Monday 28 June 2021

DUG - DUG (Album Review)

Release Date: June 05th 2021. Record Label: The Ghost Is Clear Records. Format: DD/Vinyl

DUG - Tracklisting





5.LOSS 05:15


Mike and Travis


DUG debut self-titled album is one very weird and highly experimental album. Taking a Drone/Doom/Sludge Metal approach with their music but with a heavy slab of NOISE ROCK dictating most of the action. This record is quite confusing when you first listen to the album with the opening track - The Crying Man - offering almost 7 minutes of Melvins based Sludge Metal and theatrical Noise Rock grooves. DUG refuses to play by genre rules and conventions which makes this album such a heavy distorted joy. There are some “TORCHE” based Doom/Stoner Metal themes on this track but played at a much slower pace. 

DUG are a Drums and Bass duo with the lack of guitar not holding the band back at all and they excel in creating almost nightmarish grooves with vocals only appearing on half of the album. DUG add creepy sound effects and noises to get their story across within the 35 minute plus running time. Tracks such as Elevator Into The Ground and Strapped To The Hood Of A Car are the more aggressive songs held on the album with DUG playing more distorted levels of Sludge/Doom Metal with some psychedelic touches along the way.

This isn’t the happiest of records and it’s one that won’t appeal to everyone but I loved DUG’s thrilling style of Distorted based Noise Rock/Sludge Metal. The album ends the way it started with the final track Loss allowing DUG the opportunity to play even bleaker slabs of music that make you wonder when will be the next time you will be listening to this record.

Though, I was surprised at myself how it does have an addictive quality within the distorted themes running throughout the album. The production is handled superbly well and DUG do play some great riffs along the way. Just be prepared for a LOUD WALL OF NOISY FEEDBACK.

Excellent and Highly Recommended.

Words by Steve Howe



Sunday 27 June 2021

AMENRA - De Doorn (Album Review)

Release Date: June 24th 2021. Record Label: Relapse Records. Format: CD/DD/Vinyl

De Doorn - Tracklisting

1.Ogentroost 10:01

2.De Dood In Bloei 04:38

3.De Evenmens 08:01

4.Het Gloren 11:30

5.Voor Immer 12:42


Lennart Bossu

Bjorn Lebon

Mathieu Vandekerckhove

Tim De Gieter

Colin H. van Eeckhout

Caro Tanghe


De Doorn is the new album from legendary Post-Metal collective AMENRA and this record feels like a personal and creative rebirth of the band. The band are newly signed Relapse Records and have recruited Oathbreaker member Caro Tanghe to the band as co-lead vocalist. De Doorn is a long way from AMENRA”s critically acclaimed series of MASS album releases with this album being heavier and perhaps more operatic which allows the band to bring a harsher and gloomier style of music. There is still a lot of heavy DOOMED OUT parts on this album with deeply emotional and troubling lyrics that bridge the gap between Doom Metal, Post-Metal, Post-Rock and a lovely blackened HARDCORE feel.

The album consists of 5 tracks running for around 50 minutes in total with AMENRA using their 22 years wealth of experience to great use and perhaps releasing their strongest material in years with Ogentroost and Het Gloren being some of the finest music the band have created. De Doorn is by no means a perfect album but it’s the journey that AMENRA takes the listener upon that makes it such an outstanding record. Sometimes the record is too slow for its own good but it’s the icy cold DOOM based soundscapes with a slow dense Drone sound that send chills down your spine.

I can hear the early influences of Post-Metal godfathers NEUROSIS on certain parts of the album but this still remains an AMENRA record. Sometimes I feel AMENRA’ s contribution to the Post-Metal genre gets genuinely overlooked for bands such as Cult Of Luna and The Ocean Collective but AMENRA deserve their place to be ranked as one of the most consistently original and groundbreaking bands within the scene and De Doom allows AMENRA to prove that over and over again.

The album contains epic Post-Metal grooves that make you think about what you’re currently listening to. The vocals are excellent throughout and are sung in Flemish I believe and I’m happy to be corrected on that. 

De Doorn is a departure for the band and may take fans some time to get used to the new stripped back approach that AMENRA have opted for here. The record is quite minimalistic and quite sparse in places but you are treated to some beautifully played Post-Rock sounds with a foreboding sense of DOOM around the corner. When the heavy riffs appear then this sees AMENRA bring a more primal aggression to their music that we haven’t heard before.

The overall result is a phenomenal record from AMENRA that shows how brilliantly wonderful and forward-thinking the Post-Metal genre can really be. 

De Doorn is an essential release and an album you need to add to your record collection.

Words by Steve Howe

Thanks to Lauren at Rarely Unable for the promo. De Doorn is available to buy now on CD/DD/Vinyl via Relapse Records.


Official | Facebook | BandCamp 

Friday 25 June 2021

Ruff Majik announce PULP, their new single and comic series of releases

(Photographer Jacqui van Staaden)

There is no white magic, there is no black magic, there is only Ruff Majik. Pulp Rock fandom, here we come.

Ruff Majik has never been a band to do the same thing twice. From trying out different production styles for every release, playing mixtures of genres ranging from soul to black metal, to releasing a season-based EP series (later compiled into a full album), the band has always strived to keep themselves (and their fans) on their toes.

It should come as no surprise then that Johni Holiday has dreamt up yet another mad hatter type plan for their upcoming release.

After the release of "The Devil's Cattle" in October 2020, the band found themselves at a crossroads. Ruff Majik had just increased their membership to a five piece, the album was well received critically, and sold well in terms of vinyl, but didn't reach the lofty heights the band were aspiring to. As fate would have it, the band pressed for their first breakout release just as COVID-19 hit the world.

Says Johni: "It's a bummer you know. We had just signed to Mongrel Records and had this festival ready album, with the best production value we've ever attempted, big eye-catching music videos, everything. And then the world stopped. I guess you could argue that we had a captive audience, hahaha, but I don't think that's completely true. The world was so oversaturated with online activity that everything just became engulfed. Too much news to follow, too many amazing artists releasing amazing productions due to their newly found time off. Just too much of everything. Being able to tour would have made a world of difference."

The band needed to make a plan to ensure their future endeavours would generate some heat. So what then? What is the logical step forward for a small South African band, still hell bent on world domination, but humbled by a global pandemic? Enter PULP - Ruff Majik's rebirth, re-brand, and singles campaign. Based on the idea of early 1900's pulp fiction magazines, which are described as:

"Pulp fiction refers to a genre of racy, action-based stories published in cheaply printed magazines from around 1900 to the 1950s. It got its name from the paper it was printed on. Magazines featuring such stories were typically published using cheap, ragged-edged paper made from wood pulp. These magazines were sometimes called pulps."

Says Johni: "So then the idea hit me. I'm a consumer of all things crazy, b-grade and wonderful. Our band name even came from a failed pilot for a b-grade adaption of a H.P. Lovecraft story (Rough Magik). One thing I've always been very invested in was the history of pulp fiction, not the Tarantino film, but where it actually got its name from. Just these crazy stories that were printed in mass on terrible, low grade paper, that gave rise to many different genres of fiction, and were even the ancestors of comic books. 

I always kind of felt like that was what Ruff Majik was doing with our music, we were always playing 'pulp rock'. It just didn't come out regularly enough and lacked the storytelling capacity that a short novel would. So, then I thought, why not have comics? Why not have animated features to go along with the singles and give us a sense of the world around the music?"

Therefore, Johni set forth to create a universe of pulp literature, to go along with their music, old and new.

The new PULP series kicks of today with a web comic telling the story between their videos "Who Keeps Score" and "Swine Tooth Grin", along with a visualizer video for "Swine Tooth Grin." The single is the second to last to be released from their album "The Devil's Cattle", and features undertones of the blues with battering heavy riffs. It will also be the final single to feature a non-animated video (at least for a while).

This will be followed up on the 30th of July with another interim comic and an animated music video for their single "Heart Like An Alligator".

From there, the band plan to start releasing a monthly issue of "PULP", which will chronicle stories from their past and future discography, released along with a range of animated music videos. The comics will feature the band, including all members and recording members, some other South African musicians, and even musicians in the greater stoner/desert/doom/rock scene.

The newest singles will form part of a full album set for release in 2022 and will be released on a monthly basis along with videos, short online comics and exclusive merch. A release date has been set for June 2022, and announcements thereof and a pre-order are said to follow "soon"(along with the launch of a Kickstarter campaign). What we do know is that the full vinyl/CD release will include multitudes of artwork, as well as a full print version of PULP with all the monthly online comics compiled into one.

If you want to keep up with the PULP chronicles, follow Ruff Majik on Webtoons, Facebook and Instagram, or check out their website for all relevant links. You can also buy merch for the current singles, with artwork centred around new PULP characters, monthly from the band's Big Cartel storefront.

If you want to contribute to the creation of PULP, you can keep an eye out for their Kickstarter campaign which is launching soon.

If you want to contribute or assist in any other way, you can contact the band at:


Website | Facebook | Twitter | Instagram

Thursday 24 June 2021

ZAHN Announce Debut Album on CRAZYSANE RECORDS And Release New Video For TSEUDO

Zahn are a new instrumental (noise) rock group consisting of Nic Stockmann (Heads., ex-Eisenvater) Chris Breuer (Heads., ex-The Ocean) and Felix Gebhard (live-Einstürzende Neubauten). A relentless exercise in rhythm and texture. 

Whether you love the hard riffs of Metz or The Jesus Lizard the big melodies of Torche and Red Fang or the swaggering sounds of The Desert Sessions Zahn packs a punch for you. Zahn is noise rock merging with sludge and post-punk in a spectacular threesome with avant-garde sensibilities presenting riffs and grooves in abstract patterns and rhythmic cycles. 

Along with the core trio the album features contributions from percussionist Peter Voightmann (ex-Heads., The Ocean) guitarist Fabian Bremer (AUA, Radare) guitarist/composer Wolfgang Möstl (Mile Me Deaf) saxophonist Sofia Salvo and Einstürzende Neubauten’s Alexander Hacke.

You can check out their fantastic and action-packed new video for TSEUDO  

Tseudo deconstructs the post-punk sound of early U2 giving it a more balls to the wall-attitude by ways of a big ass bass groove while casting the Dublin boys’ pure teenage angst in Lynchian synth textures provided by Einstürzende Neubauten’s Alexander Hacke.

Tseudo is pseudo spelled wrong. A piece of music pretending to be something it is not. Or is it? The video does not provide one with further clues. The protagonists on a cab ride to where? The guitar playing on this song has been said to be influenced by that of The Edge circa 1987.


Felix Gebhard: Guitar
Chris Breuer: Bass
Nic Stockmann: Drums

ZAHN Self-Titled Debut Album is available to pre-order now from CRAZYSANE RECORDS and will be released on August 20th 2021.


CAVERN DEEP Premiere New Live Video For Waterways From Their Upcoming Debut Album

Progressive Doom/Stoner Rockers CAVERN DEEP will be releasing their highly anticipated self-titled debut album on July 23rd 2021 through Interstellar Smoke Records.

The album is a highly atmospheric style and journey through different elements of Doom Metal and Stoner Metal that show a deep creative flair from the band that evokes memories of bands past and present but still allowing CAVERN DEEP the opportunity to show their own style of heavy music.

You can see and hear for yourself with this exclusive premiere of Waterways from their upcoming debut album.

The band said this about their new video:

"Waterways is the 4th track of our upcoming concept album, the songs synopsis is as follows:

”We lost O'Sullivan and Creedy.. Pulled under by some abominable fiend! There is no end in sight. The ever dripping sounds are amplified by the maze itself.. Miles and miles of rusty pipes and oozing sewers, like some stygian labyrinth.. I've told the men to stick to the walls, no one is henceforth allowed to break the black mirror surface..We already lost too many..”

This live recording was made at our bassist Max studio rehearsal in Umeå.

Cavern Deep debut album will be available to buy from Intersteallar Smoke Records from July 23rd 2021.

Thanks to Keith at Infecting Cells PR for all the promo details.


OfficialFacebook | BandCamp

LORE CITY Release New Video For I AM FROM THE ONE From Their Upcoming New Album

Psych/Post-Rockers - LORE CITY - have just released ‘I Am the One,’ the second single from Lore City’s upcoming album, Participation Mystique, releasing this summer. Combining elements of psych rock, post-rock, dark wave, and dream pop.

Lore City describe the new single as, “a cerebral elegy cascading with surrender.”

Participation Mystique will be available to buy on DD/Vinyl from July 23rd 2021. You can pre-order from BandCamp now.

Lore City Is

Laura Mariposa Williams (vocals, keyboard)
Eric Angelo Bessel (percussion, keyboard, guitar)


Official | BandCamp | Twitter

Tuesday 22 June 2021

Seum - Winterized (Album Review)


Release Date: June 11th 2021. Record Label: Self Released. Format: CD/DD

Winterized - Tracklisting

1.Sea Sick Six 04:06

2.Life Grinder 03:14

3.Winter of Seum 05:10

4.Broken Bones 04:41

5.666 01:39

6.Black Snail Volcano 04:28

7.Red Sematary 05:12


Fred - Drums

Gaspard - Vocals

Piotr - Bass


Winterized is the new album from Doom ‘N’ Bass Trio and troublemaking riffsters - Seum. These guys are from Montreal, Quebec and bring a Punk Rock attitude to their new album. Seum play a fun style of Sludge Metal, Doom Metal, Stoner Metal and Punk Rock with only drums and bass as the musical instruments of choice with “in-Yer-Face” vocals from Gaspard. The album is deliciously heavy especially in the FUZZ ROCK stakes with the band bringing an energy that reminds me of The Melvins, The Ramones and possibly further afield as CLUTCH, SAINT VITUS and SLEEP.

The whole album does have a slight “Southern Rock” flavour with Seum playing fast and loose with the rules of music they employ on this album. Despite the record being under 29 minutes, Seum covers a lot of ground both musically and creatively speaking. This is an all out “violent audio” assault across the Doom/Sludge/Stoner Metal spectrum especially on songs such as: Sea Sick Six, Life Grinder, Winter Of Seum and Black Snail Volcano.

These tracks is where the listener can feel the powerful “DOOMONIC” bass heavy force which allows Seum play some epic grooves with dark lyrical themes moving Seum further into the Doom/Sludge Metal abyss. 

Seum do show their fun side by playing a superb cover of The Ramones track - Pet Sematary - but by changing the track to Red Sematary and giving the song a slight “Sludge/Doom” Punk makeover. It’s a heavy and engaging experience compared to the original and is a cool way to end the album.

Like I said previously, Winterized is a fun album that never forgets what it truly is and that is a fantastic and superbly entertaining album that should keep the Doom/Sludge/Stoner Metal community vastly entertained.

Words by Steve Howe


Facebook | BandCamp

Monday 21 June 2021

An Interview With Christopher, Gabe and Greg from KVASIR

KVASIR are a band who have been on my radar for the last few weeks ever since they announced details of their upcoming album 4 and when I premiered their new song The Black Mailbox.

I wanted to find out more about the band before I hear their upcoming new album which I'll be reviewing near the release date of 28th June 2021 or just soon after. 

Here's an interview that I did with Christopher (Guitar/Vox), Gabe (Guitar) and Greg (Bass) from KVASIR.

Hi KVASIR. Thanks for doing this interview. How are things with you today. For people not in the know. Can you give a brief history of how the band came together and where it is today?.

Christopher (Guitar, Vocals): Hi! Thank you, we are well! Greg (Bass), Gabe (Guitar), and I are all friends from growing up together in Wyoming. When Greg and I reconnected in Portland in 2017, we started Kvasir as a three-piece. We added Gabe and Jay (Drums) in 2019 to complete the current lineup.

How would you describe your sound in your own words. As you seem to delve into different areas of Heavy Metal and Doom Rock. 

Christopher: I think it’s fair and even desirable from our perspective to have some difficulty in assigning us to a genre. Part of what makes this band so much fun to be in is that its members all approach the role of being a musician in a different and very uniquely personal way. That culminates in what you hear, which is sometimes straight out heavy metal, NWOBHM, with jazz and funk influences combined with deliberate artistic and classical nuances, sometimes not so subtle.

Why did you choose the name KVASIR for your band and what does it mean to you all.

Christopher: Kvasir was from the Norse pantheon, a mythical figure who represented the Explorer and the Sage. He was divinity who dwelt on Earth in order to soak up knowledge and experiences, and to share them with others, which resonates with me.

Thank you for allowing me to premiere your excellent new song The Black Mailbox. Much appreciated. Though, we’re here to talk about your upcoming new album – 4. What can people expect from this album and what’s the concept or story of the album?

Gabe: When you go from 3 dimensions of space to 4 in physics a cube turns into a tesseract. It’s hard to imagine a tesseract if you’ve only experienced 3 dimensions of space. We approached that concept with the Solve Et Coagula maxim of Alchemy which means to dissolve and reform. Adding another instrument opened up arrangement possibilities. We had all the right musicians in a unified coagula and the goal was loosely to make a full length of eight songs at about 44 mins, but we didn’t know exactly what that may entail.

Was this a hard album to write and record for. Especially during COVID-19 still being around us all.

Gabe: Covid did present a practical challenge postponing the original recording date of 04/04/2020. There were also some supply chain problems later as far as pressing goes. Someone grounds a ship in the Suez and all kinds of things get fucked up. Luckily the album just wrote itself.

What influenced or inspired you when making this album.

Christopher: The lyrical content all comes from my life experiences. Greg had the cover art done before the album had been written, so the context for those experiences on the album was then inspired by the themes of his art.

Gabe: I strive to be an open vessel through which the oracle speaks.

What formats the album is being released upon.

Christopher: Vinyl and digital.

Glory Or Death Records are releasing the album. How did you hook-up with that label and did you have any other offers to release the album on?

Christopher: We did have an original offer from another label before the pandemic started, but the ensuing chaos led to other decisions for both parties (very amicably). Our album was given to Buddy Donner who runs Glory or Death by a mutual friend, and Buddy was immediately stoked on the project, which really pleased us!

Who designed the fantastic artwork for II. And how much input did you have into the final design of it all.

Greg: Thank you for digging the art. I’m also a visual artist and create most of the art for the band. Luckily, everyone trusts me enough, so I get total freedom to do whatever. It’s a nice luxury, but then again, it’s probably saved us a lot of money and hassles too… One conscious element I’ve intentionally incorporated into all of the band’s art is a loose connecting narrative. From our first EP to the new album, it all tells one epic esoteric story. Usually my art is very busy, so creating the art for Kvasir has been a great exercise in restraint and using blacks.

COVID-19 has pretty much put a stop to all life as we know it for the time being. How big of an impact has it affected the band. And how are you surviving in this stressful time.

Christopher: Other than it being incredibly frustrating to be patient and not play shows, I think we were able to use the time to really refine not only what we were doing musically, but also our relationships to the band and to each other.

After everything is back to some sort of normality. What does the future hold for the band. Will you be touring the record if possible?

Christopher: Yes, there will be tours for sure. We already have shows lined up in Washington in July with our friends from Tigers on Opium and Grim Earth, and we’re looking forward to bringing the album to the entire West Coast in person very soon!

Will you be anxious, scared or excited when performing on the live stage again.

Gabe: There was some anxiety before our very first shows after long periods of inactivity due to the pandemic. You get back on the horse and you’re not sure if it will buck you off, but hell or high-water you know you’re going for a ride.

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

Greg: Love, value and respect creative people. Discover a new way to express yourself, it can be anything from painting to plumbing, and then get obsessed with the process. It’s the passion that matters.

Words by Steve Howe and KVASIR

Thanks to Leanne at Mettle Media PR for arranging this interview and for the promo materials. Thanks to KVASIR for doing this interview.

Sunday 20 June 2021

An Interview With Anna C. Chaos AKA - UMBILICHAOS

Anna C. Chaos is the driving creative force behind one woman noise- doom/psychedelic post-hardcore act - UMBILICHAOS. I wasn't aware UMBILICHAOS before I was recently asked to review their latest release To Become Unreal and possibly interview Anna as well.

UMBILICHAOS have 12 excellent releases on their BandCamp Page and play an interesting style of Post-Hardcore, Doom Metal, Drone Metal, Sludge Metal and Post-Metal grooves. If you dig bands such as Neurosis and GODFLESH but with a more Psychedelic/Shoegaze feel then UMBILICHAOS are definitely worth checking out.

I admire Anne's use of heavy distorted sounds and vocal imagery she projects with each UMBILICHAOS release. 

You can read my review of To Become Unreal here. Anna kindly agreed to do this interview where we discuss Anna's creative process and musical influences

Hi Anna. Thanks for doing this interview. How are things with you today. For people not in the know. Can you give a brief history of how UMBILICHAOS came together and where it is today?.

Hi Steve! Nice to talk with you, I appreciate the request. I’m fine, trying to stay healthy and productive among the Apocalypse. I started Umbilichaos, in São Paulo, Brazil, by myself in December, 2007. I tried to play with some people, but we weren’t at the same page musically. Then I bought a drum-machine, which I had just found about and that was used by bands I really love, like Cocteau Twins, Big Black and Godflesh. 

Then I learnt how to use it and what a drummer does in the song after intensive listening sessions, and arranged things so I could do all by myself. All you hear is vocals, guitars, drum-machine, and stolen samples. I’m releasing my 12th record this year, 7 or 8 months after the 11th. As the world is ending I’m trying to focus my free time in writing and recording.

How would you describe your sound in your own words for this project,. As you seem to delve into different areas of heavy music for this project.

I have a lot of different influences into the spectrum of rock music, and a few other stuff. I listen from Joni Mitchell to Ion Dissonance and Ravi Shankar. My plan always was to take this all together and make music and records I would like to listen. I would describe as heavy and intense, yet very emotional music. I like epic and cinematic approach, with no conventional structures, exploring different dynamics, heavy low end multi-faceted riffs, melody, dissonance and feedback, and to put together a lot of discordant parts in one song.

Why did you choose the name UMBILICHAOS for your band and what does it mean to you

I always wanted it to have “chaos” on the name, because I love the concept of infinite chance, and amorphous randomness that is the creative force of existence. And I also wanted to express something really visceral. One day, I was listening the first Mars Volta record, and I heard the lyrics “umbilical blisters”, I think. Then I got the click. Umbilichaos, to me, is our inner and innate state of confusion and creation.

We’re here to talk about your new release –To Become Unreal. What can people expect from this record and what’s the concept or story of the album?

It’s crushing and slow, with weird tempos and noisy chords voicings, epic low end riffs, dark psychedelia, relentless and surgical drumming, and lung-bust howls.

The background of this record is the same of the former 3, I call them Tetralogy of Loneliness. They were all written between 2013 and 2014, and deal with themes of depression, isolation, personal failures and struggles, broken relationships, bad ways of coping with pain, and the search of a healing that seems distant. 

This record, in particular, was written around something I was living by the end of 2014. I was experiencing something I was longing so much in my life, but then I didn’t feel I was giving the due respect. Coz’ it happened when I felt so broken and beyond salvation, unworthy. I thought I could never heal, and was doing things that would only cause the corrosion of what was happening around me.

Was this a hard album to write and record for. Especially during COVID-19 still being around us all.

Not really. I think the emotions behind it were really intense, but to write music became a process so organic to me, that I couldn’t say it was hard. In fact, is a great joy to compensate the shits in our lives making music, I think. But, I definitely hate recording. I don’t like the pressure of not making a mistake. Ha ha. But it’s really sad to had such a productive time, with a series of strong releases and not being able to play them live. And sure, there’s the terrible reason of COVID. We’re going to half million dead people here. Thanks to our scumbag sociopath president allied with the military. It’s a shame.

What influenced you when writing and recording To Become Unreal.

Musicwise, I could name Black Flag, Joy Division, Cocteau Twins, Germs, Joni Mitchell, John Fahey, Sabbath, Floyd, Obsessed, Celtic Frost, Amebix, Death, Sepultura, Presto, Portishead, Elma, Hurtmold, L7, King Crimson, Jesu, Neurosis, Earth, Hole, The Gits, Sonic Youth, Slint, Swans, Meshuggah, Opeth, Behemoth, Integrity, Starkweather, Eyehategod, Botch, Fugazi, Soundgarden, Helmet, Melvins, Tool, Tar.

About lyrics, Carl G. Jung, Rollo May, Joseph Campbell, and Brazilian writers Graciliano Ramos and João Cabral de Melo Neto.

When recording and mixing, my references are records of Neurosis, Jesu (specially Times of Grace/Through Silver in Blood and Infinity), and Pitchshifter’s Industrial. I could say my main goal is to sound like a louder and crushing Damaged.

About guitar tone, I could say I’m try to get live and on record the sound of Kirk Windstein, Tom G. Fischer, Justin K. Broadrick, the first Cathedral record, and Entombed’s first two. And Brazilian band Elma.

What comes first for you - Music or Lyrics.

Always the music. I’m not a shredder, and all the elements are important, specially the drums. But Umbilichaos is definitely guitar music. The lyrics doesn’t come attached to any specific song. They’re poetry written thru the years, and I choose the ones I feel fit to the song. To Become Unreal is a rare case of lyrics written in the exact period I was writing the music.

This is your 12th release overall under your UMBILICHAOS project, Does it become easier and harder with each release. Do you ever feel like trying different areas of music or releasing something under a different name.

I don’t usually think this way. I love to write and rehearse, and play live. It’ a great pleasure, even when I’m not in the best mood. But is always laborious, I try to make something I didn’t make before in each work, and I’m very obsessive with details. And as I don’t make a living with it, there’s not much time as I would like to be playing. Tough I’m always writing in my head.

And I have an acoustic solo project, Ismália, which is more country-blues.

How has the reception been to your music in Brazil and globally. Are there any major differences. I’m a fan of your music but I;ve only become a fan recently. Since Matheus contacted me to check your upcoming new release.

Hmmm. I think Brazil is difficult to rock bands, and the heavier you are, worse it is. And if you add some kind of experimentalism in it, you’re done. Ha ha ha. I think we never had such a fertile time in rock and metal, globally. Technology offers the means for people have their music recorded home and available to the world.

There’s a LOT of great artists. But it’s really hard to stand out, at the same time. So many awesome things are lost in the internet. Unfortunately, I couldn’t get much exposure so far, I think. But there’s money and time involved to get to that point, that is hard manage all by myself. This said, I think there’s a real audience for experimental heavy bands outside.

This scene isn’t so strong here. Not many bands or public. I think in Europe and North America, people are more open to different forms of heavy music. I only know some countries in Europe, and I had a real good time playing there. Specially Germany and Belgium.

COVID-19 has pretty much put a stop to all life as we know it for the time being. How big of an impact has it affected you. And how are you surviving in this stressful time.

I’m fortunate enough to be safe and healthy so far, as my loved ones. A lot of people can’t say that. Worst thing happened was to cancel an Europe tour already scheduled, a tour by Brazil’s South I was starting to plan, and a lot of confirmed gigs in my State. I was already working from my house for a year, and never was a very social, party-time person. But after a year and half at home, half million lost lives, a genocidal government, we’re all exhausted. I’m surviving working a lot in my day-job, doing studies, searching new bands and artists to inspire me, and making music.

After everything is back to some sort of normality. What does the future hold for you.

I want to reschedule the tour in Europe, and get to know other places in Brazil. Maybe other countries too.

Do you ever perform live. If so, do you have plans to play more live gigs in the future.

Yeah. Not as much as I would like. I spoke a little about it in the former question. But 2019 was a great year with lots of cool gigs, mini-tour in Brazil, tour in Europe. It was the best moment of playing live in years. And unfortunately, there’s this gap now.

Do you have a local scene in Brazil that allows you the opportunity to perform gigs regularly. If so what is the live UMBILICHAOS experience like.

We have a very intense scene, but there’s no real money, except for two or three more commercial bands that shows up once in a while. In the underground, we have a lot of first league bands, that have a public. But from more hegemonic genres, like death, thrash, hardcore, grindcore. Heavy and slow, or somewhat experimental artists usually don’t last much, unfortunately. I think Jupiterian is the only one getting a fair recognition, here and overseas.

There’s no festivals, or a circuit to play often, and not much public. I think I’m here so far, coz’ I didn’t have any band members to fight with. Ha ha ha.

Umbilichaos live experience, if the right sound conditions are given, will be intense, relentless, rage filled, painfully loud, earthshaking low. In the wrong sound conditions, rage will fill the spaces! To me is like calculated and ritualistic exorcism.

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

I thank you. It was really cool to answer. I really appreciate the interest. Everybody take care, stay healthy and alive. Hope we all can meet together when touring is possible again. And check To Become Unreal.

Words by Steve Howe and Anna C. Chaos

Thanks to Matheus Jacques for arranging this interview and Anna C. Chaos for participating.


Facebook | BandCamp | Instagram

UMBILICHAOS - To Become Unreal (EP Review)

Release Date: June 17th 2021. Record Label: Self Released. Format: DD

To Become Unreal - Tracklisting

1.To Become Unreal Pt 01 10:54

2.To Become Unreal Pt 02 14:36


Anna C. Chaos - Everything


UMBILICHAOS is a one-woman Post-Hardcore/Doom/Psychedelic Act from a hugely talented individual called Anna C. Chaos. UMBILICHAOS have just released their 12th release overall with To Become Unreal. The EP features 25 minutes spread across 2 tracks which has a slow-burning narrative which allows Anna to fuise many different elements of Drone, Doom, Sludge, Psych and Hardcore grooves with an Experimental Distorted Shoegaze Narrative.

Perhaps influenced by bands such as Neurosis and Godflesh. To Become Unreal is a deeply emotional release which dictates its own style of music and can be quite sluggish and slow-paced at times. I mean that as a compliment. As the listener has more time to delve into the harsh Psychedelic themes and ideas UMBILICHAOS uses for their main storytelling device.

The production is excellent and is perhaps the strongest offering that UMBILICHAOS has released to date with some rich “Post-Metal” and “Shoegaze” methodology being used to great effect. The vocals are bang-on point and you can feel Anna’s frustration with the world and the growls providing a convincing argument against the excellent instrumental work contained with the EP.

My favourite song has to be the opening track To Become Unreal Pt 1. As it has that legendary “Post-Metal” sound made famous by Neurosis and Anna brings her own creative spin with a Psychedelic and Hardcore flair to that style of music. 

Obviously this release isn’t going to be for everyone but UMBILICHAOS have been releasing better releases with each subsequent release and To Become Unreal is their most daring release yet. I’m waiting to hear what UMBILICHAOS has in store for their 13th release. Will it be LUCKY or UNLUCKY. Time will tell.

Until then, if you’re a fan of Distorted Guitars, Loud Gloomy Samples and Ferocious singing then To Become Unreal is worth checking out.

Excellent and Highly Recommended.

Words by Steve Howe


Facebook | BandCamp | Instagram

Saturday 19 June 2021

The Age Of Truth - Resolute (Album Review)

Release Date: July 23rd 2021. Record Label: Contessa Music. Format: CD/DD

Resolute - Tracklisting

1.Palace of Rain


3.A Promise of Nothing

4.Seven Words

5.Eye One


7.Return to the Ships


Kevin McNamara- vocals

Michael DiDonato - guitars

Scott Frassetto - drums and percussion

William Miller - bass


The Age Of Truth are one of these Stoner Rock bands who seem to be one step ahead of the competition with their music coming from many different genres but bringing a Psychedelic and Spaced Out overflow that allows the band to bring a “mass-appeal” to their overall sound. The band turned heads back in 2017 with their acclaimed debut album Threshold and it’s one that still resonates with myself this day. It was a free-flowing style of Progressive ideas and Themes with The Age Of Truth playing every element of Hard Rock/Metal but still within the compounds of Stoner Rock/Metal.

4 Years later and are back with their second full length album - Resolute. The band have continued the dark imagery and messages of their debut but with more emphasis on Progression, Groove and Melody with the band going even with their Space Rock and Psychedelic Rock influences. The Age Of Truth cover a lot of ground with this album and the lyrical content has moved up another level from Threshold. I felt I was hearing the lovechild of Soundgarden, Alice In Chains, Mastodon with a little bit of CAVE-IN spaced out heaviness. Though, Resolute is still The Age Of Truth in control of their own creative futures and they excel on all levels.

The excellent two opening songs - Palace Of Rain and Horsewhip - have a “free-will” vibe to them especially with the superb lyrics and easy-going hard rock based grooves. The Age Of Truth do revel further more with their Progressive Rock attitude and it makes the listener feel more comfortable and they will easily admire the Grunge, Doom, Sludge and Blues Rock switches the band operate for the majority of this album.

Third song - A Promise Of Nothing - delivers some of the bleakest and uplifting parts of the record and even I started to recognize a “NOLA” vibrant energy amongst the faster grooves the band adapted for this song . The Post-Stoner movement of the song is highly energetic and a “Funkier” style of music show that The Age Of Truth are most definitely a “forward-thinking” band but they still manage to keep things fun and eerily addictive and where the hell did that fantastic quiet “Doom and Gloom” passage come from. Perhaps the standout song on the album.

The Age Of Truth continue with more “top-heavy” sonic exploration on the album with the Grunge/Stoner Rock part of the album perhaps coming off the strongest on songs such as: Eye One, Salome and Return To The Ships which will perhaps become the best parts of the album for people to listen to. As these are the longest tracks on the album, The Age of Truth has more creative freedom and time to explore their sound in a rich, creative and powerful way.

The Age Of Truth needed to deliver big with their 2nd album because Threshold was such a “monster” within the Stoner Rock/Metal scene and I’m pleased to say they’ve managed to deliver such a different, brilliantly thrilling and highly original record with Resolute. 

Boosted by first-rate production values. Resolute has seen The Age Of Truth deliver another Album Of The Year Contender. Need I say anything more….

Words by Steve Howe

Thanks to The Age OF Truth and Sheltered Life PR for the promo.

Resolute will be available to buy on CD/DD  via Contessa Music from July 23rd 2021


Official | Facebook | BandCamp | Twitter I Instagram