Archive for doom metal

Mountain Goat – Mountain Goat

Posted in Mountain Goat with tags , , , , , , , , , on October 24, 2012 by Nicholas

Mountain Goat

Mountain Goat



I know what it is your craving: some thick, heavy, smokey Doom Metal.  Well here it is.  Michigan natives, Mountain Goat, bring it thicker than your prom date.  This self-titled slab of sex was released digitally this month.  The link to this bad boy was provided to me by Guitarist/Vocalist Monte Davis, a fine young chap who I met at a horror con (Cinema Wasteland to be exact, the best one out there).  Upon our meeting, he ate my waffles, and we discussed music.  After spending some time creaming over Opeth and Sunn O))), he eventually told me of his band.  Cut to a few days ago, and he sent me a link to stream the album and give it a listen.  The opening fuzz sucks the listener right into the album’s heavy atmosphere of sludge and riffs.

Est. 1847

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Demo – Goya

Posted in Goya with tags , , , , , , , , , , , on September 28, 2012 by Ryan





Locals from Phoenix, Arizona, Goya have put out their first release just recently: a five-track collection of Doom and Stoner Metal demos.  The trio — consisting of Jeff Owens on guitar and vocals, Jirix-Mie Paz on bass, and Shane Taylor on drums — really sound top-drawer musically on the album.  They sound determined to play the hell out of their chosen genre, working in crushing moods, aggressive vocals, and Sabbathesque riffs into every song.

As I mentioned, Goya does have a great sound to their music, helped by the fact that they seem to genuinely work well as a band.  Being tight as a band doesn’t come easily, but these five songs prove Goya has that ability already in their early career.  The  collection opens with “God Lie,” and right away, the listener can tell how well versed the band is in each other.  Paz’s bass carries the track, starting it off with a slow line, and the drums and guitar come in softly as well.  Goya opens the song up after a quick pause, followed by a heavy guitar riff — really, these guys are like vultures feeding off of each other sonically. Continue reading

Live Reviews – Paths to Oblivion Tour: Pallbearer, Royal Thunder, and Backwoods Payback, Kung Fu Neck Tie’s, Philadelphia, 9/8/12

Posted in Backwoods Payback, Pallbearer, Royal Thunder with tags , , , , , , , , , , , , , , on September 17, 2012 by Nicholas

Alright, alright, so this show Ryan and I attended the same weekend as the Maps & Atlases show.  I dragged him out for some hard rock and heavy metal, and then he forced me to look at a bunch of dudes in button-downs with non-prescription thick black glasses.  I guess that’s an even trade.  Anyway, as you can see from the tour poster above Samothrace is listed and Backwoods Payback is not.  Samothrace had to pull out of the tour due to personal reasons.  I was bummed because after everything Ryan said about them in his review of their new album, I was looking forward to checking them out.  Royal Thunder and Pallbearer were the reason I was going to the show, though.  That and to make Ryan experience some “not so gay” music for a change. Continue reading

Reverence to Stone – Samothrace

Posted in Samothrace with tags , , , , , , , , , , , , , on August 31, 2012 by Ryan

Reverence to Stone



20 Buck Spin

As all good Doom Metal should be, Samothrace’s new album Reverence to Stone is a cock-tease, arousing the listeners in exciting ways.  Consisting of two tracks, the LP lasts about thirty-five minutes, and that half-hour features some of the greatest peaks and valleys of dynamics that a Doom band can offer up.  Of course, though, having such a tantalizing record has its drawbacks, resulting in pent-up frustration.

The four members of Samothrace, Bryan Spinks, Renata Castagna, Dylan Desmond, and Joe Axler have created an album full of atmosphere, right down to the apt cover (reminiscent of the band’s namesake).  The riffs they deliver are heavy, with each instrument being used to their utmost talent.  Spinks’ guitar wankery isn’t overdone, with the bluesy solos building up the two tracks even more, rather than being the focus.  Case in point — halfway through “A Horse of Our Own,” the twenty-minute closer, the lead guitar counterbalances the paralyzing rhythm tracks until everything just drops into another canyon.  Castagna, Desmond, and drummer Axler all provide great backing tracks, redolent of some of Black Sabbath’s slow, heavy songs.   Continue reading