Posts Tagged “Electric Wizard”


Seremonia: batty

Invited by Electric Wizard to play Roadburn earlier this year, Finland’s Seremonia have proven to be one of the most individual, and eerie entities to have emerged from the retro/doom cauldron.

Following on from last year’s selt-titled debut, the band, fronted by deapan but bewitching tones of chanteuse Nooma, are about to release the follow-up, Ihminen on Svart Records, and Hammer is proud to host an exclusive preview track, Hallava Hevonen. This is doom through the looking glass, full of crushing riffs, but opening up a landscape where the laws of physics have shifted slightly in a way you can’t quite put your finger on.

Check out the track below, and check out your sense of reality while you’re at it!

Visit Seremonia’s Facebook page here.

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Guitarist/vocalist Mikael Åkerfeldt of Swedish progressive metallers OPETH has agreed to curate Roadburn Festival 2014 on Friday, April 11 at the 013 venue in Tilburg, The Netherlands. As curator, Mikael will personally select the bands for his special event, and play a headline show with OPETH, too!

OPETH‘s body of work is highly respected by Roadburn audiences, which makes Mikael the ideal choice to carry on the tradition that began in 2008 with David Tibet of CURRENT 93, and continued with NEUROSIS, Tom G. Warrior, SUNN 0))), VOIVOD and Jus Oborn of ELECTRIC WIZARD.

“It’s with great honor that I accepted the invitation to be the curator for the 2014 Roadburn festival”, says Mikael Åkerfeldt. “I’m pretty damn far from being a professional booker/promoter, and I’ve never been part in choosing bands for an event apart from bands that OPETH has toured with. So this is a first for me, but I have to say I’m very excited.”

He continued: “I’ve reached out to a handful of my favourite bands from the past and present. As of now it looks like it will be an amazing musical event. Still brainstorming about possible bands for this glorious festival but I already know that I’m going to be like a kid at Christmas. It will be amazing! Plain and simple. Obviously, OPETH will perform as well, but to be quite honest with you, our own performance doesn’t get me nearly as excited as the thought of experiencing the bands that have shown interest. It will be remarkable and memorable. A celebration, bitches!”

Beginning a new chapter of their ongoing legacy, Bristol’s psych rock band THE HEADS will follow in the footsteps of ENSLAVED, CIRCLE, Justin K Broadrick and Neige (ALCEST) as Artist In Residence at the 2014 Roadburn Festival.

Roadburn is THE HEADS‘ spiritual home, and they are honoured to be asked to be the Artist in Residence and are excited to have John McBain (of MONSTER MAGNET fame) join them for this and new recordings.

As part of the Artist in Residence, KANDODO will perform as a three-piece on Friday, April 11. THE HEADS will play a live set for the first time with John McBain on Saturday, April 12 at the Main Stage.

Holland’s very own Roadburn Festival has become Europe’s leading festival for psychedelic, avant-metal, doom, heavy ’70s or any other variation of leftfield sonic pleasures that push the boundaries of music.

Roadburn Festival 2014 (including Mikael Åkerfeldt‘s curated event, OPETH and LOOP) will run for four days — from Thursday, April 10 to Sunday, April 13, 2014 at the 013 venue in Tilburg, The Netherlands.

Pre-sales will start Friday, October 11, 2013.

For more information, visit


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For any lover of doom, psych and all-round mindbending underground rock, the news that Loop are reforming should have you running to the hills in ecstatic Sound Of Music style. The band’s mesmerising, ritualistic sound, with mantric grooves bathed in layers of wahwah, fuzz, and frontman Robert Hampson’s spectral vocals, have left an indelible imprint on the likes of Electric Wizard and Sunn O))) and countless others. Below, we travel to the dark side with Robert Hampson himself.

You had your own influences, but you created new connections and something very new out of them.

“That was the whole point of what Loop was about, without every wearing our influences on our sleeves. It was very deliberate, and I made it clear that I loved The Stooges and The Velvet Underground, and Can and Neu!, but the intention was to try to throw it all into the cauldron and see what came out of it, without trying to sound generic. It was definitely of its own planet, and certainly by the time of Fade Out [1989] it had definitely become something in itself.

“At the time, I think a lot of people didn’t understand that record, it was too harsh for them. Hearing it again, it really pleased me. I was really happy with A Gilded Eternity [1990, Loop’s final album] too. I think that’s my favourite of all of them, because that was really where we got the bull by the horns, but that was also the beginning of the end. What I’ve never understood is why people wanted bands to keep making the same record all over again.”

At the heart of Loop there was a real sense of repetition. Was that creatively liberating?

“It was a variation on a theme. It never hurt Steve Reich or Glenn Branca. There’s an identity there, but we were just trying to do something different with it every time. I think the core was in Heaven’s End, you can really hear what it was all about in there, but it was maybe slightly more psychedelic, for want of a better word, but it was always quite dark, and it had an internal spirit that kind of motored along in its own way.”

What I love about that album is that there are bits, like in Got To Get It Over, when you can really hear the 60s influence, but it’s a completely different universe, and it bought out something latent in the music, amplified a spookiness that was there.

“Yeah, it was definitely dark matter. It wasn’t all 60s love and sing-about-the-flowers psychedelia, but it was a darker, heavier take on it all.”

A lot of bands see psychedelia as this open free-for-all, but for you it was a very claustrophobic experience.

“Yeah, it was about inner space. It was purely internalised at the same time. I wanted it to be this black hole that just sucked everything into it, and that was the point. It was about this universe that just collapses in on itself. It had a very inward, reflective nature to it all. It wasn’t all bad karma, I always like to think it was this collapsing star that sucked everything in around it, with the repetition, and it just became this pulsing void.”

Some of your sources were a certain period, and I had this feeling that Loop got this spooky from was at the end of the 60s when the drugs started to go bad and Charles Manson was haunting the consciousness.

“Yeah, it was Charles Manson, Altamont and all these things rolled into one. It was definitely that. I’m not going to say, ‘It was a bad trip, maaan’, it was more than that, but it was more about the wrong side of all that, the dark undercurrent that was always there. Put any group of people in a room and they’re all taking drugs, a few of them are going to go fucking nuts, and that’s what it is, it’s that schizophrenic nature of who’s going to drop first.”

It’s playing with fire, which is what Loop did too, which is what a lot of rock music’s forgotten how to do, to test your limits.

“Yeah, but I always made a very strong point that you didn’t have to be on drugs to listen to Loop. I still think people could feel what it was about without being on drugs. It had a physicality to it that I think was lacking in a lot of other drug-influenced music. Yeah, we took a lot of them, but it’s not big deal.”

I think the physicality and the ritualistic aspect of it was what got you out of yourself more.

“Yeah, I like to think there was something more important to it. Drugs were never a necessity. I’ve always found it very hard to talk about my music. It comes out through me, but it exists in its own right. I think we were forgotten about.”

Because what you did, to some extent, was so specific, it was hard to know what you could do with it, but there are a lot of doomy bands have picked up on it.

“I went to see Neurosis last time they played, and they were playing Heavens End before they came on. I was standing there with my brother, and it wasn’t very loud, but I turned to my brother and said, ‘What is this? I know this…’ and then suddenly it just dawned on me and they played the whole of Heaven’s End before they came on…”

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Get the incense burners out. The new issue of Metal Hammer is a truly magickal Occult Rock Special, headlined by the mighty triumvirate of BLACK SABBATH, KING DIAMOND and GHOST!

We look at the return of one of the darkest, most enthralling subcultures to have ever risen in our world, with the likes of ELECTRIC WIZARD, ANCIENT VVISDOM,UNCLE ACID AND THE DEADBEATS, PENTAGRAM and IN SOLITUDE all leading the charge in 2013. Bring your best robes and come get yourself some.

As if that wasn’t heavy enough (it definitely is), we also have a FREE SATANIC DOOMADELICA CD, featuring the likes of BLOODY HAMMERS, RUBY THE HATCHET, SWILSON and others, plus free CLUTCH and MASTODON posters. Mmmmm, free stuff.

Mellisa Clarke not included

Also in the new issue, we celebrate the ludicrous, brilliant and ludicrously brilliant videography of the one and only RAMMSTEIN, try to work out what the fuck djent/trance/death metal/dub step/reggae one-man-genre-smasher THE ALGORITHM is all about, and welcome back BULLET FOR MY VALENTINE, who, as we quickly discovered, are harnessing Matt Tuck’s AxeWound experience to take some big risks with Temper Temper.

Also making a triumphant comeback is a certain former Metallica bassist by the name of JASON NEWSTED, packing a freakin’ sweet new EP (called Metal, how awesome?!), a new band and some incredible stories from his life with the Biggest Metal Band On The Planet and beyond. Plus, the return of THE BRONX, Chris from MOTIONLESS IN WHITE’s most life-changing albums, BUCKCHERRY doing a concept album (lolwhut?) and why EMMURE have become controversy’s new favourite sons.

Biff from SAXON takes us down memory lane, through everything from that difficult 90s period to being rumoured as a guest judge on, um, X Factor, while heavy metal’s Queen incarnate DORO sits down with young pretender KOBRA PAIGE for a good ol’ chiwag, and we give the amazing career of Canadian prog kings RUSH the full rundown.

Not bad, eh? Oh, and we also talk to heavy metal cellist TINA GUO, pay tribute to MINISTRY guitar legend MIKE SCACCIA, get cinematic with WEDNESDAY 13 and, in this month’s Subterranea, hail the genre-defining majesty of the one and only GODFLESH.

All this plus reviews of Cradle Of Filth, Rammstein, HIM, The Prodigy and the incredible Mitch Lucker tribute show? You gotta be smoking something spectacular to not want in on this. It’s officially on sale TOMORROW, but you can order your copy right now below:

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ALL HAIL SABBATH! Black Sabbath and the magickal return of Occult Rock take over Metal Hammer, as we guide you through the resurrection of one of the darkest and most enthralling metal movements of all time, including the likes of Ghost, King Diamond, Pentagram, Blood Ceremony, Electric Wizard and many more.
Also in the new issue, which includes a FREE CD and FREE MASTODON AND CLUTCH posters, we talk to Emmure about being controvesy’s new favourite sons, find out what possessed Bullet For My Valentine to make some radical changes in the recording of new album Temper Temper, celebrate the return of Jason Newsted and look back over the amazing career of Rush.
Plus, Motionless In White, Saxon, Audrey Horne, Buckcherry, The Algorithm, Wednesday 13, the amazing Mitch Lucker tribute show and much, much more. Stay tuned for more details of our free posters, too!

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Tethered To A Dying Animal (brain-liquefying, planet-fracturing sludge/doom/noise from the creator of funeral doom act The Howling Void) has just released a music video for the song “Car Crash” from the upcoming demo “Impermanent.”

According to a statement from the band, potential listeners should think “Electric Wizard, Grief, and SunnO)) all thrown into a very slow blender.” Check out the clip below.

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Tethered To A Dying Animal (brain-liquefying, planet-fracturing sludge/doom/noise from the creator of funeral doom act The Howling Void) has just released a music video for the song “Car Crash” from the upcoming demo “Impermanent.”

According to a statement from the band, potential listeners should think “Electric Wizard, Grief, and SunnO)) all thrown into a very slow blender.” Check out the clip below.

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Shaman Recordings is proud to announce the release of “Wood and Wire,” a “self-split” between Oxford’s mighty drone/doom/sludge-bringers Undersmile and the band’s acoustic alter-ego Coma Wall. That’s one side of Americana-influenced, atmospheric doom-folk and one side of Undersmile’s characteristic, monolithic heaviness. Shaman Recordings also commented:

“Following on from their debut EP A Sea of Dead Snakes, the Undertaker split (w/Caretaker) and their critically acclaimed debut album Narwhal, Wood and Wire marks the bands’ first foray onto vinyl and they have produced a record that reflects their diversity as a band and hints at what’s to come, for both incarnations.

“Having played acoustic sets at the inaugural DesertFest and in support of Dylan Carlson (Earth) COMA WALL is the name Undersmile have given to their acoustic project as a way to separate the two disparate but interlinked sides of their musical personality (highlighted by Coma Wall’s acoustic take on Undersmile’s ‘Cutter’s Choice’). Their contribution to this record is a taster for a future Coma Wall record.

“Wood and Wire‘s acoustic side features production work from the band’s previous producers Jimmy ‘Evil’ Hetherington (A Sea of Dead Snakes, Narwhal) and Umair Chaudhry (Undertaker split) while side B is produced by Justin Greaves (of Iron Monkey, Crippled Black Phoenix, Electric Wizard, Teeth of Lions Rule the Divine). Featuring three songs on either side, this is Undersmile as you’ve never heard them before.

“The incredible artwork has been created by Craig Bryant (of Bast) whose work has previously been featured on posters for the likes of Dylan Carlson, Eagle Twin, Pombagira, Lattitudes and many more.

“This slab o’wax is scheduled for release during February 2013 via Shaman Recordings and will be strictly limited to 300 copies on transparent purple vinyl with digital download card.”

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Charlotte, North Carolina occult rock band Bloody Hammers will release its debut album “Bloody Hammers” on November 23rd in Europe via Soulseller Records (February 3rd, 2013 in North America via Soulseller Records, distributed by RED).

Described as “an addictive album with a retro edge that appeals to both the Nick Cave and Black Sabbath sides of the brain,” the album was recorded and produced by bassist / vocalist Anders Manga at NC’s Greystone Studios. The following press released as also issued about the album:

“Named after the singularly atomic Roky Erickson & The Aliens song of the same name, Bloody Hammers play dark, hallucinatory heavy music that is as primitive and powerful as a dry stone wall and propelled by bassist Anders Manga’s captivatingly haunting voice. Pre-orders for the limited edition CD and LP versions of the album will also begin on November 23rd at this location.

“Bloody Hammers’ full length debut is an explosion of heavy sound and infectious melodies that has been called a psych / hard rock / horror fan’s dream come true and is sure to find favor with music fans who can dig an array of dark sounds from Electric Wizard and Acid Bath to Alice Cooper and David Bowie to Joy Division and Bauhaus. The self-titled LP captures the band’s strong display of dooming riffs, dashboard-pounding grooves and vocals that segue from angry wail to soaring croon while warning listeners of impending doom. Headed to a black mass love-in? Bloody Hammers’ debut is for you!”

“This album is a heavy and melodic collection of evil songs, and I could not be happier with the result,” says Manga. “Stylistically, I wanted to make a horror fueled hard rock album and this debut LP reflects that very sentiment and much more.”

The track listing is:

1. Witch of Endor
2. Fear No Evil
3. The Last Legion of Sorrow
4. Say Goodbye to the Sun
5. The Witching Hour
6. Black Magic
7. Trisect
8. Beyond the Door
9. Souls On Fire
10. Don’t Breathe A Word

Bloody Hammers by Bloody Hammers

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Pig Destroyer: Heroes of grind

Oh hell yes this is happening. We’re streaming the disgracefully gnarly and utterly brilliant new Pig Destroyer album Book Burner in full (bonus cover songs and all).

The album is out now via Relapse, so if you fancy a bit of try before you buy (why would you not buy this?!), you can hear the whole thing below:

Pig Destroyer play Damnation Festival at Leeds University Union on November 3rd alongside Electric Wizard, My Dying Bride and many more, as well as November 1 at The Haunt in Brighton and November 2 at The Garage in London.

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