Monday 30 July 2018

Raum Kingdom - Everything & Nothing (Album Review)

Release date: June 01st 2018. Label: Self Released. Format: CD/DD/Vinyl

Everything & Nothing – Tracklisting

1.Summon 05:36
2.Dig 06:44
3.Winter (feat. Mia Govoni) 14:16
4.Walk With Reality 08:00
5.Rebuilding The Bridge 09:24
6.Hidden Pain 04:42
7.Struggle 10:53


Drums - Mark Gilchrist
Bass - Ronan Connor
Guitar - Andrew Colohan
Vocals - Dave Lee


Raum Kingdom new album – Everything & Nothing – is not your standard Post-Metal album. Sure the band have included the usual trademarked sounds that makes for a good Post-Metal album Throw in elements of Doom, Post-Rock, Sludge and a small dose of Screamo tendencies. What makes this such a riveting and highly intelligent album is Raum Kingdom’s level of darkness that they include on the album. The lyrics and vocals are quite bleak throughout and sometimes it can be quite easy to get lost along the way.

The heavy post-rock/post-metal guitars instantly draw you in before Raum Kingdom unleash an epic wave of post-gloom metal darkness on the excellent opening song – Summon. You can hear influences from bands such as Neurosis, AmenRa and Cult Of Luna but Raum Kingdom stand on their own merits. As their music has a sombre Ambient Post-Rock feel.

The album runs for an hour and the band never let up in creating heavy sludgy post-metal rhythms on nearly all of the songs held on the album. The production is masterfully handled and when the album changes to a darker progressive sound on songs such as Dig and Winter, you can feel influences from bands such as TOOL and Deftones. The dual male/female vocals (Mia Govoni makes a stunning guest appearance on this track) on Winter is perhaps the standout song on the album with the crushing bleak doom post-metal vibes allowing both Mia and the band create a psychedelic blend of alternative rock/metal sounds that you wouldn’t expect from an album such as this.

Raum Kingdom continue creating highly impressive Post-Metal sounds on songs such as: Walk With Reality, Rebuilding The Bridge and Struggle. The bleak and experimental nature of the album maybe too jarring for some people to fully appreciate. As Raum Kingdom cover a lot of different musical ground within the epic 60 minute plus runtime.

If you’re in the mood for a challenging and highly complex Post-Metal album then I recommend you check this album out. Everything & Nothing isn’t the most easiest album to listen to and it’s perhaps more suited for more experienced Post-Metal connoisseur.

Overall, Everything & Nothing is a stunning and well made album that could see Raum Kingdom make a name for themselves within the next few years. It may take another album for the band to truly reach their potential. Until then I recommend you listen to this album and embrace the dark bleak journey that lies within Everything & Nothing.

Excellent and Highly Recommended.

Words by Steve Howe


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Saturday 28 July 2018

Mountain Of Smoke - Gods Of Biomechanics (Album Review)

Release date: July 14th 2018. Label: Self Released. Format: DD

Gods Of Biomechanics – Tracklisting

1.Incept 02:21
2.Tannhauser Gate 03:40
3.Orion's Shoulder 02:52
4.Caesium Beams 03:46
5.Zhora 04:20
6.Morphology 02:55
7.Retirement 03:03
8.Leon 04:25
9.Tyrell 03:19
10.. Gods of Biomechanics 02:53


PJ Costigan- drums
Alex Johnson- pedal steel and synth
Brooks Willhoite- bass and vocals


Making an album on seminal classic science fiction film Blade Runner is mighty bold and impressive by anyone’s standards. However doing another album based on the same film is downright insane. Who could pull such a task off. Well, Mountains Of Smoke for a start. The hard edged Sludge/Stoner Metallers are back with their new album – Gods OF Biomechanics.

An intriguing and thrilling progressive album that takes many themes from the landmark movie and adds a nightmarish surreal industrial Doom/Sludge/Stoner Metal sound with hints of warped electronica. The opening two tracks Incept and Tannhäuser Gate is what you expect from the band with fast-paced drone like riffs weaving psychedelic sounds into the realm of Blade Runner.

The vocals from Brooks are heavily digitised which is natural for an album such as this. Mountain Of Smoke have devilish fun blending the ideas of the movie against a backdrop of heavy Doom/Sludge based themes. Mountain Of Smoke already tried this idea on their self-titled debut album back in 2014. I remember listening to the album back then. I remember not being fully sold on the whole concept and sound of the album.

However I have no such problems with Gods Of Biomechanics as Mountain Of Smoke have created an album that captures the dystopian tone of the classic movie. The heavy industrial sounds and bleak lyrics may leave you feel slightly down but the frantic punk based energy of Orion’s Shoulder and Caesium Beams show a band not afraid to experiment with their sound.

Maybe the album is partially influenced by Nine Inch Nails and Author & Punisher as the heavy industrial sounds start to overpower the Doom/Sludge/Stoner Metal vibes that appear on the early stages of the album.

Mountain Of Smoke have included a high amount of samples from the movie and they appear throughout the album, including the legendary “Tears in Rain” monologue. Mountain Of Smoke deserve credit for trying something different with this album. it’s not the most easiest album to listen to as there is a lot going on. The songwriting is good but there are a few songs that don’t quite work as they possibly should. However the heavy industrial music and mechanical stylised vocals save the day.

The real question that needs to be asked is: Who short first – Han or Greedo. Damn, Sorry, wrong Harrison Ford Movie.

No, the real question(s) I want to know is what version of Blade Runner inspired Mountain Of Smoke to write this album to. We do have about 6 or 7 versions to choose from. My second question is -Will they release an album based on the classic sequel Blade Runner 2049.

Anyway, I digress. Gods Of Biomechanics is a thrilling and spectacular heavy album.

Excellent and Highly Recommended.

Words by Steve Howe


LáGoon - L’affaire des Poisons (EP Review)

Release date: July 13th 2018. Label: Norwegian Blue Records. Format: DD/Vinyl (Oct 2018)

L’affaire des Poisons – Tracklisting

1.Street Freaks 04:18
2.Head Tripper 03:24
3.The Affair of Poisons 02:33
4.Kill the Messenger 03:20
5.Draculove 02:34
6.Distant Enemy 03:04


Guitar/Vocals - Anthony Gaglia
Drums - Brady Maurer


I never managed to find the time to review Doom/Fuzz Rockers LáGoon debut album, Grim Ripper, which they released earlier this year. Grim Ripper is hugely enjoyable album with plenty of menacing Doom/Fuzz and Heavy Metal sounds that brought LáGoon some minor acclaim within the Doom/Stoner Metal community.

LáGoon seems they’re a band who never rest on their laurels as they’ve just released their 2nd record of the year with the stunning L’affaire des Poisons. All the familiar elements that made Grim Ripper such a cool album are here for you to enjoy. High amounts of Punk Rock, Fuzz, Doom, Stoner and vintage Heavy Metal sounds. L’affaire des Poisons may not have the same high level of excitement of Grim Ripper, the EP does have a more thrilling and street based sound.

The opening 3 songs – Street Freaks, Head Tripper and The Affair Of Poisons – has a cool Punk/Sludge vibe with the band adapting a more alternative rock flavour to their overall sound. LáGoon have captured the essence of an early lo-fi Fu Manchu and this is where the EP excels the most. As LáGoon are very hard to categorize and that’s mainly down to the many different elements of music they play on the entire record.

The sound is very raw and lo-fi but that what makes LáGoon standout from the crowd. They maybe not be the best produced band currently out there but this gives LáGoon a sense of real authenticity within the realm of Stoner Rock/Metal.

The standout songs on the EP are Kill The Messenger and Draculove. As LáGoon show their appreciation for classic and vintage punk rock bands. Though they add a more threatening Fuzz/Doom aspect to their music. Anthony’s vocals are very OTT and he feels inspired by the 70s Glam Rock/Garage Rock scene at times. Very operatic and in your face but this allows Anthony to deliver a very commanding vocal performance.

LáGoon aren’t going to be for everyone. However if you want a band that takes no bullshit and creates their own sound. Well LáGoon are the band for you. Overall, L’affaire des Poisons is another fantastic release from LáGoon and proves they are one of the best upcoming bands around that you all should know about.

Enough said….

Words by Steve Howe


Thursday 26 July 2018

New Video From Progressive Doom Rockers ANCESTORS

Release date: August 24th 2018. Label: Pelagic Records. Format: CD/DD/Vinyl

Suspended In Reflections – Tracklisting

2.Through a Window
3.Lying in the Grass
4.Into the Fall
6.The Warm Glow


Justin Maranga
Jason Watkins
Daniel Pouliot

The Lowdown

On August 24th 2018, Progressive Doom/Post-Rockers ANCESTORS will be releasing their epic new album SUSPENDED IN REFLECTIONS via Pelagic Records.

This is their first album in 6 years and sees the band adapt a more Progressive Doom and Psychedelic Post-Rock sound. This is still unmistakably ANCESTORS but with a more progressive groove.

You can read my review here:

To get you into the mood for the upcoming album, ANCESTORS have just released this new video for one of the standout tracks from the album - GONE

Thanks to Daniel from CZ Promotions. Suspended In Reflections will be available to buy on CD/DD/Vinyl via Pelagic Records from August 24th 2018.


Video Premiere Of BLACK HELIUM New Video - Summer Spells

Release date: July 27th 2018. Label: Riot Season Records. Format: CD/DD/Vinyl

Primitive Fuck – Tracklisting

1.Drowsey Shores 05:25
2.Love The Drugs You Make Me Feel Like I'm On 05:39
3.Wicked Witch 05:48
4.Summer Spells 05:37
5.Videodrone 02:18
6.Curtains At The Mausoleum 09:11
7.Do You Wanna Come Out Tonight? 03:24
8.Primitive Fuck 06:33


Stuart Gray (vocals/guitar)
Beck Harvey (vocals/bass)
Davey Mulka (guitar)
Ben Davies (drums)

The Lowdown

Not only have UK Psychedelic Doom/Drone/Stoner Rockers Black Helium released their epic new album Primitive Fuck today. They have also let us premiere the blistering new video for Sunny Spells. One of my favourite songs off the new album which is being released today via the excellent record label Riot Season Records.

You can read my review here:

You can buy Black Helium on CD/DD/Vinyl from Riot Season BigCartel Page and Black Helium BandCamp Page now.


Tuesday 24 July 2018

LURK - Fringe (Album Review)

Release date: August 05th 2018. Label: Transcending Obscurity Records. Format: CD/DD/Vinyl

FRINGE – Tracklisting

Tale Blade
Proteus Syndrome


Kimmo Koskinen - Vocals
Kalle Nurmi - Drums
Arttu Pulkkinen - Guitar
Eetu Nurmi - Bass


I didn't know what to expect from Finnish Heavy Metallers - LURK - new album, Fringe. I've only heard bits and pieces from this band and I have never listened to a full record of theirs. Shame on me as Fringe is epic as they come. I've listened to their previous albums now when writing this review. Fringe is perhaps their most diverse and most experimental offering to date. The album is a mixture of Sludge, Doom and Post-Metal though LURK do add elements of pitch-black doom/death sounds on certain songs on the album.

Opening song - Ostrakisomos - starts off with a Mastodon/Neurosis style progressive sound. Then elements of psych sounds and a twinge of Jazz gives way to a bleaker atmosphere with the pitch-black vocal delivery of lead vocalist Kimmo. The riffs remain in the Doom/Post-Metal world however everything else is pure progressive bleakness. LURK have a talent for creating highly atmospheric sounds that will make your skin crawl. The music and lyrics have a brooding feel and LURK approach their music with a truly cool sounding apocalyptic feel.

Second track - Tale Blade - has a more Blackened Rock and Roll approach with the pitch-black vocals feeling they've came from a different band. However the riffs are eerie familiar from past LURK albums. The slow progressive guitar riffs slowly adds a more down-tempo doom and gloom effect. However it's the intricate psychedelic post-rock/post-metal interludes that offer a different side to LURK. The song can be very cold but also offers brief moments of uplifting sludge grooves. Only for a few seconds though. 

The rest of the album carries on the Sludge/Doom/Post-Metal hybrid sound with elements of bleak vibes holding everything together. Songs such as Reclaim, Elan, Furrow, Nether and Proteus Syndrome sees LURK do a great job of keeping the mood loud, violent and fresh. Maybe Fringe does take many cues from the legendary sound of Neurosis and Mastodon but which band doesn't within the realm of Doom/Sludge Metal. At least LURK add a more organic groove to their music and the lyrics are simply sublime.

Fringe is an album that has something to say and LURK accomplish this by weaving highly intelligent progressive riffs and bleak lyrics to match. My favourite song has to the final epic song Proteus Syndrome as LURK crank up the tension with an endless stream of heavy Doom/Death riffs and bleak growls to match. Fringe is a well-produced and excellent sounding album from the start.

LURK take a no holds barred approach to this album and it pays off brilliantly well. LURK have delivered the goods with Fringe.

Words by Steve Howe

Thanks to Transcending Obscurity Records for the promo. Fringe will be available to buy on CD/DD/Vinyl via Transcending Obscurity Recordds from August 05th 2018.


Aleks Evdokimov Interviews Chris from SATORI JUNK

Some things happen faster, some things happen slower. Due technical issues, this interview started in May is done only now, but does it change anything? Satori Junk was born in Milan six years ago, their first full-length is full of driving and appealing mix of doom and stoner, so I have watched the band since its release.

To my surprise their second record ‘The Golden Dwarf’ was done on Russian label Endless Winter which has quite another specialization. However Satori Junk surpasses themselves with this new work: more driving tunes, some jazz elements and kind of retro vibe. That’s a great reason to remind our readers about the band, Satori Junk’s guitarist Chris will help us with that task.

Hi Chris! My congratulations - new Satori Junk album The Golden Dwarf is released, and I'm surprised with the band's progress. But first of all, how did you get on Russian label Endless Winter?

Hi Aleksey! The credit for this partnership goes to our friend Marco (SuuM, Bretus). We were looking for a label and SuuM recently signed with Endless Winter. We asked Marco for a suggestion and in a short time we were ready to sign with the Russian label and start work together.

Three years that lie between Satori Junk two albums isn't a big date, but what have happened in the band's life during this period?

In three years we never stopped to play live. That gave us the opportunity to grow, making experience and learn to achieve the best results from every kind of venue. Last year was a bit stressful: we were getting anxious to release new stuff, most of the songs were ready, but it was hard to stay focused on The Golden Dwarf recordings. When last summer we went to the studio, it was like a relief for everyone.

The very first track All Gods Die demonstrates how careful and effectively you incorporate elements of jazz music in your sound. What did drive you to enrich the band's musical arsenal?

We are always opened to many musical influences. Introducing our work with that tune could sound like a weird joke, but since the beginning we felt that such kind of idea could fit to our music. I think we were just looking to express ourselves best, find our distinctive trait, our trademark.

There's also a strong Hammond line in this song, and it works well with driving riffs, thus you keep proper balance of vintage and modern sounds. What was your vision of new stuff when you enter the studio?

Pushing more keyboard was a decision we took early in the writing process. In studio there’s no time to improvise, you could find better solution for your sound, but your schedule is tight. Being aware of that could be a really save you some time, so we decided to practice a lot, thinking very clearly on what our final sound should be.

I wouldn't tell that it's a radical change, but Satori Junk seems to be more Electric Wizard oriented band with new album even though you keep your own individuality as well. Can you tell that this new hypnotic riffs were partly influenced by that dirty stoned doom? 

It's undeniable that I always wanted that kind of sound from my guitar. It’s a matter of choices: there are lots of bands using Big Muff like a state of art fuzz, I choose the underrated Boss FZ-2. This is making my sound different, dirtier, and obviously more recognizable. Anyway, it's just one ingredient of our recipe.

Electric Wizard too get lots of inspiration from the 60s/70s music, we all drink from the same cup, but everyone is keeping his own identity.

Satori Junk – All Gods Die 

How do you see necessary elements of Satori Junk? Which core elements did you transfer from the debut self-titled album to Golden Dwarf?

Preserving the wall of sound was our main goal. I think we reached a nice balance between heaviness and psychedelia, where the main heavy riffing was exalted by the contrast with the softer parts. Also the effort made by Max, caring over his sounds of his drums during all the mixing sessions served our cause: on the first album we were without drummer from the end of the recording session.

What's about lyrics this time? Can you tell more about them and Luca rises in his texts?

Luca always enjoys telling simple, horror stories. His characters are often doomed to a terrible ending with no possibility of return. In this new album, I think that every story is channeling to the title track, where the anguished protagonist seeks for a quick solution and founds himself trapped in a bargain that will bring him back to the starting point after a short moment of relief.

You've covered Doors' immortal hit Light My Fire for the album. Are you fascinated with the spirit of that passed epoch or is it just because of the song's own charm?

No, nothing like that. Luca is a big fan of Ray Manzarek keyboard style, it’s a fact. One night we got the idea: “we could play a cover from The Doors!”. Almost instantly, we found that Light My Fire is a song that could be easily bended to our sound. So, without telling this to the other members, we started to rearrange the song. It was relatively easy to do that.

You played just few gigs in support of the release including one in Romania, how was it? And do you plan to play few more shows to promote Golden Dwarf?

Playing at Revolution Fest was a total blast! Playing in eastern Europe is different: the crowd is really engaged, regardless of the genre. That’s a great thing, especially for a band like us. When you see so many people following your songs headbanging, something happens. You could feel all the energy flowing and you can return it back boosted. By the way, our touring is not over: we are planning a tour this autumn with The Ossuary, ten days all around Europe.

Well, here's a philosophical question or something like that. What are virtues of doom metal? What's good does the genre offer to its fans and artists who play this way?

I think that one of the greatest virtues of Doom is own sincerity. It’s a genre that allows you lots of experimentation, but you must play it in a right way, with attitude, enjoying every single note. These are the blues roots, the roots from which rock was born. There’s something rough and primordial into this, and think every Doom supporter is able to notice it.

World football cup is almost in hand, do you feel anything consider this? Can you tell that you're football fan?

I’m a FC Inter supporter, and Max too. Probably Luke and Lory hate this sport, cause in so many years we never talked about soccer. A World Cup without the Italian team sounds unthinkable, but it could be a nice occasion to follow all the matches without any heartache or headache. 

Words by Aleks Evdokimov and SATORI JUNK


Monday 23 July 2018

An Interview With Dennis Petersen From SLOWJOINT


Danish Sludge/Stoner/Weedian Metallers Sjowjoint are one of my favourite bands within the scene. The band have been going since 2012 and I've must have reviewed all of their releases since then. I've interviewed the band quite a few times over the years and I always enjoy doing interviews with them. As they always give you honest answers and some cool funny stories as well.

If you haven't heard of Slowjoint before then this interview is the best place to start. Slowjoint's music is a highly infectious blend of Doom, Sludge and Stoner Metal riffs. All held together by pure Weedian Magic.If you're a fan of BONGZILLA or WEEDEATER then you need to check these guys out now.

I'm interviewing Dennis (Bass/Vocals) from Slowjoint.

Hi Dennis. How’s it going. Always good to catch up with you.

Hey, I’m good man. Just came home from loading off gear at our rehearsal. We played Fuzztival last night in Esbjerg, which is a city nearby where I live in south-western Jutland. It was this small amphitheatre located in a small park surrounded by trees and green grass. Fucking beautiful spot. Some of our friends played there too, and the staff was awesome so we had a pretty good party. So yeah, I’m good under the circumstances…

For people not in the know about Slowjoint. Can you tell them a brief history of how the band came together and where it is today. 

We actually kept this shit going for six years now Steve! Isn’t that crazy. I met with some dudes back in early 2012 and started jamming some slow tunes just for the fuck of it. I had been singing in some fast metal bands but I was way more into the American sludge scene with the laid back attitude, slow riffs and blues inspired song writing.

So I changed some beers and stuff for Patrick's old Pbass, and started fumbling around with it. I only knew how to play a little blues on guitar so I just went with that on bass with a big muff and it fit right in.

Other than a little change on the drums we’re still the same band as we were back then. Maybe a little better.. or worse depending on who you ask. We get to play live way more than we ever expected, so that’s good. I don't think we really expected anything when we started out. We just liked the bands of the genre and wanted to play it ourselves

Can you tell our readers what kind of music you play.

I guess it’s sludge metal of some kind. We like to call it Bongsludge or Retarded Blues. It’s loud and has a lot of feedback. And the riffs resembles how your head feels when you’ve had too much whiskey and are clinging to the toilet to make that damn room stand still.

Right. That’s the recap over. So what have Slowjoint been upto since you released the split album with GAIA last year.

We went on a small Danish tour with Gaia. Played some German shows too. The Copenhagen gig almost got cancelled since Weedeater announced they were gonna play another venue in Copenhagen that night, and the promoter thought it was kinda the same audience (no shit). So we moved our own show to the afternoon as a pre-party and we all went and saw Weedeater afterwards. That was fun!

Other than that we just keep playing here and there around Denmark and try to write our next album. We don’t all three of us live nearby each other so we don’t get to jam that often. And lately it has felt like every time there are holes in the calendar some dude contact us and ask if we can play some shows somewhere. So it’s kinda difficult to find the time to meet and actually write new stuff. But we’re just glad that bookers and bands want to do stuff with us, so it’s still a good thing. We love doing tours even though in Denmark it’s usually only on the weekends.

Were you happy with the overall response your split album with GAIA received from fans and critics alike. 

Yeah it’s been pretty good. Overall we’re getting more and more response on the band as a whole so we’re happy with it.

Looking back would you change anything about that release.

No, not at all. Our drummer Tor just came into the band a few months before so we didn’t have a lot of time to write our side of the split, and still we nailed some pretty good songs I think. Jacob (Dead Rat Studios) also really managed to catch a sound close to how we sound live. So we’re happy with it.

I always admire how you release your records on Vinyl and other physical formats. Even if you don’t get the recognition you fully deserve. Will you keep releasing records on different physical formats. Or will you be focusing on certain mediums such as DD, CD or Vinyl. 

Yeah, I do wish we hadn't made 420 copies of our first album. They don’t go THAT fast when people don’t know you yet, ha ha. But people still buy’em so I guess we’re gonna get rid of them at some point. We could be a little more up to date on the digital release platforms though, but yeah, I really enjoy physical formats so we’re definitely gonna keep doing that.

Any funny tour or gigs stories you like to share with us.

Back in May last year we were playing an indoor festival near Copenhagen. We arrived at the venue in the afternoon and it was unbearably hot so the staff gave us free bar and that’s where it all went wrong. I quickly started slamming honey bourbon and ice (my favourite) and kept that going for the rest of the evening. Show went well and before we went to hit the bus i filled a big ass glass to the top with bourbon. But the bus driver didn’t want me to bring it in so stupid me chugged the whole thing down in one go and jumped the bus.

This is the last thing I remember. When I woke up next morning the guys told me that suddenly I had gotten off the bus in the middle of nowhere because I had to take a piss. It was about 10 km from our friends house and I didn’t manage to finish before the bus took off. So instead of just waiting a few minutes for the next bus I started walking out on the dark roads. They had kept calling my phone, with me on the other end mumbling random stuff or taking pocket calls.

I’m not familiar AT ALL with that area so how I managed to find home I really don’t know but it was so late that the guys had fallen asleep trying to stay awake while worried about my drunk ass. When we got outside the next morning I had even stolen a shitty old bike with the rusty chain dangling from it, not at all able to ride… Whiskey have done this to me quite a few times. It’s a matter of measures but my math is not that good when I’m drunk, so it goes kinda wrong sometimes.

It’s been a long time since Slowjoint released an album of their own. Are you busy recording a new album or EP. Can you give us any details on that. 

We have a new album coming out and it’s just about halfway done. Think we’re gonna record it some time this fall or winter. 

What can people expect from this record and when will it be released. 

It’s pretty much the same deal. Swinging riffs and loud amps. We sound better than ever live and I hope that’s gonna be present on the recordings. We’ve tried to approach it a little differently this time. Usually we meet a few times and jam some of my riffs and then we hit the studio, without really knowing how it’s gonna end up. This time we jammed some riffs and did a simple recording with a zoom recorder. Then we can get back to it and add ideas that we always get but can’t do because it’s already recorded.

So it’s still Slowjoint with simple riffs and all that shit but with a little extra thought to it. I think one of the most important things about Slowjoint is the spontaneity and simplicity and by doing it this way I think we still stick pretty much to that. I’m pretty sure there’s still gonna be some last minute stuff on there too, ha ha.

When you’re creating new music. What comes first. The music or the lyrics.

I do a lot of jamming myself. Just play around and coming up with riffs. When I play a good riff enough times the words slowly starts to form them self. But’s it’s pretty basic and down to earth lyrics. There are things being said between the lines but it’s meant to be pretty straight forward. I have this idea with a concept album about Jutland and all the funny/stupid stuff that goes on around here and characterise a true Jutlandian…

What is the songwriting dynamic within the band. Is it a group collective or down to one individual.

I bring a riff or two for a song and then we just start jamming it. Maybe making a second riff with a variation of the first riff or stuff like that. A lot of Slowjoint’s sound and feel comes from jamming so I wouldn’t be able to write a real good Slowjoint song without the other guys.

Patrick is adding more and more bluesy guitar details than he has usually done and Tor has a really simple and laid back drum style but still some times weirdly creative. I really love jamming with those two guys and we always agree a hundred percent that it’s time for a smoking break, so it’s a perfect match, ha ha. 

We have to talk about your bass setup when playing live or recording in the studio. What is your current setup. Do you have an advanced setup or basic setup.

Ooh yeeah, I love talking about Fat Betty. She’s a Sunn concert bass with an old Peavy 2x15 cab. I shove a Pbass and a Big Muff Bass up her ass and it sounds fucking awesome! I have another 2x15 cab and an old Yamaha b100 head to pair her up with, when It really has to be unnecessarily rumbly and loud.

I’m really happy about my setup as you can tell, ha ha. It’s pretty simple but heavy as fuck and works like a tank. You can even buy a t-shirt with Fat Betty on it. Maybe I went a little over the line there…

Do you build your own gear. Such as amps, guitars and speakers. (You can tell I’m not much of a musician or gear person am I).

Soldering is a pain in the ass so no not really. I’ve build a few trash guitars out of gas cans but nothing serious though. I once bought a banjo for money I collected only through bottle bills. Takes time but it’s doable. My old busted squire bass I got from Patrick for some beers and some other stuff. I like it when my instruments have a story or some personality. I’m not really into expensive gear..

How did you become involved in music and why did you decide to play Bass. Was it a particular band or album that got you into music. 

I’ve always loved music and played around with instruments (not played them) since I was a little kid. We had a piano and my father played tuba and trumpets in a brass band. I got my first guitar when I was around 11 or 12. My parents listened to a lot of rock and country, which didn’t really catch on to me before years later.

I had a period with hip-hop in my early teens before I got sick of the gangster mentality and started getting more into rock n roll and later blues and old time stuff. Mountain songs about drinking too much or being high and poor. Love that shit! I started playing bands around the age of 17/18 when I hung around a local venue with rock and heavy on the bill. They had rehearsals there too and people would just hang out there and would start jamming and form bands.

Thanks for doing this interview. Before you go do you have any words of wisdom to say to your fans.

Thanks Steve! To the fans: Thank you and fuck you! … and fuck the government too… and public transportation… fuck everything… LEGALIZE WEED AND DYNAMITE…

Words by Steve Howe and Dennis Petersen


BEIRA - Vol II (Album Review)

Release date: July 13th 2018. Label: Transylvanian Tapes/Doom Stew Records. Format: CD/DD/Vinyl

Vol II – Tracklisting

1.Circle 06:28
2.Black Monk 06:21
3.Sensei 07:39
4.Ancient Ones 07:04
5.Crone 06:16
6.Shine And Burn 08:11


Kris Reynolds - Bass
A.J. Belluto - Drums/Vocals
Ruby Haynes - Guitar/Vocals


BEIRA new album Vol II is a heavy stylized mix of Doom, Sludge and Stoner sounds. The whole album has a very raw and honest feel with the album feeling like it was recorded live or in a very short space of time. That's not a bad thing as BEIRA throw you straight into the action with the excellent opening song - The Circle.

The song has a very caustic approach for the first few minutes with the raw sounding clean vocals. Things take a very nasty turn when harsh/death vocals appear. This is where the album becomes heavier and more doom orientated. This was an unexpected turn of events as I was expecting BEIRA to keep up with the Punk/DIY sound they created on the earlier moments of the song. BEIRA even manage to include distorted moments of Heavy Psych Rock/Metal on this song.

The opening track is a good indication on what to expect for the other songs on the album. As they mostly follow the same route but BEIRA still manage to include different elements of music on certain parts of the album. Maybe the production could have done with more work and more volume added to the mix. As I did struggle hearing certain songs.

However this only happened a few times whilst listening to Vol II. The other songs on the album such as Black Monk, Sensei, Ancients Ones and Shine And Burn - offer a real menacing threat with their bombastic styles of Doom and Sludge Metal offset by brutal Hardcore/Death based growls. The instrumental work is what impresses the most as BEIRA manage to highly original riffs on their own unflinching and uncompromising terms.

Vol II won't be for everyone and is perhaps more suited for the more adventurous Doom/Sludge/Stoner Metal fan. The album really comes alive when the Apocalyptic sounding Post-Doom moments appear. If you’re fan of doom metal heavyweights such as CONAN then you will find much to enjoy here. Overall, Vol II is a very good album indeed and BEIRA prove they have a few tricks up their sleeves to scare even the most jaded of Doom/Sludge Metal fan into heavy submission.

Words by Steve Howe