Simon Ohlsson - Best Albums Of 2017

1. Elder - Reflections of a Floating World
2. Spidergawd - IV
3. Motorpsycho - The Tower
4. Orkan - Orkan
5. Mastodon - Emperor of Sand
6. Hymn - Perish
7. Honeymoon Disease - Part Human, Mostly Beast
8. Deadsmoke - Mountain Legacy
9. Monolord - Rust
10. JABBA - VICE
11. DVNE - Asheran

Chosen by Simon Ohlsson

Outlaws Of The Sun Top Albums Of 2017

Here is the "official" Outlaws Of The Sun Top 25 Albums of 2017. Same process that we used for last year. Mainly using the similar process that The Doom Charts use on a monthly basis.

So thanks to Simon, Håkan, Gavin, Bruno, Simon Ohlsson and Todd for their great lists and for the hard work the whole team have put in over the last twelve months.

1.Elder - Reflections Of A Floating World
2.Mastodon - Emperor Of Sand
3.Ufomammut - 8
4.Monolord - Rust
5.The Obsessed -Sacred
6.Vokonis - The Sunken Djinn
7.Telekinetic Yeti - Abominable
8.Lowflyinghawks - Genkaku
9.OHHMS - The Fool
10.Vinnum Sabbathi - Gravity Works
11.Spaceslug - Time Travel Dilemma
12.Forming The Void - Relic
13.Summoner - Beyond The Realm Of Light
14.Samsara Blues Experiment - One With The Universe
15.Spirit Adrift - Curse Of Conception
16.Converge - The Dusk In Us
17.Iron Monkey - 9-13
18.Howling Giant - Black Hole Space Wizard, Part 2
19.HARK - Machinations
20.In The Company Of Serpents - Ain-Soph Aur
21.Spidergawd - IV
22.With The Dead - Love From With The Dead
23.Pallbearer - Heartless
24.Amen-Ra - Mass VI
25.Beastmaker - Inside The Skull

Slomatics: Futurians Live At Roadburn (Album Review)

Release date: October 06th 2017. Label: Roadburn Records. Format: DD/Vinyl

Futurians Live At Roadburn – Tracklisting

Electric Breath

Running Battle

Return to Kraken

And Yet It Moves

Tramontane

Supernothing

Ulysses My Father

March of the 1000 volt Ghost

Members

Chris Couzens - Guitar

David Majury - Guitar

Marty Harvey - Drums/Vocals

Review

"Good evening, we're Slomatics from Belfast". These words open the live LP that feels like the culmination of a genre and our community. While the Roadburn Festival in Tilburg, Netherlands is relatively unknown to the outside World, it is the Mecca of doom, stoner and all things heavy in Eurppe. And this years live-release is by none other than the Irish three-piece known as Slomatics.

If you haven't indulged in what already feels like a staple and a classic, Future Echo Return, from yesteryear you should do so before diving into this. Just to fully appreciate the nuances these guys add to their live works and to get a taste of exactly how much Slomatics aggression incorporate in their live-performance. Just listen to And Yet It Moves and you'll soon know what I mean. Phasers are set to kill.

The pure energy that these fellows named David, Chris and Marty have live really is breathtaking. The guitars doesn't just feel like ten-ton sludgehammers raining down low end-fury over the World, they really are. It's why the intro to Electric Breath feels even more vibrant than it's studio version. The live-album manages to capture the nerve these guys play with. It's faster and perhaps holds more aggression than the studio counterpart. This is why the album has such a triumphant feel. Even though I wasn't there that day at Roadburn, I feel the energy Slomatics poured out.

It is when Jon of Conan makes his appearance on the stage to do vocals for March Of The 1000 Volt Ghost that even the most hardened doom-veteran should get a fair share of goosebumps. This finale encapsules perfectly what Slomatics are and stand for. With the added help of Jon's screams, it's an instant classic with riffs drenched in what feels like a heavy toxin.

Slomatics – Futurians Live At Roadburn is the sound of our everyday fuzz-heroes David, Chris and Marty laying waste to one of the mightiest festivals in all of Europe. It is why any of us are part of this big friendly community. When the crowd erupt in claps and screams over the tonnes of Ritual Beginnings, it feels and sounds like something had changed. I can't begin to fathom how anyone that was there could ever recover from the crushing performance that day, and by recording it the people at Roadburn ensured that no one ever will. For that I say thank you and good job.

Words by Simon Ohlsson

Slomatics: Futurians Live At Roadburn will be available to buy on DD/Vinyl from Roadburn Records from October 06^th 2017.

Links:

Official | Facebook | BandCamp

Mastodon - Cold Dark Place (EP Review)

Release date: September 22nd 2017. Label: Reprise Records. Format: CD/DD/Vinyl

Cold Dark Place – Tracklisting

North Side Star

Blue Walsh

Toe To Toes

Cold Dark Place

Members

Brann Dailor - Drums and Vocals

Brent Hinds - Guitar and Vocals

Bill Kelliher - Guitar

Troy Sanders - Bass and Vocals

Review

When Mastodon announced their new EP there was a lot of head-scratching (and excitement for that matter). I mean they had just released one of the years top albums just a few months prior. This felt like a pretty bold and odd move. Since Mastodon certainly don't adhere to the structures of "regular" bands this however do fit in with their nature I guess. Enough about that, let's get into this EP.

I have been in love with Mastodon since first hearing The Hunter in 2011. That was basically my intro to heavy progressive music. So keep in mind that at the same point where longtime fans lost interest in the band i fell head over heels in love with them and their music.

I hear echoes of many albums on Cold Dark Place. There's definitively hints of Blood Mountain and Crack The Skye here on the opening track North Side Star especially. It almost feels like an extension of The Czar from CTS. And while Blue Walsh and the title track itself feels more like "Classic" Mastodon this is without a doubt in the vein of newer Mastodon. The tracks are littered with melody and that might not fall in good graces with some fans. That is not the case with me though, I love this EP. My only gripe is the length of the songs and as a result of that the EP itself.

With darker and gloomier instrumentation (the doomy b-bender guitars sure do add an extra layer that we previously haven't heard in Mastodon). This by no means a doomy record though. It feels very uplifting, bright in parts and full of variation. However the lyrics and emotion gives it a melodramatic taste. This keeps me coming back time and time again, I just can't seem to let it go. Just how awesome is the riffs from Toe To Toes? It makes me think of Van Halen, but in a good way. With fluffy and airy harmonics they hammer it all the way home.

For me the showstealer is Blue Walsh. This happens to be some of Mastodon's finest work regarding vocals. Especially Brann's reverb-laden verse vocals. Ethereal and crisp.

This begs for the question, why isn't this part of Emperor of Sand as a double album? While it certainly doesn't diminish any of these works, it feels like a missed opportunity. However it won't keep me from coming back to this hauntingly Beautiful Cold Dark Place.

Words by Simon Ohlsson

You can buy Cold Dark Place on CD/DD/Vinyl from here.

Links:

Official | Facebook | Twitter

Deadsmoke - Mountain Legacy (Album Review)

Release date: September 29th 2017. Label: Heavy Psych Sounds. Format: CD/DD/Vinyl

Mountain Legacy – Tracklisting

Malevolent Path

Endless Cave

Hiss of The Witch

Emperor of Shame

Wolfcurse

Forest of the Damned

Mountain Legacy

Members

Matteo - Guitars

Maurice - Drums

Gianmaria - Bass
Claudio - Synths

Review

Italian doom-outfit Deadsmoke have made a lot of noise in their brief two years of existence. Their sophomore outing ‘Mountain Legacy’ provides an insight in how maddening doom can truly make you feel. While not being overly up-front about Mountain Legacy's nature. This is a journey to be made alone. Deadsmoke have succeeded in making what feels like a trek in a madness-inducing cavern after having climbed a mountain. Exhausted and weary, you have to proceed despite feeling drained of energy and life.

While I have to say I have issues with the various samples and noises, it does push their agenda and ends up heightening the experience of the album. A powerful trick, bordering on annoying. After several spins I can’t decide whether to like it or not. But I will say that it’s effective in setting the mood Deadsmoke are after.

What sets Deadsmoke apart from other bands in the genre is that instead of being upfront with their Lovecraftian-influences is that like the authors work himself, they are subtle and lead you in deeper into their world before unveiling their true nature. To truly appreciate this album you do need to sit with headphones and just appreciate the nuances. Because there’s so much more here than just riffs and grooves. And believe me there’s riffs and grooves to be found in Mountain Legacy.

Kicking off in the second track, the first one is more of an intro, Endless Cave fires on all cylinders leaving little to no room for hesitation. With a guitar noodling dangerously close in Funeralopolis-territory they quickly break the mold and never look back. Thankfully this is the only comparison I will have to make to Electric Wizard as Deadsmoke goes above in beyond in their horror imagery and production.

With a powerful singer that is completely crushing the vocal lines, Mountain Legacy has an apparent metal feel to it. With one foot in Sleep worship and the other in Entombed-territory, it’s a total win. The total sonic mayhem that is the track Hiss of the Witch is for me the high point of the album. With eerie, dread-inducing samples and an earth-shattering bass, the drive is unstoppable.

Regarding production, this is how you want your doom record to sound. Dirty almost everywhere except for the pristine drums. Giving an airy feel to an otherwise heavy mix is a must for prolonged listening. As always the case with doom bands the tempo tends to be on the slow side. So it’s a plus to have a luxurious sounding production to keep the listener entertained. Deadsmoke knows this as they trap you in their psychedelic fuzz.

This is as filthy as they come folks. There’s no reason you shouldn’t listen to Mountain Legacy. And there’s no reason not to be hypnotized by Deadsmoke and their madness-inducing doom.

Words by Simon Ohlsson

Thanks to Claire at Purple Sage PR for the promo. Mountain Legacy will be available to buy on CD/DD/Vinyl via Heavy Psych Sounds from September 29^th 2017.

Links:

Facebook | BandCamp

DVNE - Asheran (Album Review)

Release date: July 28^th 2017. Label: Wasted State Records. Format: CD/DD/Vinyl

Band Members:

Victor Vicart - Guitar, Vocals, Keys

Dan Barter - Guitar & Vocals

Dudley Tait - Drums

Allan Paterson - Bass

Guest Vocals

Jenni Sneddon - Vocals (Edenfall)

Asheran – Tracklisting

The Crimson Path

Viridian Bloom

Thirst

Descent of the Asheran

Sunset's Grace

Rite of the Seven Mournings

Edenfall

Scion

Review

To achieve something new and vibrant in the world of metal is hard. Yet DVNE clearly succeed with just that in their latest effort Asheran. Songs layered with vocal harmonies, growls and heavy down-tuned instrumentation makes this an instant win.

The vocal delivery is something that truly sets DVNE apart from other similar outfits. While it's hard to not draw comparisons to the trio of singers in Mastodon, Victor and Dan never tread on old ground. High soaring choruses and serene verses only to be followed with an aggressive growl as seen in Viridian Bloom is what makes this music an absolute joy to listen too. Diversity and dynamics is key, and DVNE knows this.

The album is produced in a way that it easily holds its own when held next to other hallmarks in the genre. No easy feat, but the clarity and presence of the drums along with crisp guitars and a low rumbling bass makes Asheran pure sonic bliss.

High points for me is the bad-ass mix, highlighted when the band slows down and clears up, such as in tracks like Thirst and Edenfall. This is where DVNE is at their best and make it clear that their years of efforts are paying off in their songwriting.

It's impossible to not drop your jaw at some of the riffs contained within Asheran. Rite of the Seven Mournings deliver a black metal inspired frenzied dissonant flurry of chords, soon to be followed by what can only be described as an epic bridge where they slow down and bring total YOB-worship to the forefront.

The number of times where i sat back in my chair listening to Asheran, wanting to get up and clap my hands after a song ended is embarrassingly high.

Had I not heard Elder's Reflections of a Floating World before hearing this, I probably would have crowned this my album of the year. Mastodonian post-metal/sludge/doom at it's finest, listen to it at all costs.

Words by Simon Ohlsson

Links:

Facebook | BandCamp

BISON - You Are Not The Ocean You Are The Patient (Album Review)

Release date: June 23rd 2017. Label: Pelagic Records. Format: CD/DD/Vinyl

You Are Not The Ocean You Are The Patient – Tracklisting

Until the Earth is Empty

Anti War

Drunkard

Kenopsia

Tantrum

Raiigin

Water Becomes Fire

Band Members:

James Farwell (or "Gnarwell")

Dan And

Shane Clark

Matt Wood

Review

Listening to Bison's new album ‘You Are Not The Ocean You Are The Patient’ it soon becomes clear that these guys are experienced musicians and know what they’re doing. The record is packed with sludgy grooves, harsh vocals and a variation of clean jams. To get it out of the way early, this record is a total sludgehammer.

The album, whose title unfortunately makes me think of a stereotypical metalcore-band, is luckily far from that. No time is wasted wailing out top class riffs that makes one think of Yob and Conan. It’s noticeable just how much Bison puts an effort in creating progression in their songs. ‘You Are Not the Ocean You Are The Patient’ delivers just enough diversity to keep it interesting the whole way through.

The track Tantrum, in particular, stands out to me. This could be taken straight from Mastodon's classic album Leviathan based on the sheer quality of the riffs, melodies and instrumentation not typical to a sludge-band. Using violins and flutes creates a soundscape that is both immersive as it is impressive. It creates the feeling of sitting alone in a forest cabin on a dark rainy evening with only solitude as company.

Another stand-out track, Anti War, help Bison reach another level of dynamics with a raw punk approach. Still it does groove in between the crushing riffs. This is certainly one of the “must-listen” tracks on the album due to its screamed vocals and trash-metal solo.

To finish with a sombre track such as Water Becomes Fire is a bold and genius move. Everything is slowed down as guitars are plucking chords and the drums play real carefully as the violin makes another appearance to create an eerie and disturbing feeling. Here Bison plays some of the albums most warm and soothing jams. This is before they erupt into some proper Yob-esque riffage. And it is with songs like these that Bison shine the most.

There is no denying that Bison are both skilled musicians and a great band. This has allowed them to create a piece that will certainly stand the test of time. The production is clear, cutting guitars with a rumbling bass are the main focus here, they do not disappoint in any way. Everything is filthy and has its own layer of dirt, massive plus. Every instrument has its own place and never steps on another, thought has been placed while mixing this beast to let everything breathe.

To fully appreciate the eeriness and brooding doom, Bison conjures that you really should listen to ‘You Are Not the Ocean You Are The Patient’, perhaps in a single sitting in a lonely forest cabin, on a dark rainy evening.

Words by Simon Ohlsson

You Are Not The Ocean You Are The Patient is available to buy on CD/DD/Vinyl via Pelagic Records now.

Links:

Facebook | BandCamp

An Interview With Simon Ohlsson from VOKONIS

Vokonis have been riding the crest of a wave ever since their formation two years ago. They released an acclaimed debut album – Olde One Ascending – which found a loyal following within the Doom/Stoner Metal community.

It's from the strength of that album they were immediately signed to the coolest record label around. Ripple Music.

Vokonis quickly got to work on their highly anticipated follow-up – The Sunken Djinn, An album that is more Doom Metal orientated then it's predecessor. Vokonis have also been asked to provide a song to the forthcoming full length animated film – The Planet Of Doom.

So these guys are not going anywhere soon as they have a ton of awesome riffs to slay the world with. I caught up recently with Simon (Guitars/Vocals) from the band to see how things were with the band.

Enjoy....

Hi Simon. Thanks for doing this interview again. Especially when you did the Skype Interview originally. Apologies for that not recording correctly. How are things with you today.

Hey Steve! Thanks for having me. No problem at all mate. We’ve come far but are not immune to technical difficulties. Yet! Having a good day, about to record a music video.

We are here to talk about your new album The Sunken Djinn. What can people from that album. Does it have a different sound from your debut album.

I would have to say that as far as production goes this album is a lot more dynamic than our debut. We had access to a bigger studio and I think that’s definitely noticeable in the production. Song wise we tried to push ourselves a lot. We wrote the record during the summer of 2016. We had a lot of time to focus on just writing and getting ideas that have been laying around together. We didn’t rush anything as we really didn’t have any time limits.

Did you do anything differently when recording or making the album.

We recorded it basically the same. The main difference was that we have grown so much closer as a group so it went really fast. It took us under a week to get it done. We aimed to get a big modern sound and I hope we achieved it.

What’s the overall theme of the album.

The album deals with several things such as loneliness and escape. We use different kinds of symbolism on the record. As we are affected of how our planet keeps getting colder socially, it’s hard not to react to it. In that sense, this album is much more aware effort with the lyrics, and for me personally it was therapeutic to get a lot of emotions out. I poured myself in it.

Well obviously I’ve heard which I thank you for sending me over a copy. Great album indeed. What I noticed was that the Stoner Metal element from your debut album whilst still there has been primarily replaced by a Heavier Doom Metal aspect. Would you say that was a fair statement on your new album. 

First I’d like to thank you for the kind words. I would agree about the change in tone. We’ve matured since OOA, and the way it presents itself is that we’ve dropped that stoner rock element. It comes naturally for us to write heavier songs now. It wasn’t intentional, If we had more of a “rock” idea then that felt forced since we had a different sound in mind.

You’re now signed to the best record label out there. The mighty Ripple Music. How did that come about. Did you have offers from other record labels. 

That is perhaps one of the craziest things I’ve had happen to me musically. Being headhunted by Magnus at Into The Void Radio and being introduced to Todd at Ripple is an unreal feeling. We approached a few other labels before Ripple reached out to us, nothing that went anywhere though.

We’re very happy with Todd and the family. They made us feel at home right away. And it kind of made sense for us to sign with Ripple as they haven’t really focused on the heavier side of things. I think it’s fair to say that we can begin filling up that space for them.

Photo taken by Jens Eliasson

What are Pope and Todd’s verdicts on the album. Are they pleased with the final version.

I don’t know if Pope has heard it but I know Todd loves it. Which makes me feel very happy. That means we share a vision and future which is very important to us.

Who designed the fantastic artwork. And how much input did you have with the overall final design. 

Tessa Najjar designed the front art, Pontus Ottosson did the layout and designed the back cover. We’re very happy with how it looks. When we approach a designer, we give them an idea and just want them to do their thing with it. Because something made you consider the artist in the first place, might as well make them go nuts with the idea haha!

Tessa really nailed what we wanted for a cover. The colors she chose complements each other beautifully, and it’s got a lot of detail if someone wants to delve into it while listening. That’s another thing that’s important to us, the art and music should enhance each other. We feel this is the case here.

You’re from Sweden and the Swedish Doom/Sludge/Stoner Metal scene is highly thought of in our little community. What is the local scene like currently in Sweden. Is the scene perceived the same way as it by the global Doom/Sludge/Stoner Metal community. 

The Swedish scene is full of great bands. So that’s huge plus, I never have to attend concerts anymore since we’re playing shows with all of my favorite bands! I don’t know if we’re really aware of our place in the community. But I’m very thankful that we’ve gotten such great reputation.

What are your future touring plans. Will you be performing primarily local shows or travelling abroad to perform at festivals as such. 

As of right now we’ll focus on Swedish shows, such as Krökbacken. But we’d jump at the opportunity to tour with an agency once the album has been released and has landed. We have taken on the task of arranging a Swedish iteration of RippleFest. Us, Craneium and Kingnomad will be performing two nights in September. Curated by Magnus at Into the Void Radio.

Has it surprised you the journey that Vokonis have taken since you have formed. Two albums and an upcoming appearance on the Planet Of Doom film soundtrack.

Very much. First of all I had no intention of being a vocalist. That came out of necessity. But we’re very proud of our short history. We want to keep doing what we’re doing and see where it takes us. As of right now I’m just happy to be involved with such great people. Todd (Ripple Music) have been exceptional with us. As I said previously, we felt at home from the start and we’re very happy with the direction we’re going. We can focus on the music and enjoy the ride a bit more now.

Looking back would you do anything differently. 

Not really. We have achieved what we have thanks to the way we’ve done them. So I wouldn’t change a thing.

Now we have to talk about the upcoming Planet Of Doom film. How did you become involved with that project. 

Once again it was Magnus of Into the Void Radio that made the connection. Once we got introduced to David and Tim it all went very fast. They liked what we are doing and we like what they’re doing. It was a perfect match.

I’ve heard you’ve recorded a new song for that film. Does it follow the same path as The Sunken Djinn or Olde One Ascending.

It doesn’t necessarily follow either of them. Maybe a mixture of the two. It starts off doomy and ends almost hardcore. We tried to match the screenplay and match Tim and Davids ambitions as far as the animation goes.

Have you seen any footage of the segment from the film that will feature your music.

We haven’t. So, it’s very exciting to see what they come up with. I co-wrote the lyrics with Tim (of The Planet of Doom) so that was a first for us. If it follows the lyrics it will most certainly be outrageously cool. Haha!

Are you still shocked you will be involved with a film that features a wide range of amazing artists.  

Big Yes! For me, Slomatics is THE doom band. I love them and get continually inspired by their work. Their latest effort is probably the best album of 2016. Still listen to that. And of course, being in on the same project with bands such as Mos Generator and Wo Fat is very much insane. 

OK. 2017 is a few months old now. What have been your favourite albums you’ve heard so far this year. I know we both agree on Mastodon. Any others impressing you.

Mastodon have grabbed me by the balls once again. They totally floored me with Emperor of Sand. They seem to always include new elements in their sound. Even though I don’t like the second track, every other track seem to make up for it. There’s so much good stuff happening on Clandestiny and Jaguar God.

Spidergawd IV is another album that I’ve listened to a lot. I really can’t let it go. Those two are definitely on my top 5 of the year already. Furthermore, I anticipate the new Presolar Sands album to be really good. I love their previous stuff. And knowing us and how we sound we await new Sleep and High on Fire with big anticipation.

Well Simon, thanks for doing this interview. All the best with your future endeavors such as the album release and Planet Of Doom in 2018. Do you have anything to say to your fans before you go.

Thank you for having me Steve. Always a pleasure. Will be a lot to keep track on if you’re into Vokonis. So stay tuned.

Words by Steve Howe and Simon Ohlsson

Links:

Facebook | BandCamp

Ascending Riffs - An Interview with Simon from VOKONIS

Swedish Stoner Metallers – Vokonis – have just released their superb debut album – Olde One Ascending. An album packed full of great songs that will appeal to fans of Black Sabbath, Kyuss and Orange Goblin. Or mainly for everyone who digs good old fashioned Stoner Metal where the emphasis is put on lyrics as well as vocals and the riffs.

Vokonis were originally called Creedsmen Arise who released a great debut EP – The Temple – last year. The guys have re-grouped and returned as Vokonis. Our team member Niels Fuzz recently reviewed the album and he raved about it. You can read his great review here.

I've caught up with Simon (Guitars/Vocals) from Vokonis recently where we discussed how the band came together and how the new album came about. So lets get started.

Hi Simon. Thanks for doing this interview. How are things with you today.

Hi! Thank you for conducting it. We’re doing quite well, A bit tired after our gig last night in Gothenburg.

Vokonis was originally known as Creedsmen Arise. But you changed the name to Vokonis. Can I ask you why you changed your name. As I loved your original name.

When we were known as Creedsmen Arise we built our music and lyrics around an already existing mythos (Dopesmoker), and when we split ways with our original bass player and vocalist we just wanted to get a fresh start. To kind of get rid of some of the expectations. Because we knew we were gonna sound different than Creedsmen. I don’t know if that worked but I know for a fact that Olde One Ascending doesn’t sound the same as Temple.

Was it a hard or easy decision to change your name to Vokonis.

It was necessary. We all felt it was the right thing for us if we wanted to move forward. So I guess it was a mix. It was hard letting it go but at the same time we felt thrilled about a new name, a new sound and no ties to the old material.

Why Vokonis. Why do you choose that name. What does it mean to you as a band.

We had the song King Vokonis Plague before we changed name. And when we came to that point of us wanting to move forward it just made sense to choose a name of this old evil King in his decrepit kingdom.

How did the band get together. Did you all know each other before forming the band.

Me and Emil knew each other from before since we played in Creedsmen. Jonte came along sometime around a year ago. He actually filled in on bass for Creedsmen at one of the two gigs we did. And when we split with our former bassplayer and vocalist it felt natural to ask Jonte to join us as a full member. And he agreed, which made me and Emil very happy.

For a first time listener looking to discover your band - How would you describe your music.

The obvious answer I expect heavy riff-based stoner metal. We try and make our own thing in a very crowded scene. I mean there are a LOT of good and great stoner bands. Even in our area. We just try to do our thing. Which happens to be this Sabbathy thing I guess.

Your new album – Olde One Ascending – is a stunning album. If you have to describe your new album in your own words to a perspective new fan – What would you say to them.

First of all, thanks a lot. We put a lot of energy and focus into this album as it was both conceived and recorded in just a few months. This is my first singing experience so it’s a very personal album to me. If I were to describe the album I would say that it tells a Lovecraftian story, it has a beginning and an end. And we wanted to make it in a way as that you wanted to just play it again and analyze it. The lyrics are obviously very fantasy based. But we wanted to let the listener determine the meaning of the songs.

Was recording the album an easy or hard process to complete.

It was certainly harder than penning the album. A big part of that was that I had no previous experience recording vocals so I had to learn in the studio, which isn’t the best time to learn. But we put a lot of blood sweat and tears in it and in the end we were very happy with the results.

And we recorded with a great guy at a great studio here in Borås (Fredrik Jordanius, Bastard Sounds Studios). We really feel that he helped to bring out the best of us.

The album is being released by the awesome Ozium Records CAT RECORDS. How did you get involved with them. Did you have offers from any other labels.

Indeed it is. I first got in contact with Mats at Ozium when Creedsmen released Temple. But they wanted to wait to see what we could conjure up as our debut record instead. Now obviously things took unexpected turns. But as soon as we announced our plans to record our plans on recording an album to Ozium they immediately wanted to sign us. Without hearing a single note of Vokonis.

So we because of that dedication and their previous catalogue of bands we didn’t look elsewhere. It felt like being embraced by a big family.

The album is starting receive some great praise within the Doom/Stoner Metal community. Have you noticed that yourselves. Are you pleased with the responses so far.

We are extremely pleased with how the community is responding to the album. The fact that people are writing to us and saying that they like album that much is unreal.

How hard is it being a band in today's world. What are the most difficult aspects in being in a band.

I think that it’s hard enough putting together a band, and that it’s even harder to get out there and play. It is a tough world where there are maybe 100 bands and 3 good places to play in a city. But it’s very rewarding. If you’re playing a show and you see people in front rocking out and after the show they’re asking to buy your album, that’s probably one of the best feelings in the world.

What is the song-writing dynamic in the band. Is it a group collective or down to one individual.

I write the music and lyrics, and then we jam on it to see if we can make something out of it. I’m a very creative person when it comes to writing and I’m constantly in writing mode. I have a strong sense of how I want our music to be. So it’s a very natural dynamic we have in the group. I think we already have most of the song structures ready for the next album. But that’s a long ways off.

Can we talk about the fantastic album cover. I see that Tessa Naijar designed the picture and Dominic Sohor designed the Vokonis logo. How did you get involved with those two great artists. And how much input did you have into the final design of both the album cover and logo.

I got into contact with both of these great artists back in the Creedsmen days. And they are extremely talented and imaginative. Dominic created this almost old school death metal logo for us which I fell in love with instantly. I think it’s iconic and we are very grateful for his effort and support.

And ever since Tessa drew the artwork for Temple we just kept in touch. So when I described what we were up to in terms of lyrics and mythos she immediately started sketching of an idea with this figure (Hazmat) that were summoning this ancient being to destroy the world. So it was her take on what our music might look like if that makes sense.

What inspired you to become a musician? Any particular album, band or life-changing event that told you – Yeah, that's what I want to do....

I got into playing the guitar when I was about 16-17 years old. I had started listening to band such as Nirvana, Rage Against The Machine and wanted to make some noises of my own. Pretty soon I discovered Dinosaur Jr and the world of fuzz. From there on it was just a downward spiral into death and stoner metal. If I were to name some pivotal albums for me as a musician and a person that would be (in no particular order): Opeth – Ghost Reveries, Dinosaur Jr – Where you been, Black Sabbath – Master of Reality.

Will you be touring this record heavily. If so what dates are you performing and what can people expect from the live VOKONIS experience.

We love to play in front of people and have couple of dates in Sweden, Germany and Czech Republic booked. The great thing is that we are playing with a lot of great bands such as Bad Acid, Öken and the mighty Långfinger and Skraeckoedlan going forward. I look forward to it a lot.

We try to bring rawness to our live shows. A reason to come and see us over listening to the record. From the point of us taking the stage you can expect 40 minutes filled with fuzzy mayhem.

Here are a list with upcoming shows:

21/5 @ Backstage Varberg
28/5 @ Kulturhuset Freja, Skövde (supporting Skraeckoedlan)
30/5 @ Hijazz, Uppsala (with Bad Acid)
3/6 @ Klubb Orange, Borås (Releaseparty, support Långfinger)
17/6 @ Komsjälsfestivalen, Timmele
8/7 @ Pocco Bar, Hamburg, Germany (with Bad Acid
9/7 @ Chekov Cottbus, Germany (with Bad Acid
12/7 @ As.Music Club Cihellna, Czech Republic (with Bad Acid
13/7 @ Subway to Peter Chemnitz, Germany (with Bad Acid
14/7 @ Arsvitae Café Rodewisch, Germany (Bad Acid)
15/7 @ Kulturhof Lübbenau, Germany (with Bad Acid)
16/7 @ Leipzig. Flower Power (with Bad Acid)
30/9 @ Wizard of Fuzz, Gothenburg

Before you go, do you have anything to say to your fans.

We would like to thank everyone who supports us in any way they can. We want to direct a big thank you to all the people who have supported us and bought our album. It’s been overwhelming.

Words by Steve Howe and Simon Ohlsson

Thanks to Simon for talking to us. Olde One Ascending is available to buy digitally now. CD will be released on 25th May whilst the Vinyl will be available to buy from June/July 2016 via Ozium Records.

Links:

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