Tag Archives: Electric Wizard

ELECTRIC WIZARD: Follow Up to “Time to Die” Due for a Halloween 2016 Release

Electric Wizard 2016

Spinefarm Records are aware that free and wild cult leaders, ELECTRIC WIZARD, are working on their ninth studio album, with delivery expected in time for a Halloween 2016 release.
This is all the information available. The whereabouts of the band and the recording / mixing details are not currently known, but more news should follow in due course…
This new offering will be the follow-up to 2014’s ‘Time to Die’ – which can be purchased HERE– and will be the second release on the band’s‘Witchfinder Records’ imprint, the result of a worldwide deal withSpinefarm Records.
‘Time to Die’ effectively closed the lid on a particular part of the band’s career, and this new album will represent a fresh turn of the turf…
Until that time, get your fix of pure evil at one of these live performances:-
08/26/16 – Psycho Las Vegas, Las Vegas, US
EW recently headlined ‘Desertfest’ in both Berlin and London, finishing off the festivals (and the attendees’ ear drums) with the sort of performances that have made them the true gate-keepers of UK metal’s great & glorious traditions.
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Skraeckoedlan – Sagor

Skraeckoedlan - Sagor

Skraeckoedlan [Sweden]
Sagor
2015
Full Length
Razzia Records
Psychedelic Stoner/Doom Metal

My current run of infatuation with the stoner/doom metal genre has resulted in me discovering bands that I would have otherwise not have heard of, including those with such exotic names as SkraeckoedlanSagor is the Swedish fuzz-rock’s sophomore full length album, and in my quest to find more atmospheric/ambient, the artwork on the album certainly catches my eye.

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Album Review: Riti Occulti – Secta

Riti Occulti - Secta

Riti Occulti [Italy]
Secta
2013
Full Length
Epidemie Records
Black/Stoner/Doom Metal

Since encountering Riti Occulti on their 2012 eponymous debut album, I have been rather fascinated with the band and their concept, not only through the fact that they make use of no guitars and multiple vocalists, but also in the output that they produce through this rather unique lineup. This year marks the return of the band with their sophomore full length album, Secta, and despite it being only 2 years, as one would easily notice, Secta marks a tremendous growth of the band compared to their 2012 debut.

Kicking off with the operatic Nigredo, the band sets a stage that is dark and haunting for the listeners, before going into Plumbum, with a soundscape that is rather epic and atmospheric, not unlike that of ambient black metal bands such as Summoning with the simplistic yet majestic drumming of Ivano. The usage of the saxophones on the track even give it a slight Ihsahn feel, combined with the slow pace and the emotions that are roused in the listener.

Soon enough though, it is business as usual for the band as one is treated to a nice combination of black, stoner and doom metal. The foundation of Riti Occulti‘s style is clear, and draws inspiration from bands such as Electric Wizard, down to the original doom stylistics of bands like Black Sabbath and Saint Vitus, but they have included over here some other elements to make their sound stand out from the plethora of stoner/doom releases that are not flooding the scene. There is the synths of Sara who shrouds the record in a constant fog of mystery, and the bass of Niccolo, which is probably the main driver of the record considering the lack of guitars on the album. A good choice though, with the low-end growl of the instrument ensuring that one is constantly left gasping for air.

The vocals are the personal highlights on the album, and rather than being just a means of lyric-delivery, the band makes clever use of the vocal duo to reinforce the entire listening experience of Secta. Elisabetta provides the clean, female vocals on the album, and she provides some of the haunting effects, seemingly drifting in and out of the album like a ghost wandering aimlessly in an abandoned chapel. This is complemented by the growls/screams of Serena, pushing the limits of one’s sanity with the disturbance that the duo manage to conjure.

Too bad this album was only discovered recently, but with the quality and the mastery of the music that Riti Occulti has written on their sophomore, Secta could have very well been my personal stoner/doom metal record of last year.

[xrr rating=5/5]

Riti Occulti on the internet:
Official website
Facebook
SoundCloud
Epidemie Records

ELECTRIC WIZARD: ‘Time To Die’ Album Artwork Unveiled

Reposted from Blabbermouth.net

Visually intoxicating, uncompromisingly heavy and revered for making music and lifestyle one, ELECTRIC WIZARD will release its eighth full-length album, “Time To Die”, later in the year via Spinefarm Records.

Says ELECTRIC WIZARD founding member Jus Oborn: “All of our albums in the past have had a theme — revenge, drugs, black magick — and the theme of this one is death. Of course, death to us really means rebirth, so this album is a manifestation of a very primal occult belief in the final sacrifice.

“We have gone full circle — it was inevitable, but we had to do it. We had to kill the band so we could be reborn. It was the only way to ensure we could come back even stronger.”

The artwork, once again created by Oborn, is an extension of that theme; this is further solidified by the LP gatefold image, which will be revealed soon.

Formed by vocalist/guitarist Jus Oborn in 1993, ELECTRIC WIZARD — based in the U.K.’s South-West — has thus far released seven studio albums — an increasingly influential body of work recorded on vintage analogue gear with as little technology as possible intruding on the signal (“Pro Tools is for pussies!”).

Result: some of the heaviest, dirtiest, most evil-sounding audio ever put to tape, and more importantly to vinyl, with both “Come My Fanatics” (1997) and “Dopethrone” (2000) being lauded as landmark releases.

A cultural as well as a musical force, ELECTRIC WIZARD has left an indelible mark on a host of different genres, the likes of doom, stoner and sludge; at heart, however, they stand as an iconic British metal band, cast in the great tradition, with lyrics and artwork reflecting the hypnotic weight of the music, and subject to the same intelligence and detail.

Wreathed in occult ritual and drug-culture references, with classic ’70s horror an inspirational seam, ELECTRIC WIZARD is poised to turn a page; there’s the new deal with Spinefarm Records, plus — after a nine-year hiatus — the return of Mark Greening (the drummer on “Dopethrone”), who completes the lineup of Oborn, American guitarist Liz Buckingham, a key member since 2003, and new bassist Clayton Burgess (SATAN’S SATYRS).

Fueled by strong emotion and the harder sounds of late-’60s Detroit, the remodeled lineup — isolated by choice, giant stacks glowing red — set about crafting an eighth studio album to both rival and exceed the milestone recordings of the past, with Buckingham keeping things suitably monolithic and the band generally looking back to some of their earliest influences.

Toerag Studios in London was once again charged with capturing “The Sound,” and (encouragingly) words like “raw”, “hateful” and “sickeningly heavy” are being traded.

ELECTRIC WIZARD is:

Jus Oborn – Lead Vocals, Guitar
Liz Buckingham – Guitar
Mark Greening – Drums, Percussion
Clayton Burgess – Bass


Read more at http://www.blabbermouth.net/news/electric-wizard-time-to-die-album-artwork-unveiled/#6hlQdYblQSVmfETC.99

ELECTRIC WIZARD - Time to Die

ELECTRIC WIZARD Signs With SPINEFARM RECORDS

Reposted from Blabbermouth.net

Visually intoxicating, uncompromisingly heavy and revered for making music and lifestyle one, ELECTRIC WIZARD has completed work on its new studio album, title to be confirmed; the effort will be the band’s first release through Spinefarm Records.

Formed by vocalist/guitarist Jus Oborn in 1993, ELECTRIC WIZARD — based in the U.K.’s South-West — has thus far released seven studio albums — an increasingly influential body of work recorded on vintage analogue gear with as little technology as possible intruding on the signal (“Pro Tools is for pussies!”).

Result: some of the heaviest, dirtiest, most evil-sounding audio ever put to tape, and more importantly to vinyl, with both “Come My Fanatics” (1997) and “Dopethrone” (2000) being lauded as landmark releases.

A cultural as well as a musical force, ELECTRIC WIZARD has left an indelible mark on a host of different genres, the likes of doom, stoner and sludge; at heart, however, they stand as an iconic British metal band, cast in the great tradition, with lyrics and artwork reflecting the hypnotic weight of the music, and subject to the same intelligence and detail.

Wreathed in occult ritual and drug-culture references, with classic ’70s horror an inspirational seam, ELECTRIC WIZARD is poised to turn a page; there’s the new deal with Spinefarm Records, plus — after a nine-year hiatus — the return of Mark Greening (the drummer on “Dopethrone”), who completes the lineup of Oborn, American guitarist Liz Buckingham, a key member since 2003, and new bassist Clayton Burgess (SATAN’S SATYRS).

Fueled by strong emotion and the harder sounds of late-’60s Detroit, the remodeled lineup — isolated by choice, giant stacks glowing red — set about crafting an eighth studio album to both rival and exceed the milestone recordings of the past, with Buckingham keeping things suitably monolithic and the band generally looking back to some of their earliest influences.

Toerag Studios in London was once again charged with capturing “The Sound,” and (encouragingly) words like “raw”, “hateful” and “sickeningly heavy” are being traded.

Says Oborn: “Our master plan is this. Real metal!! We stand for rebellion, we are with the kids; we fight, puke, smoke weed, etc…

ELECTRIC WIZARD is an entity, with its own history, its own symbols, its own iconography, and with this new album, we wanted to return to basic values. It’s primitive. We needed to claw it back down to the evil core — sex, drugs, violence, revolution… to go back to being a band that hung out and jammed hard. No teaching songs, just feeling them out.

“If you jam enough and you are on the same level — artistically, musically, whatever, you gotta be committed — then good music will happen. I totally believe that…”

ELECTRIC WIZARD is:

Jus Oborn – Lead Vocals, Guitar
Liz Buckingham – Guitar
Mark Greening – Drums, Percussion
Clayton Burgess – Bass


Read more at http://www.blabbermouth.net/news/electric-wizard-signs-with-spinefarm-records/#acwRF5rQvTKcuWrJ.99

Electric Wizard 2014

Album Review: Graves at Sea – This Place is Poison

Graves at Sea - This Place is Poison

Graves at Sea [USA]
This Place is Poison
2014
EP
Eolian Empire
Sludge/Doom Metal

Since sludge metallers Graves at Sea returned in 2012, they have been hard at work, with two releases already lined up for this year, including their brand new EP, This Place is Poison. With my interest in always finding new sludge and stoner bands to listen to, as well as the inclusion of Black Sabbath‘s Orchid/Lord of This World (which happen to come off my personal favourite Sabbath release), Graves at Sea has certainly got me curious.

The crushing riffs of Nick right from the start of This Place is Poison, along with that gloomy outlook that Graves at Sea has quickly reminds one of the dark arts of bands such as Electric Wizard, along with that slow pace of the band’s music. At the same time, the band includes some rather groovy moments on their track a well, giving This Place is Poison a stoner/doom feel, not unlike acts such as Dopethrone and Acid King, with that slight psychedelia that is invoked on the album.

Personally though, it is the second track on This Place is Poison that I was looking forward to: a reinterpretation of Black Sabbath‘s Orchid/Lord of this World. The track was included on Cvlt Nation as one of the contributions to a tribute to Sabbath‘s Master of Reality (which is available for free streaming/download here). While I liked Primitive Man, their cover of Sweet Leaf failed to capture me, being much too different from the original and too… Droney? So it was interesting to find out how Graves at Sea was gonna do Orchid/Lord of this World, and considering by enjoyment of This Place is Poison so far, chances are high that they won’t disappoint.

Fortunately they don’t, and while the first few minutes were spent conjuring up a vibe as negative and as hostile as possible, things start to get recognisable soon enough. While Master of Reality may be the album that gave rise to/popularised the stoner genre as we know it today, Graves at Sea takes things a notch heavier and groovier, resulting in a cover that has it’s own distinctive flavour, yet still recognisable as a Sabbath track.

This Place is Poison has been an extremely impressive comeback release for Graves at Sea, and with the band’s new split with Sourvein, things are certainly looking up for the band, and for fans of the genre.

[xrr rating=5/5]

Graves at Sea on the internet:
Facebook
MySpace
Eolian Empire

Album Review: Druglord – Enter Venus

Druglord - Enter Venus

Druglord [USA]
Enter Venus
2014
Full Length
STB Records
Stoner/Doom Metal

It’s been two years since I last heard from Druglord, and this year the band is finally back with their debut full length album, Enter Venus. With the high quality stoner/doom that was presented on their debut EP, the aptly titled Motherfucker Rising, one would almost expect another fist int he face with Enter Venus.

The three-piece band hits the listener hard, and right from the opening track Grievous Healing, the band doesn’t hold back in putting out some of the most bone-shattering music, as Greta and Tommy ensuring that the riffs that they unleash are as crushing as possible, and Bobby’s drumming, while far from being fast paced or energetic, help to add on to the impact of their music as he punishes the skins relentlessly with each hit. Like on Motherfucker Rising, one is quickly reminded of stoner/doom bands such as Electric Wizard, as well as legends like Sleep or Cathedral on their earlier material, with that combination of the doom of bands like Saint Vitus and that ever so slight groovy touch. The lead guitars even have a slight Southern touch to them.

But the thing that sets Enter Venus apart from what they have presented on Motherfucker Rising is in how they have managed to expand the sound that they have presented before. I’m not sure what it is, but Enter Venus sounds extremely huge, and the production on the album ensures that one is constantly buried beneath a wall of sound.

Despite the band’s debut full length being only a mere 4 tracks, the experience that Druglord has written into Enter Venus is more than sufficient to leave a lasting impact on the listener.

Druglord on the internet:
Facebook
BandCamp
STB Records