all staying in a couple of rooms it was a little crowded, but everyone got along and was cool with each other so it wasn’t a problem at all.

stage set up in Winterthur
June 14 – Winterthur, Switzerland. Cool venue called Gaswerk. They have strict volume laws in Switzerland so we were told that we couldn’t play very loud, and they kept an eye on us. Another smoke machine here as well, so we were three for three on that front. Another band apartment as well in the club where we would be staying, and another amazing meal cooked for us in the kitchen. A band called Trecker opened, they were cool, kind of on the Clutch side of things. Our show went very well, even with the volume restrictions in place. Nobody in the audience seemed to notice but it was definitely difficult for us to play at a lower volume, seeing as how the actual sound of the band depends a lot on volume itself. After the show a lot of people just hung out in the backstage/kitchen area and smoked cigarettes all night, so we couldn’t hang out very long as it was a giant cloud of smoke. But it was a good time, and there was an endless supply of beer, so no complaints here at all.

June 15 – This is where things got really interesting. The van had been acting up a bit the previous couple of days and Sylvain was worried about it. We drove to an auto dealer in Germany on the way to Dresden to get it checked out. Turns out the van was running on only three cylinders and could not go on. So, Sylvain headed out to get another vehicle while we waited for him at the dealership in Germany in the middle of nowhere. There was nothing around to do, at all, so I went for a little walk and then fell asleep in the van. We waited for about four hours or so and then Sylvain returned….with a car. Somehow we stuffed all of the drums, guitars and most of the merch (as well as ourselves) into the car, leaving behind all of the amps, and headed to Dresden, a good five hour drive. Luckily we were going on late at the show.



We arrived in Dresden to a city throwing itself one hell of a party. We were playing BRN, a huge outdoor festival, and most of the city was shut down. We also met up with Beth from the booking agency, who had a new van and gear for us, but we couldn’t get the gear to the stage at this point in the day, as the crowd was just too massive. We could barely walk through the crowd with our guitars. So we borrowed gear from the other bands who played and closed out the show. It was pretty crazy. Wall to wall people, everyone just partying and having a great time. Our set went really well, and even though we were told we couldn’t play any longer we were allowed to do an encore. After the show we headed to the hostel we were staying at around four in the morning and crashed out, exhausted from a very long day. The next morning we were awakened at 10 am by the loudest techno music ever being played right outside our window by a DJ. No chance of sleeping through that.


June 16 – We head to Berlin for a show at the Comet Club. We have a little free time so we’re able to go get something to eat, that something being a Doner Kabob, which I had been looking forward to since arriving in Germany. We got pointed in the right direction for the best one in the area so we head out. Back at the club, a local band called Android Empire is opening for us. They’re really good, instrumental metal, with a great bassist. During our set, there’s a girl standing directly in front of me who not only looks like she doesn’t want to be there but looks downright depressed. She’s there with her boyfriend, and neither one is having a good time, at all. During one guitar solo, I get right in her face, staring at her the entire time, just messing with her. No response at all. So I move the mic stand away from that side of the stage towards the middle and ignore them for the rest of the night. They stayed for the whole show, although I have no idea why. She obviously was having an incredibly shitty time. The rest of the crowd was great though, and we enjoyed another excellent show. We also signed a lot of autographs on this tour, which was weird, but people would buy the vinyl of the new album and have us sign it, which we would gladly do.

After the show back at the hostel, there was karaoke (“Hungry Like the Wolf”, butchered by yours truly), drinking, and then we hung out with some Australians who were part of a larger group touring the concentration camps. Fun vacation! We grabbed some beers and food with them and hung out on the streets drinking and talking metal until around four in the morning, debating which tour bus across the street was the best one to take a piss behind.

June 17 – Bremen, Germany. A big city but we were playing in a section of it which was like a small town by itself at a club called Romer. This was the second show where we were the only band playing, no opener. Due to circumstances beyond my control, I have to borrow the soundguy’s amp, a Marshall JCM 900. Again, there are volume laws apparently that need to be adhered to, and during soundcheck it becomes apparent that this isn’t going to work out. At all.  I can’t hear anything at all onstage, even though the amp is right next to my head. After a couple of attempts to rectify the situation I basically lose my cool, tell the soundguy it’s the worst sound I’ve ever heard in my life, tell him it’s fine though, and walk outside. He asks what we can do to improve it, so we move all the monitors right in front of me so I can kind of (but just barely) hear the awful guitar sound I got out of the amp, and then proceed to play a great show in front of a very appreciative audience. Seriously, it sounded like ass onstage but the crowd seemed to think otherwise. Okay then!

Afterwards, Clay and Gein head back to the hotel for some rest but I hit a bar down the street with some locals, including a lunatic they called the Metal Turk (much to his chagrin) along with his trusty sidekick, some dude who was like six foot five, had an incredibly deep voice and probably could’ve squashed me with one swoop of his hand. Great people though. Sylvain came back to the bar to get me, as I had no idea at all where the hotel was, and we had a blast drinking with our new friends in Bremen. On the way back to the hotel we stop to get something to eat and run into the soundguy. All is well, we made up earlier, and we shake hands. It’s all good.

013 in Tilburg
June 18 – Tilburg in the Netherlands. 013. Home of Roadburn. We’ve been looking forward to playing here. Turns out Whitesnake is in the main room, so this should be an interesting night. We also meet Walter, the mastermind behind Roadburn, and chat for a bit. The 013 is a big complex, and it’s a great place to play, but it’s like a heavily secured bunker. You can’t go anywhere without somebody who works there having to open a door for you. Even just getting into the venue is somewhat tricky. Also, there is no AC so it’s pretty damn hot inside. Dinner is fantastic (salmon, veggies), cooked up in the kitchen downstairs. Toner Low are opening this show, and they blast the audience with tons of low end as the sounds of Whitesnake reverberate throughout the building. Before we even take the stage I’m dripping sweat, and once we finish it’s as if I just got out of a swimming pool. One of the hottest shows I’ve ever played anywhere. But again, the crowd is great, they’re all drenched in sweat as well, and they won’t let us leave the stage. Once again, “Metropolis” by Motorhead is busted out as our encore, and then everyone heads outside for some much needed air. Afterwards we head to our hotel where we have three rooms, so I get my own room (snoring has its upsides!) and have a good night’s sleep.

June 19 – Paris, France. We’ve never been to France before, so we’re definitely looking forward to this. The show got moved to a venue called Glazart after the original club got closed down. It’s a pretty big place, and Spindrift and Blaak Heat Shujaa are opening. The soundperson is a lovely young lady named Angie, and we have maybe the best sound of the entire tour at this show, at times during the set I’m sure it’s the best sound I’ve ever heard onstage. I also meet up with a couple more ex-Bostonians who now live in France, and we catch up. The opening bands are great, Spindrift in particular are very entertaining. Another very hot show, but there are some fans onstage at least this time to provide a little relief.

June 20 – Antwerp, Belgium. We’re playing at a venue called Kavka. Another cool club, food and beer are provided, dinner is once again amazing. I’m eating better on this tour than I do at home, seriously. Everyone has been very gracious and kind, and the beer has been plentiful. It makes a huge difference when you’re on the road and you know that you’ll be fed when you arrive at the next destination. After soundcheck we have a little bit of time to wander around the city a bit, although most of the stores are closed. A band called Cat Claw are opening, they’re a duo of guitar and drums. Good stuff, the guitar player (a girl, btw) uses loops with her guitar, so she can play along with herself. The sound here is really, really good, the soundguy definitely knows his stuff. Another excellent sounding show onstage, and the crowd is into it as well. Afterwards some woman asks me to go surfing with her (you know, in the ocean), even though I tell her I live in Boston, and then she introduces me to her husband, who is a fan of the band and has bought the album. She then asks me if I can go to a Queens of the Stone Age show with her, but again I tell her I live very far away and I can’t do it. I try to extricate myself from the situation as politely as possible, and she ends up leaving soon. We hang out for a bit drinking and listening to the metal DJ blast some tunes. Definitely a good time.

June 21 – Hellfest. The last date of the tour. The main reason we’re over in Europe. We have a great slot, going on right before Sleep and Neurosis, and we have an hour to play. We also have no idea how we got that slot, but we’re not complaining. Everything runs efficiently at Hellfest, which is amazing given the sheer size of the thing. Backstage I see Dee Snider, David Vincent and Biff Byford, though no sign of David Coverdale. Hellfest is in Clisson, France, which is actually a small town out in the country surrounded by vineyards, so it’s kind of surreal to see all of these metalheads making their way to the site, cars and tents everywhere. The sheer size of Hellfest is overwhelming, and I don’t even get to take it all in. Sensory overload.


Hellfest (Clisson)
After Pallbearer finish their set we soundcheck, as there is about an hour between bands on all the different stages. Sleep are hanging out, and Al Cisneros compliments my guitar (“nice guitar, three pick-ups, it’s got that ‘Master of Reality’ sound”) and introduces himself. He’s very laidback, a very cool guy. Then we wait for what seems forever for our set to start. But it’s worth it. There’s a couple of thousand people there to see us, and everyone’s having a great time. The sound is massive, the light show is totally pro, and yes, there’s a smoke machine. During the middle of “Swing the Scimitar”, I break a string, but I’m able to finish the song. Clay and Gein jam a little bit while I do the one of the quickest string changes in history, and the crowd cheers when I’m ready to go again. We finish up our set and I feel like I could play for another hour. Afterwards we get to hang out and check out some other bands. Sleep kills it, they sound great. But then it’s time to go, Hellfest is done, and we head to our final hotel on the tour.



June 22We meet up with Sylvain, Matte and Beth from Sound of Liberation in the morning in the dining area of the hotel to figure out the money situation and wrap up any loose ends. It’s been a great tour, and any problems we had were overcome. We didn’t miss any shows and we met a whole lot of awesome people. It’s raining out, but that’s okay, and we get in the van and head to Paris for a few hours to hang out and see the city before driving through the night to Frankfurt to catch our flight back home. Ten shows in ten days. It just flew by. Can’t wait to do it again.


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A million THANX to you Darryl for this very very interesting Tour-Report... 
(Special thanx also to Steve Murphy from Kings Destroy for having suggested this nice idea and puted us in relation)

Check out BLACK PYRAMID's killer new album "Adversarial" !!!