An Interview with T.ROY from SOURVEIN

Today I'm interviewing one of the legendary musicians of the Sludge/Doom Metal scene. For 23 years he's been the main driving force behind Sourvien. Sourvein have released an incredible amount of music and heavy riffs since their inception in 1993.

Critically acclaimed albums, EPs and split releases and fearsome live performances has seen Sourvein build up a great fanbase within the Sludge/Doom Metal community.

It's hard to believe that Sourvein will be releasing their 4^th album overall with Aquatic Occult. The album will be released via Metal Blade Records from April 7^th 2016. Trust me when I say this is perhaps Sourvein's finest work to date. A stunning and heavy as hell album that will rank as one of the year's best albums.

To give us a greater insight into the new album and all things Sourvein, here is my interview with – T.Roy

Hi T-Roy. How are things with you today? Thanks for doing this interview. Congrats on the new album – Aquatic Occult. That is one hell of a record. What can people expect from the record.

Thanks a lot....its a good record I believe .... I think they can expect to see the music evolve and hear new things that expend our sound .but at the same time staying true to our roots. My goal was for you to feel it as well as hear it and try some new tricks . I put my heart into it. As did mike dean and the others. So I hope some people can relate to it. And maybe it can be someone's favourite album.

Congrats on also signing to Metal Blade Records. Seems like the perfect fit for Sourvein to be signed to that great label.

Yeah thanks. We are so stoked to with Metal Blade Records. Everyone at the label is awesome and have been really great to work with and breath of fresh air for us. I am looking forward to doing a follow up to Aquatic occult next year. I already have songs for it. I think its the perfect place for us to be and I hope stay here for a long time.

Photo by Noelle Rose

It seems this album has been a long time coming. I know you've been through quite the journey with making this album. Has this been the hardest album you've made so far.

In some ways yes and others no. It was a hard 3 hour commute to the studio .and midway through I lost my job due to the recording schedule. My car broke down as well at the same time. So towards the end we were taking greyhound bus and catching rides from friends. Eating crackers and sleeping in front of the amps. When we couldn't afford the cheap motel down the road just to keep making it happen.

This was happening during the recording and vocal sessions. So the struggle is there, the voice in the music but in a rise above and live to win kinda of way not a screw everything kinda way. HA. I think the struggle added an edge to it. Pushing through any set backs and going for it but nothing good comes easy. But it was a awesome experience overall. I learned a lot on this one to apply to the next one.

I love how the album is quite bleak at times but at the end of it all, it leaves you in a positive frame of mind. Was that one of your aims recording the album. Showing how bleak life can be but how also you can survive from it all.

Yeah in a way its about overcoming and seeing things in a positive light and the music kinda felt that way on its own. It came out that way. It's moving forward on a different path in a lot ways and just following the heart

You're the only sole original member of Sourvein since it's started. Looking back would you preferred to have a stable line-up. Or do you work better and harder with a different set of musicians with each Sourvein release.

Well the original line up lasted 8 years. Then we replaced guitarist and went another 5 years .But I knew the first month we wouldn't be like U2. The same four people forever at the same time. I knew that wasn't gonna stop me !!!!

This was my baby and dream from day one, its all I wanted to do. Others wanted to have other jobs and things they wanted to do. So I did what I had to do, I kept it moving. I have some stable guys like Lou and others that been with me off and on and then come back in.

But yeah I like working with different people as well. It brings something new to the sound like Reed Mullin did on this one on drums. He kills it. He added a bunch of dynamics that we never had before. I just wanna rock with others who feel the same way and not everyone can keep up with the schedule. Travelling and touring full time. Its hard.

Some other guys I just gave a opportunity to play on a session or do a tour filling in playing live and seeing the world and then return to their own bands after the tours and do their thing. I been happy to be able to give that opportunity to folks at different times who may not have got to do that in there own bands I really have to thank them for helping us out as well. Keepin things rolling.

It's like a heavy rock commune in a way in a way no doors are closed people can come in and out here and there. HA HA. No different than Queens Of The Stone Age, The Melvins, Howling Wolf and others I guess but the show must go on. And I am going to do what I do no matter what. I hope to continue to bring opportunities to different musicians. For different things while keepin the core line up rocking.

Mike Dean has produced your new album. How did you get Mike Dean involved and what does he bring to the Sourvein sound.

Yeah Mike Dean produced it. I've known Mike Dean for awhile, first tour I did as a roadie for the original Buzzov-en's to a frown tour in early 93. Mike's band Spore later called “ninefinger"was on the tour as well. So we had met way back and I ran back into him when my side band opened for COC in 2012. He mentioned he would be down to work with me. When it was time to record again. I took him up on it. Right off the bat I called him and he was awesome to work with cause he knows recording from basement demo tapes to big studios such as Studio 606 (Dave from Nirvana's studio) and everything in-between he's done it. And Mike is also very hands on as he got right in the trenches with us. He's s a hard worker and he cares about the music. He pushed me and the band to do our best. It was a good experience and he did a great job.

Why did you decide to call the album Aquatic Occult. Any particular meaning to you as such. Awesome title for the record.

Yeah, I am from an island, its an abstract way of saying water/ocean is mysterious to me. I write in a word play kinda way so I like to bring words together. The ocean is the heavy place and mysterious place. And that's what Aquatic Occult is to me.

The album cover for Aquatic Occult is amazing. That is perhaps my fave cover for any of your records so far. Captures the mood of the entire album. Who designed the cover and how much input did you have into the overall design of it.

It's done by Jordan Barlow of the band Ritual Killer from NOLA. He did the last High On Fire record art among many others. He's an old friend and gifted artist and great tattooist in New Orleans. He did the front and back cover and the fold out. He just killed it. I can't thank him enough. He will be doing the next one as well for sure.

I am hands on and have a vision. I drew the rough ideas for the cover and Jordan took my sketches and ideas and went from there He made it awesome and added the elements I wanted in there. His style is just amazing. I took the pictures myself and worked with our friend Bill Kole who laid it out with me and did a great job with the whole package. I really love it and it's perfect.

Will you be touring this record heavily. Or will it be a few select dates here and there.

We will hit Europe first and then a run on the West Coast. So we will touring, just spacing it out a bit around the work schedule. Also looking into linking up as support to another band. Love to tour with Witchcraft. And yeah we are looking into doing a lot of fests and one-offs. So promoters get in touch. we are taking offers.

Photo by Noelle Rose

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

Hard as it ever was really. It's the money, it's hard to do home life and tours. It's hard to have the money to get it all going outta pocket and pay the bills at home. It's not as easy as it use to be to find extra work before or after a tour. So I have to save up to do a tour. And it's hard sometimes. I cant do it like I use to and just live on the road. Though I can do what I can.

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....

There are many. KISS as a kid got me rocking in the 2nd grade. Then everything from Blondie to Gap Band to Elvis to Run DMC. The Bad Brains and HR is a big influence. Black Flag with Keith Morris. Lemmy, early Motorhead. Ozzy with Sabbath. Even Peter Tosh.

After my first show after skateboarding all day with local punk band ALL TORE UP at 15. After seeing it live, I knew I could do it too. Then I saw The Ramones at 17 and I knew I wanted to ROCK IT LOUD AND POWERFUL. Just what I was looking for, so I went for it full on. To do what these bands were doing. It's taken me around the world a few times now. But I still fill the impact those records and early shows had on me. Actually I was able to get the singer from that first local show Dave Capps from the band ALL TORE UP to do guest vocals on the song Capsized. That was full circle and awesome to give my respect to the guy that showed me it was possible as a teenager locally.

What inspires you when writing your lyrics or music.

Life and reality really but pain and joy. Different emotions It depends, it's all from real situations. I may play on words and have abstract lyrics. But it's all real to what's going on in life or around me or something that's inspired me. Riffs come during times I least expect them and things come to me outta the blue sometimes. I am always trying to write something I like to create.

You've probably seen it all being involved with Sourvein over the last 23 years. Looking back and if you could would you change anything about your musical experiences. Good or Bad.

Yeah I've seen a lot and done tons of tours. Something every year since 94. Sure I'd change some things over the past and through the years here and there if I could. I am older and wiser now with a different outlook. Looking back sure I'd change things like I would take back every-time my van broke down for instant. HA, but you cant change a thing so its all kinda part of the journey.

I kinda never look back at bad times touring too much its part of it ups and downs. Its about the good times to me. It's about moving forward to the new things and looking ahead and learning from any mistakes and making sure you don't let happen again. But overall it been good and I look to the future and hope to keep creating music and travelling to play live.

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

Thanks for the years of support. Really thanks to any one who has helped the band in anyway ever.!!!!

Thanks to musicians I've worked with over the years. Please order the new record and new merch so we can continue to tour. I really hope everyone likes it. And thanks to Metal Blade Records for everything. See you on the road.

Cheers T.Roy – Sourvein

Words by Steve Howe and T.Roy

Thanks to Andy at Metal Blade Records for arranging this interview. Thanks for T.Roy for taking the time out in doing this amazing interview.

Aquatic Occult will be available to buy on CD/DD/Vinyl via Metal Blade Records from April 7^th 2016.

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Church Of Misery - And Then There Were None (Album Review)

Release date: March 4^th 2016. Label: Rise Above Records. Format: CD/DD/Vinyl

And Then There Were None – Tracklisting

1. The Hell Benders

2. Make Them Die Slowly

3. Doctor Death

4. River Demon

5. Confessions of an Embittered Soul

6. Suicide Journey

7. Murderfreak Blues

Band Members:

Tatsu Mikami (bass)

Dave Szulkin (guitar)

Eric Little (drums)

Scott Carlson (vocals)

Review:

We begin our journey as a fly-on-the-wall spectator hiding in a closet and watching with wide-eyes as a notorious killer goes about his morning business of breakfast and bludgeoning. Opening track, ‘The Hell Benders’ eases us in with a warm, bluesy bass lick adorned with easy-going guitar and psychotropic synth. This audible wake-and-bake only masks the stench of death for so long before an ominous silhouette appears at the door and drags us into the basement, flailing in terror as the deafening roar of a full blown Sabb-a-thon pushes its grubby fingers into our wounds and hungrily violates our senses. Mikami and his new band of savages have clearly been drinking from the fountain of groove throughout the conception of this lumbering, great record and Carlson’s lyrics read like the secret journal of Peter Sutcliffe; leaving no doubt as to the grisly inspiration behind each killer track.

Some stand out songs for me include, ‘Doctor Death’ which features the most satisfying use of the word ‘yeah’ that I have ever heard. Seriously, it is now my message alert tone. This perverse explosion of sordid groove-porn should have you swinging your little noggin around all over the place in frenzied delight. Track 4, ‘River Demon’ encapsulates everything that I love about 70’s era Black Sabbath. Szulkin seems to slow time with his tasteful, intoxicating lead work and is complemented perfectly by Little’s chilled, rhythmic pacing. By the time Carlson celebrated the superb jam with a well-grounded “All right!”, I had already grown a full-on handle bar moustache and occultist symbols had mysteriously manifested in my cereal. Another great tune is the reposeful ‘Suicide Journey’. Personally I really enjoy these super-mellow interlude tracks, especially when they set the mood for an addition to the album such as the sluggish and sonorous, ‘Murderfreak Blues’. Just when you think you’ve had all of the closed-eye, grimace inducing, slow head bang action that you can handle this wanton sleaze-fest grabs you by the hair and forces your delirious dome up and down once more.

Church Of Misery are pretty outspoken when it comes to their feelings about certain labels often attributed to their classic doom sound, so I’ve respectfully tried to avoid using such terms. In conclusion what I will say is this; ‘And Then There Were None’ is a fleshy, foul-smelling, black-hearted bastard of a record with a relentless appetite for filth and a blood-soiled arsenal of tools with which the band show no reservations about using. If you do just one thing on March 4th, then make sure that you check out this glorious album. If Doctor Death doesn’t make you bang your head and piss your pants at the same time then I’ll eat shit and smile doing it.

Favourite track: Doctor Death

Words by ThisHairyGuy

And Then There Were None will be available to buy on CD/DD/Vinyl fromRise Above Records from March 4^th 2016.

Links:

Official | Facebook

Pink Tank Records Vinyl Round Up: Low Orbit, LaserDrift and WeedPecker

Pink Tank Records have 3 excellent vinyls being released soon. If you're into spaced out psych based Doom/Stoner Riffs then these releases are simply unmissable.

Low Orbit – S/T

LaserDrift – S/T

WeedPecker – II (Repress)

Check out the details for further info and see why Jan at Pink Tank Records is so highly thought of within the Doom/Stoner Rock community. Sure these records have been released for a while but it's beyond cool to see them released on vinyl for the first time or with WeedPecker's case, an awesome repress of their acclaimed second album – II.

Low Orbit

Release date: Nov 26^th 2014 (Orig Release) / April 1^st 2016 (Vinyl Release). Label: Pink Tank Records. Format: Vinyl

Band Members:

Angelo Catenaro - Guitar, Vocals

Joe Grgic - Bass/Space Trips

Emilio Mammone - Drums

Vinyl Lowdown:

VINYL FACTZ:

- limited to 100 copies cosmic orange

- 180g heavyweight vinyl

- 350g heavyweight cover

- incl. poster & download code

- incl. LOW ORBIT sticker & guitar pick

- white poly lined inner sleeve

- re-mastered by Jan Galbas

TRACKS:

SIDE A:

1. Space Capsule 2:37

2. Uforb 5:06

3. Witch King 4:17

4. Int. Bass Station 5:40

5. Lost 5:31

SIDE B:

1. Starship & Monoliths 5:45

2. TreeHowl 7:17

3. The Sloth 7:41

Links:

Official | Facebook | BandCamp | Buy Vinyl Here and Limited Edition Here

LaserDrift

Release date: Oct 22^nd 2015 (Orig Release) / April 29^th 2016 (Vinyl Release). Label: Pink Tank Records. Format: Vinyl

Guitar/Vocals: Sami

Guitar: Jere

Bass: Lede

Keys: Anssi

Drums: Jupe

Vinyl Lowdown:

VINYL FACTZ:

- limited to 100 copies

- 180g heavyweight vinyl

- incl. poster & download code

- 350g heavyweight cover

- poly lined inner sleeve

TRACKS:

SIDE A:

1. Laserdrifter 03:28

2. Woman 04:44

3. Cosmic Getaway 04:54

4. Cream 'n' a Shake 08:43

SIDE B:

5. D.A.Y. 07:37

6. Don't Put Your I Out 05:43

7. Burn For Love 07:28

Links:

Facebook | BandCamp | Buy Vinyl Here and Limited Edition Here

Weedpecker

Release date: April 29^th 2015 (Orig Release) / 2016 (Vinyl Release - Reissue). Label: Pink Tank Records. Format: Vinyl

Band Members:

Wyro-guitar & vocal

Bartek-guitar & vocal

Mroku-bass

Falon-drums

Vinyl Lowdown:

VINYL FACTZ:

We are proud to announce that the guys from Weedpecker decided to do a repress of their fantastic album II with Pink Tank Records. The second press will come on 180g weed green wax hosted in a 350g heavyweight cover and will be worldwide distributed by our partner Rough Trade! More information, soon!

Links:

Facebook | BandCamp

An Interview with Ricky Dal Pane from WITCHWOOD

Italian Band Witchwood was formed by the traditions of local rock scene and world history of rock, it raised from ashes of the Buttered Bacon Biscuits band and come to life full of fresh energy. These six musicians mix in their songs elements of hard rock, psychedelic, southern and progressive rock serving all of it with the best vintage attitude and modern sound. Witchwood debut album “Litanies from the Woods” shows a professional approach, bloody good strong song writing and true passion to this music!

Witchwood rocks and they do it with highly artistry. The album was released by Jolly Roger Records on May 2015 and it’s time to take a look and find that’s going on in Witchwood. Ricky Dal Pane (vocals, guitars) is ready to reveal some secrets of his outfit.

Hail Ricky! How are you? What's going on in Witchwood?

Hi to you all, everything's alright. The band is working hard at the moment... a lot of gigs and we are already back in the studio recording new material.

Witchwood was born from the ashes of Buttered Bacon Biscuits; what was this band? And why did you decide to disband it?

Buttered Bacon Biscuits were the first incarnation of what eventually became Witchwood. As Buttered Bacon Biscuits in 2009 we released an album "From the solitary woods" distributed by Black widow records. The adventure with the BBB ended for various issues but most of all for different view about the future of the band concerning the will to take the project to a higher level.

Witchwood first album “Litanies From the Witchwood” sounds as a really matured, professional work. What are the musical backgrounds of Witchwood crew besides Buttered Bacon Biscuits? And what drive you to write such music with passion and fill your sense of taste?

Thank you very much for the beautiful words on our music! So, other experience except for the BBB.... I recorded an album with a band called EXCRUCIOR in 1996, then for years I sang with a lot of line-ups until 2007 when I come to BBB. I also recorded “supersonicspeedfreaks” of Witche' Brew with artists such as Nik Turner, Martin Grice and Steve Sylvester published by Black Widow records.

Our drummer Andrea Palli has recorded two wonderful albums with the band Bad Ambition, an AOR band.

Antonino Stella, the new guitarist, usually works as session man and has recorded for various artists Italian and international. He is also in another project called Miss Patty miss and the magic circle with whom he has recorded “The Octopus Tree”.

The other guys of the band are active on the local scene since the early 2000s. The music we write is created in a very free way, without forcing the process.... Basically we do not sit around a table and start to write deciding what and how and the way we want to appear, for us it doesn't work like this. We spend a lot of time trying to refine the songs at the best, what we try to get is writing songs that remain in the memory and the people continue to listen also after time. We don t write just fill the space in the album.

Yes, I'd like to ask you about Witche's Brew - are you constant member of the band? And what's your plans considering the new album?

No, Witche's Brew are going on with a new line up, I just recorded four songs on “Supersonicspeedfreaks”.

“Litanies From the Witchwood” was released on CD by Jolly Roger Records on May 2015 and now you have it also as vinyl edition. How many gigs did you play to support this release? How often do you play at all?

This year we had very cool shows around Italy, opening act for great artists at the FIM such as Ken Hensley and at the Acciaio Italiano Festival with Domine, Dark Quarterer, Insidia, Graal and a lot of other great bands. Now we are trying to find a way to gig outside Italy but it is very hard  these days even if there is a lot of interest on the band. We have not played the full track list of Litanies yet we are working on that.

Witchwood – A Place for the Sun

“Litanies From the Witchwood” sounds as really qualitative, enthusiastic and thoughtful work. How long did it take you to compose it?

Calculating the time of composition and recording “Litanies from the woods” we needed three years, also because we couldn't work full time on it and we wanted to have a product at the highest level possible for us.

And how do you collaborate between each other in the band? Do all Witchwood members have some certain roles during composing and recording process?

Quite, all the tracks of the album have been written by me. I always work at home building the first structure of the song then with the guys we work on the arrangements. Luckily the musical proficiency of the musicians involved in the Witchwood finish the job and they are the people to share this adventure.

In the album there is also a song called “Golden King” and the music of the song has been written by the old  guitarist, I only have re arranged it with his permission. Is one of the songs I love the most.

What about the flute? Was it played by a Witchwood member or by a guest musician?

The flute is played by Samuele Tesori who is former member of the band. the flute is very important in the sound of the band giving a more dreamy and complex texture.

You also have a proper video for a beautiful song “A Place For The Sun”, it seems that video does play a strange role today when you barely could see it on TV yet people could find it in internet. Do you feel that it’s worth of efforts you put into it?

Absolutely, the videos on the net could help the band for its promotion, I can easily say that now are the most fast method that a band has to be known.

How do you search plots for your songs? Simply to say how do you write songs’ lyrics?

About the inspiration ...I don’t know, sometimes I woke up with a melody on my ears and then I work on I For the lyrics I take from the actuality, what I see everyday, from books. I often talk about freedom and the will to keep strong the differences of our individuality against who tries to make us all under control with the same thoughts and of course about. The frustration when you can't do it.

Also nature is a very strong inspiration with the spirituality inside its beauty.

Witchwood songs titles are bright and expressive as your music is, what's your main message?

Song titles always reflect the mood of the song, to catch the attention I always try to choose titles with a strong and evocative impact.

The lyrics are about a lot of different things, but most of all are about freedom in its different aspects. I can write in a more direct way like “Liar” song and other more sad like “Shade of grey” or absolute abstract like “Golden King”.

Okay, and a global question - how do you see the modern role of progressive rock music?

It depends on what you mean for progressive... I personally don t like to categorize music per genre. In my opinion progressive is a music in constant evolution and research of melody and expressive forms.

I don't reduce progressive to playing intricate parts with virtuosi. Even trying to define what progressive is it's difficult because it should be free from definition. I want to say also that I don’t think that we are a prog band in the very sense of the word, we are a Rock band.

Can you tell a story of your favorite song from the album?

I can tell you about my favourite one, I think it is “Handful of Stars”. It comes from a delirium I had on a open eye nightmare. I imagined my mind had been sucked out from my body and had started a trip in vertical fall through the stars and space a sort of reverse vertigo. Scaring but at the same time it gives me a strange and peaceful sensation. I think I had a very heavy dinner and a lot of wine that evening.

And a kind of standard question… What was most influential book for you in school?

The most influential book I have read at school? ”Flash Katmandu e il grande viaggio” (Flash ou le Grand Voyage) of Charles Duchaussois but it wasn’t in the school program even if I red it at school ah ah ah.

What are your plans for nearby future for Witchwood?

We entered the studio to record an EP that will be out in the early months of 2016 and that will have contain two new songs, a cover and an alternative version of “Handful of Stars”. So after an album of 80 mins in length we thought we could make an EP of only 30 mins. Just to balance things out. HA HA HA.

We will also realize a video with the artist Dimitri Corradini, we are also looking for a promoter to play outside Italy, would be great to play a the festivals but we know it is very hard enter that kind of bill. But the important thing is that we. Are working hard on it!

Will this EP be released by Jolly Roger again?

Well, I hope so!! The new EP will be out for Jolly roger and I hope that this collaboration will last for a long time because we have worked very well together

How does the new material sound? Do you have new instruments on this record?

The new material recorded for the EP is a bit more aggressive maybe also because we have faced difficult moments even in personal life during the last year. But don’t worry! Our sound will be always recognisable and there will be place for flute, mandolin, acoustic guitar too because they are a strong component in our compositions.

Thank you Ricky, I'm out of questions... so haven't we missed anything? What would you like to add in the end of this interview?

I think this is all ahahahaha… Thank you very much for the interview and please keep on following the band.

Words by Aleks Evdokimov and Ricky Dal Pane

Links:

Facebook | BandCamp

Green Yeti - The Yeti Has Landed (Album Review)

Release date: February 19^th 2016. Label: Self Released. Format: DD

The Yeti Has Landed – Tracklisting

1.The Yeti Has Landed 16:28

2.Acari 17:35

3.Old Man 19:21

4.Uppervols 09:06

Band Members:

Danis Avramidis - Bass
Michael Andresakis - Guitar and Vocals
Fotis Antoniou - Drums

Review:

In the realms of stoner rock, epicness is a virtue (epic riffs, epic length of songs, epic vocals) and you only have to listen to the genres centrepiece, the masterful Dopesmoker by Sleep to realise this. The Yeti Has Landed, the new album by Green Yeti follows in those same epic footprints and while this isn't a single song like Dopesmoker, the fact that the shortest song on here is over nine minutes long tells you all need to know. The album only has four songs on it mind you but they are full of ideas of greatness and grandeur.

The Yeti Has Landed starts with the title track and what sounds like the quaint sound of a dial up modem before a mammoth riff that Matt Pike would be proud of kicks in and gets this riffed up party started and it is obvious that Green Yetis influences may be the same as most stoner rock bands, they are no mere soundalikes and have their own groove going on.

It is these grooves together with the riffs, huge that they are that define the Green Yeti experience and this album is jam packed full of both of them and the songs are tantamount to massive jams with riff after riff after riff tearing out and vocals coming in and out of the songs whenever the band feels like it, especially on second track Acari which has a massive sounding and brooding intro that lasts for almost half the song before the huge riffs and the vocals kick in. The vocals of frontman Michael Andresakis (who is also the bands guitarist and responsible for the riffs) veer between a low slung growl and a soaring bellow that is reminiscent of Soundgarden's Chris Cornell.

The Green Yeti rhythm section of bassist Danis Avramidis and drummer Fotis Antoniou hold down the groove on The Yeti Has Landed with consummate ease, with the bass sounding particularly powerful and menacing throughout the album especially when the low-end pounds throughout the mammoth sounding Acari and the albums masterpiece, the sprawling Old Man, a journey of a song with many twists and turns from a riff led opening that will get your head banging to a slower and groovier mid paced section where the Cornell-esque anthemic vocals soar powerfully and that low-end really kicks in and finally an electric and eclectic conclusion with an evil Sabbath sounding riff, this track has it all and flies by despite its vast length.

When The Yeti Has Landed's brilliant final track, the more mournful and feedback shrouded Uppervols has rung out its last notes, the feeling of epicness is felt throughout and you when you start to piece together what you have just heard, you will want to experience the epic journey again right from the start.

Words by Gavin Brown

Links:

Facebook | BandCamp | Twitter

Interview with Clayton Anderson from BEASTWARS

I've been a fan of New Zealand Riffsters – BEASTWARS – ever since they released their incredible debut album back in 2011. It showed the Sludge/Stoner Metal world that a great new band has risen with huge gigantic riffs and intelligent lyrics to match.

In 2013, they shot further into the Sludge/Stoner Metal ascendency with their 2^nd album – Blood Becomes Fire. I rate that album as my fave album of 2013 when I was The Sludgelord. BEASTWARS have a fearsome and an electrifying reputation in the live arena which has seen them perform gigs with Mastdon, High On Fire, Red Fang and The Sword amongst others.

The band will be releasing their 3^rd album – The Death Of All Things – on April 22^nd 2016. I'm pleased to report that BEASTWARS may have released their finest album to date. As the guys have opted for a more progressive feel with hard-hitting riffs and lyrics to match. Matt's vocals are more focused and pissed off than ever before.

I was given the chance to discuss with Clayton Anderson (Guitars) about the past, present and future of BEASTWARS and this is what went down....

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

Great, thanks. We just got back from playing a couple of shows in Aussie (Sydney and Melbourne), which went down really well.

So lets get straight down to business. Your new album – The Death Of All Things. A brilliant album if I do say so myself. What can people expect from the album:

Thanks man! If you’re familiar with our last two albums you can expect the usual Beastwars riffage but I suppose some things that might stand out are some of the songs are longer and have feel changes in them - so what you hear at the end of the song is totally different to how it started.

There is maybe more melody in the vocals and guitars - instead of multi-track rhythm guitars pummelling you - we have guitars doing soaring melodies while James’ bass is still providing that identifiable slab of sludge, rhythmic backbone. We wanted to create more space on this album, so it’s not all a continuous guitar and vocal assault - on some of our tracks there are parts where it’s just drums, bass and vocals while the guitar is noticeably silent or just feeding back.

We tried things that we probably wouldn’t have on the first two albums, well, definitely the first. One song, which Nato and Matt wrote, is just Nato playing an acoustic guitar with Matt singing, not roaring but singing. That’s something we definitely wouldn’t have been game enough to do on the previous albums.

The album has a different sound compared to your first two albums. Was that the plan todo something different with this album. It has more of a progressive feel and Matt's vocals are more focused:

With the vocals, Matt wanted people to hear his lyrics and all their intensity. Apart from having a unique roaring voice, he has actually got a really diverse range. We tracked the album in our home town, Wellington. The previous two albums were recorded in Dunedin.

This time we tracked with James Goldsmith at his Blue Barn studio. It has this beautiful big room, like a barn (hence the name) with a wooden beamed high ceiling. James got a fantastic sound out of Nato’s drums, which were tracked first, and when we listened to them back, it was then we knew that we were going to get something different but great.

The other major contribution to this record’s sound is that it was mixed and mastered by different people than the first two albums. Both Andrew Schneider and Brad Boatright did an amazing job and added unique touches that, in some songs, we wouldn’t have thought of.

The album feels slightly more political as well especially on songs such as Devils Of Last Night, Witches and Black Days. What made you go down this route with the new record. It seems your mega-pissed off at the world:

We’ve always had this underlying aggression and pissed-offness at the state of the world, which comes out in our music. It’s pretty obvious the world is going to hell in a hand basket thanks to the world’s politicians, religious leaders and the banksters, who I loath and wish to see hanging from Wall Street’s lamp posts some day. But the way things are going it doesn’t look like things are going to get any better.. maybe when, as a society, we can get our collective heads out of our cellphones and stop worrying about what the Kardashians are wearing or who Kanye is dissing, things might take a change for the better. 

Did you do anything differently recording this album compared to your other albums. Was it an easier or harder album to write and record for:

I’d say harder due to a few things. First, we wanted to make something that sounded different than the last two albums so it took a while and a bit of experimentation to work through stuff. Also, we weren’t getting together jamming as much as we use to. Nato was spending a bit of time up in Auckland because of his work and we all had other commitments at different times.

It was only two years between the release of our self-titled album and our second, Blood Becomes Fire. It took us over two years to get back into the studio to record The Death Of All Things. During a lot of that time the band’s focus was on establishing ourselves in Australia, so we were touring there a lot and getting new fans familiar with the first two albums.

I've read that this is the last album in the trilogy started off with your self-titled album and could be the last album you guys will be recording. Is this true. I know with Nathan moving to London soon will make things harder for BeastWars to perform and record. Is this the end for BeastWars as we know it:

The Beast will never die! I suppose you could say this is the last album of our trilogy. We always set out to do three albums that had unified themes - and with that goes the like of having Nick Keller do the artwork etc. We wanted to make three albums that we would be proud of and stood up to our own expectations, which thankfully, they have.

Nato is shifting to London, which means we won’t be touring as much, and writing new material may be put on the back burner to start off with. But, to look on the bright side, Nato is the band’s manager and having him over in London might open up other doors of possibility. 

Before Nathan moves over to the UK. Will you be touring this record heavily at home or abroad:

Yes - in New Zealand and Australia.. so far. But, as I said in my previous answer, with Nato shifting to London, other possibilities might eventuate.

I consider The Death Of All Things as your finest record to date. It's more personal and takes more risks than the first two albums. And you know I love your first two records. Do you feel this is your best album yet:

Yes, and, pretty much because of the reasons you’ve outlined in your question - it’s personal and it takes more risks. We could’ve played it safe and provided another album full of sludgy dense riffs but we’ve chosen to stick our necks out - with the possibility of them getting the chop! Who knows, some old school fans might not like it because it’s a bit different. Although, there are songs on our previous two albums that I think have elements of where we ended up with this album. Tracks like The Sleeper on Blood Becomes Fire and Iron Wolf on our self-titled first album, hark to the kind of experimentation with tracks on The Death Of All Things.

What inspired you when writing the album as you have included some bleak lyrics at times:

A lot of what’s happening now in the world and how it seems to be a repeat of follies from the past. We never seem to learn.

Your releasing the album yourselves like you did with your previous albums. I know a lot of people are looking forward to the vinyl release. You know that's going to sell out straight away. Does that make you proud that you have a dedicated fan-base wanting to buy the album on vinyl straight away that it sells out:

It would be great if the vinyl sells out straight away but you never know, so I don’t want jinx things by presuming it will!.. but if it does, we’ll be buzzing. A lot of effort has gone into this, especially because we are our own record label, which means a lot of extra work (mainly for Nato). We have a special place in our hearts for vinyl - it’s more than music, it’s like buying a piece of art - so to see so many people have that same appreciation for something you’ve made is one of the biggest buzzes anyone can ever have.

After the success of the last record, did you have any offers from record labels to release your new album or previous albums to a wider market. Or do you strictly want to be solely independent:

We have, but to cut a long story short, it was better for us to do it ourselves. We have all artistic and business control, and in the end, we only have ourselves to blame if the record doesn’t do as well as we would like.

One of my fave songs on the album is not even the heaviest – The Devil Took Her. Such a beautifully written song and haunting lyrics. That song felt like it could have been used from a classic New Zealand movie. Why did you include that song on the album as it's perhaps your most personal song:

I probably won’t be able to give you the best answer as I didn’t write or play on it. It was a guitar piece that Nato had come up with - we initially had ideas of having these guitar interludes in between songs but it was blowing the time out on the album. Matt wrote the lyrics after reflecting on a disastrous evening with disastrous results, which really affected him for months after.. but that’s all I can really say as they are his lyrics.

If this is the final album from BeastWars. Looking back over your musical career, would you change anything about the musical journey you've been on so far. Good or Bad.

We don’t know if this will be the last and we aren’t announcing any break-up or retirement but things are up in the air at the moment because of Nato shifting to London. I can’t speak for the rest of the guys but it’s a shame we haven’t got to Europe or the US but things just haven’t worked in our favour yet for that to happen. There’s a variety of reasons for this, which I won’t bore you with, lets just say we’re not in our twenties with no responsibilities. We have boring - not very rock n roll - reasons like families, day jobs and mortgages.

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

Thanks for digging our music - we hope you enjoy the album as much as we enjoyed making it.. and.. Obey The Riff!

All the best with the new album. It's your best work yet. Best of luck with your future endeavors. Hopefully we will hear more of your great music in the years to come.

Thanks!

Words by Steve Howe and Clayton Anderson

Thanks to Richard at Sheltererd Life PR for arranging this interview. Thanks to Clayton for taking the time out to talking to us. The Death Of All Things will be released on CD/DD/Vinyl from BEASTWARS on April 22^nd 2016.

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