Metal – Page 15 – 7th Level Music

The Well unleash “This Is How (the World Ends)” from their new album, “Death and Consolation,” our next week.

“Their most intimate, darkly personal record yet… Taking them out of the doom corner and giving it a raw, post-punk feel. “Raven” sounds like a Satanic, downtuned Steppenwolf, and frankly we can’t get enough.” — Kerrang!

“An intoxicating mix of stoner metal and occultist rock — it’s dark n’ doomy, sure, but it’s also as catchy as fly paper coated in industrial strength glue.” — Metal Sucks

Austin trio The Well share a new track from their forthcoming third album Death and Consolation via Metal Injection. Hear and share “This Is How The World Ends” HERE.

Kerrang Magazine also recently launched lead single “Raven” HERE. Metal Sucks hosted the crushing album opener “Sabbah” HERE.

Death and Consolation is without a doubt a weighty album title, and The Well is among the heaviest heavy psych bands in existence. So when we say that there’s even more darkness and intensity to the band’s third album than previous efforts, take heed. It’s a deep sea diving bell of enveloping heaviness and longing. “This one is a little more personal,” says guitarist/vocalist Ian Graham. “2018 was a strange, dark year. A lot of change going on in my life, there was a lot of depression and coming out of it over the last year. I wanted to call this Death and Consolation, because in life that’s a constant.”

While The Well continue to walk an intriguing line between authentic early 70s doom/heavy psych and frayed weirdness of dark folk – especially with their haunting unison male/female vocals – the new album also adds the stark vibe of post-punk acts like Joy Division and early The Cure. “I feel like this album is almost more gothic. We’re big fans of post-punk,” Graham says. There’s also much less jamming, the songs are tight and concise. And, did we mention, heavy? The band tuned down a full step to C-standard tuning for this album, which gives the proceedings its monstrous sound. Sonically, Death and Consolation picks up where The Well — Graham, bassist/vocalist Lisa Alley and drummer Jason Sullivan — left off with their widely heralded 2016 RidingEasy album Pagan Science.

The band once again recorded with longtime producer/engineer Chico Jones at Estuary Studio in 2018, who has turned the knobs for all three of their albums (Jones engineered the band’s debut album Samsara with producer Mark Deutrom [Melvins, Sunn0)))] in 2013.) Samsara, released late September 2014 was ranked the #1 debut album of 2014 by The Obelisk and Pagan Science among the Best of 2016 from the Doom Charts collective. Likewise, the band’s intense — some even say “possessed” — live performances have earned them featured slots at Austin’s Levitation Fest, as well as tours with Kadavar, All Them Witches, Black Tusk and more. “This album might be a little less produced, because I didn’t want to push technical stuff as much,” Graham says. “I’m so scared of getting too complicated when getting better at guitar. This is still kind of punk rock.”

Death and Consolation will be available on LP, CD and download on April 26th, 2019 via RidingEasy Records. Pre-orders are available HERE.

THE WELL TOUR 2019: 04/24 Dallas, TX @ Club Dada * 04/25 Austin, TX @ Barracuda * – album release party 04/27 Austin, TX @ Independence Brewery 04/28 Austin, TX @ Waterloo Records 04/29 San Antonio, TX @ Paper Tiger 05/01 Omaha, NE @ Slowdown * 05/02 Denver, CO @ Hi-Dive * 05/03 Phoenix, AZ @ Yucca Tap Room 05/04 Los Angeles, CA @ House of Machines 05/05 Long Beach, CA @ Alex’s Bar 05/06 Sacramento, CA @ Blue Lamp 05/07 Nevada City, CA @ Cooper’s 05/08 San Francisco, CA @ Elbo Room 05/09 Portland, OR @ High Water Mark 05/10 Seattle, WA @ Substation 05/11 Vancouver, BC @ Static Jupiter 05/12 Calgary, AB @ Palomino 05/13 Edmonton, AB @ Temple 05/14 Winnipeg, MB @ The Windsor 05/15 Minneapolis, MN @ Cabooze 05/16 Des Moines, IA @ Vaudeville Mews 05/17 Colorado Springs, CO @ Triple Nickle 05/18 Taos, NM @ Monolith on the Mesa Fest 05/19 El Paso, TX @ Monarch * w/ Monolord

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Blackwater Holylight’s new album due this October.

File this under: Best News You’ve Read Today.

Doom / psych / goth rock band Blackwater Holylight announced they’re in the process of recording a new album due this October. Their self-titled debut album was one of my favorite debut records of 2018.

They’re also embarking on a European tour after a couple dates in the western U.S., so catch them if you can. I hope these ladies hit Austin’s Levitation festival in the fall.

BLACKWATER HOLYLIGHT LIVE: 04/16 Portland, OR @ Doug Fir Lounge w/ R.I.P. 04/20 Los Angeles, CA @ Psycho Smokeout Festival 04/26 Linz, AT @ Stadtwerkstatt 05/01 Bristol, UK @ The Lanes 05/02 Newcastle, UK @ Trillans 05/03 London, UK @ DesertFest 05/04 Liege, BE @ La Zone 05/05 Berlin, DE @ DesertFest 05/08 Malmo, SE @ Plan B 05/09 Stockholm, SE @ Undergangen 05/10 Gothenburg, SE W Truckstop Alaska 05/11 Esbjerg, DK @ Esbjerg Fuzzfestival 05/13 Oldenburg, DE @ MTS LP Store 05/14 Berlin, DE @ Zukunft 05/15 Vienna, AT @ Aerena Beisl 05/16 Olten, CH @ Coq’D’or 05/17 Innsbruck, AT @ PMK

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The Well release “The Raven” ahead of full album due April 26th.

Austin trio The Well announce their forthcoming third album Death and Consolation today, sharing the first single via Kerrang Magazine.

Death and Consolation is without a doubt a weighty album title. And, The Well is among the heaviest heavy psych bands in existence. So when we say that there’s even more darkness and intensity to the band’s third album than previous efforts, take heed. It’s a deep sea diving bell of enveloping heaviness and longing.

“This one is a little more personal,” says guitarist/vocalist Ian Graham. “2018 was a strange, dark year. A lot of change going on in my life, there was a lot of depression and coming out of it over the last year. I wanted to call this Death and Consolation, because in life that’s a constant.”
While The Well continue to walk an intriguing line between authentic early 70s doom/heavy psych and frayed weirdness of dark folk – especially with their haunting unison male/female vocals – the new album also adds the stark vibe of post-punk acts like Joy Division and early The Cure. “I feel like this album is almost more gothic. We’re big fans of post-punk,” Graham says. There’s also much less jamming, the songs are tight and concise. And, did we mention, heavy? The band tuned down a full step to C-standard tuning for this album, which gives the proceedings its monstrous sound.

Sonically, Death and Consolation picks up where The Well — Graham, bassist/vocalist Lisa Alley and drummer Jason Sullivan — left off with their widely heralded 2016 RidingEasy album Pagan Science. The band once again recorded with longtime producer/engineer Chico Jones at Estuary Studio in 2018, who has turned the knobs for all three of their albums (Jones engineered the band’s debut album Samsara with producer Mark Deutrom [Melvins, Sunn0)))] in 2013.) Samsara, released late September 2014 was ranked the #1 debut album of 2014 by The Obelisk and Pagan Science among the Best of 2016 from the Doom Charts collective. Likewise, the band’s intense — some even say “possessed” — live performances have earned them featured slots at Austin’s Levitation Fest, as well as tours with Kadavar, All Them Witches, Black Tusk and more.

“This album might be a little less produced, because I didn’t want to push technical stuff as much,” Graham says. “I’m so scared of getting too complicated when getting better at guitar. This is still kind of punk rock.”

Death and Consolation will be available on LP, CD and download on April 26th, 2019 via RidingEasy Records.

THE WELL TOUR 2019: 03/01 – Austin, TX @ Hotel Vegas 04/12 – Lafayette, LA @ Freetown Boom Boom Room 04/13 – Cypress Creek, LA @ Fête du Void Festival 04/24 – Dallas, TX @ Club Dada* 04/25 – Austin, TX @ Barracuda* 05/01 – Omaha, NE @ Slowdown* 05/02 – Denver, CO @ Hi-Dive* 05/03 – Phoenix, AZ @ Yucca Tap Room 05/04 – Sacramento, CA @ Blue Lamp 05/09 – Portland, OR @ High Water Mark 05/10 – Seattle, WA @ Substation05/12 – Calgary, AB @ Palomino 05/13 – Edmonton, AB @ Temple 05/14 – Winnipeg, MB @ The Windsor 05/18 – Taos, NM @ Monolith on the Mesa Fest 05/19 – El Paso, TX @ Monarch
* w/ Monolord

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“Brown Acid: The Eighth Trip” – a collection of rare 60’s and 70’s metal and hard rock – is coming, when else, on April 20th.

“So rare that diehard fuzz junkies say you’d have a better chance of winning the lottery than finding a physical 45 rpm single by one of the bands featured on their latest installment.” — Dangerous Minds

“Will do for hard rock, proto-metal and heavy psych what Nuggets did for garage rock, and bring it to a wider audience of collectors and music fans.” — The Guardian

The forthcoming eighth edition of the popular compilation series featuring long-lost vintage 60s-70s proto-metal and stoner rock singles, Brown Acid: The Eighth Trip is set for release, fittingly, on April 20th, 2019.

The Brown Acid series is curated by L.A. label RidingEasy Records and retailer/label Permanent Records.

About Brown Acid: The Eighth Trip: This Trip comes straight at ya with an all out attack, quite literally. The residents of St. Clair Shores should consider themselves lucky to have been so close to the greatness of Attack! “School Daze” kicks out the jams Detroit-style, but has enough flair and style to have our main man Jimi rolling over in his grave. Another prime example of why Detroit is known as Rock City!

Speaking of rock, White Rock will knock your stank-ass socks off with their 1972 burner “Please Don’t Run Away”. This 45 was privately released by this Houston-based band that reportedly played shows with Josefus, Stone Axe, and Purple Sun. And it was basically unknown until it surfaced at the Austin Record Convention in 2018! The fact that there are still completely unknown records out there to be discovered never ceases to amaze us.

They don’t say “Don’t Mess With Texas” for nothin’! Riverside called Austin home way before anyone was worried about keeping it weird. This two-sider from 1974 rips from front to back. It’s also exclusively available here and is virtually unknown. Go ahead, try to look for it anywhere. Currently, there’s no proof anywhere online that it exists.

From our neighbor up north, we bring you Luke and the Apostles! Don’t be fooled by the name, this ain’t no Xian group, even though this 45 is of biblical proportions.The flip of this single “You Make Me High” is a Faces-esque ballad of the highest caliber that will move you to tears if you’re not careful with it, but “Not Far Off” isn’t about moving you emotionally; it’s about moving you physically. Fuck jam? We think so. The Doors and Elektra Records’ producer Paul Rothchild called the Luke and the Apostles LP the “greatest album [he] never got to make”.

The lyrics to this 1977 single on Vacation Records are about as boneheaded as it gets. Hard rock songs from working class men about working hard and letting loose is a common theme in the Brown Acid realm, and “I Need My Music” by Mine Hill, New Jersey’s Tourists, is yet another great one to get you through the work week. I think we can all agree: we need our music too…among other things!

Ohio strikes again. This time a bit later than the other Buckeye State singles we’ve comped, but no less bangin’! On the Chance record label, the Bartos Brothers Band is billed as Gambler, but post-release, the band covered at least some of the copies with stickers that corrected this. There’s very little information about the Bartos Brothers Band online, and as of this writing, the release date is incorrect on Discogs and the Popsike hit very wrongly lists the genre as “Glam/Hair Metal” from the 1980s. We’re stoked to be compiling this single for the first time ever and to be setting the record straight.

And yet again, Ohio brings the thunder! We brought you the B-side of Inside Experience‘s sole 45 back on the Third Trip and now we exhaust the band’s output by presenting their especially psychedelic cover of Cream‘s “Tales of Brave Ulysses”. The band pressed and sold out of 500 copies of this record back in 1968 thanks to some airplay on Detroit’s CKLW, but they never recorded again. However, Inside Experience’s lead guitarist and singer, Marty Soski, went on to play in Lance (as heard on the Fifth Trip) and two metal bands which you will be hearing sooner than later…

Karma, slightly better known as The Contents Are, released an LP and a 45 in 1967 and then followed up with their swan song “New Mexico” in 1969. The single was oddly released under Karma on the Onk Enterprizez label with “N.S.U.” as the B-side and on Rok Records as the flip to “Future Days” as The Contents Are. Apparently, Mercury Records bought the rights to the Rok 45 with the intention to release it nationally, but never actually got around to it. Their loss!

Obviously we don’t need to go into how much great music Memphis, Tennessee has brought us over the years, but Moloch doesn’t usually get mentioned when we’re talking about the “Home of the Blues” and the “Birthplace of Rock and Roll.” Maybe we should change that. Moloch played with The MC5 and The Stoogesand recorded an LP in 1969 for the Stax subsidiary, Enterprise Records. Although the band made a great blues rock record, it sadly didn’t get the love it deserved and the band folded. Moloch guitarist, Lee Baker, reformed the band with a slightly different line-up and released this 45 in 1972 against great odds. It too was unfairly overlooked…until now.

While we’re still talking about Memphis, y’all ever heard of this guy, Elvis Presley? Apparently, he was kind of a big deal and popularized a song called “Heartbreak Hotel” back in 1956. That’s cool and all, but damn us if we don’t dig Grump‘s 1969 take on the song a whole hell of a lot more than the King’s version. Maybe that’s sacrilege, but nothing’s sacred when it comes to Brown Acid.

About the Brown Acid series: Some of the best thrills of the Internet music revolution is the ability to find extremely rare music with great ease. But even with such vast archives to draw from, quite a lot of great songs have gone undiscovered for nearly half a century — particularly in genres that lacked hifalutin arty pretense. Previously, only the most extremely dedicated and passionate record collectors had the stamina and prowess to hunt down long forgotten wonders in dusty record bins — often hoarding them in private collections, or selling at ridiculous collector’s prices. Legendary compilations like Nuggets, Pebbles, ad nauseum, have exhausted the mines of early garage rock and proto-punk, keeping alive a large cross-section of underground ephemera. However, few have delved into and expertly archived the wealth of proto-metal, pre-stoner rock tracks collected on Brown Acid.

Lance Barresi, co-owner of L.A./Chicago retailer Permanent Records has shown incredible persistence in tracking down a stellar collection of rare singles from the 60s and 70s for the growing compilation series. Partnered with Daniel Hall of RidingEasy Records, the two have assembled a selection of songs that’s hard to believe have remained unheard for so long.

“I essentially go through hell and high water just to find these records,” Barresi says. “Once I find a record worthy of tracking, I begin the (sometimes) extremely arduous process of contacting the band members and encouraging them to take part. Daniel and I agree that licensing all the tracks we’re using forBrown Acid is best for everyone involved,” rather than simply bootlegging the tracks. When all of the bands and labels haven’t existed for 30-40 years or more, tracking down the creators gives all of these tunes a real second chance at success.
“There’s a long list of songs that we’d love to include,” Barresi says. “But we just can’t track the bands down. I like the idea that Brown Acid is getting so much attention, so people might reach out to us.”

Brown Acid: The Eighth Trip will be available everywhere on LP, CD and download on April 20th, 2019 via RidingEasy Records. Pre-orders are available for digital (with immediate download of the first single) at Bandcamp, physical pre-orders at RidingEasy Records.

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Warish covers Coloured Balls’ “Human Being” on upcoming EP.

“Sludgy garage punk with truly evil vocals that are coated in just the right amount of distortion and echo. Come for the rowdy punk, stay for the slowed-down Sabbathy bridge.” — Brooklyn Vegan

“Warish totally rules… An awesome mixture of punk energy, biker rock fuzz, and grunge growl.” — Kerrang!

Hear and share Warish‘s cover of “Human Being” by Lobby Loyde’s cult Australian band Coloured Balls HERE.

Imagine if Incesticide era Nirvana were crossed with Static Age era Misfits. You’d have sinister low budget horror rock with a visceral, twisted weirdness and bludgeoning riffs. Some might call it nightmarish, we call it Warish.

Warish is a very newly minted SoCal trio formed in early 2018 that has wasted no time making its presence known. The band formed when guitarist/vocalist and pro-skater Riley Hawk (son of skating legend Tony Hawk) and drummer Bruce McDonnell decided they wanted to try their hand at something more distinct than they’d done previously.

“We wanted to do simpler riffs and a fun live show,” Riley explains. “A little more punk, a little bit of grunge… a little evil-ish.”

Their sound takes cues from a variety of cool underground sounds and twists it all into an energetic and exciting fist to the face of dark fury. Hawk’s effect-laden vocals hearken to early Butthole Surfers and David Yow’s tortured caterwaul in Scratch Acid. The guitars are heavy and powerful, though decidedly not straightforward cookie cutter punk; more like Cobain’s and Buzz Osbourne’s wiry contortions. The rhythms bash and pummel right through it all with aggressive force ensuring that nothing gets overly complicated and the horrors keep coming throughout the 5-track, 11-minute debut.

Warish will be available on 7″ vinyl and download on February 1st, 2019 via RidingEasy Records.

Keep your mind open.

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Top 30 Albums of 2018: #’s 30 – 26

Here’s the list you’ve all been waiting for. As always, there are so many good albums out every year that it’s impossible to keep track of them all. Here are my top thirty.

#30: The Dunes (self-titled) – A great return for the Dunes, this album of Australian psychedelic rock is full of reverb, fuzz, and even surf touches.

#29: Underworld and Iggy Pop – Teatime Dub Encounters – This EP was made during lunch meetings at a hotel and blends great stories from Pop with Underworld’s masterful beats.

#28: Avis: Sova – Shampoo You – This Chicago’s three-piece’s newest garage rock-psych record gets better with each listen.

#27: Windhand – Eternal Return – This doom metal album became one of my favorites of the year as soon as I heard it. I immediately began recommending them to anyone and even bought it as a birthday gift for a pal.

#26: Makeness – Loud Patterns – This electro album wasn’t on my radar until Makeness’ label sent it to me for review. It turned out to be a solid record with interesting structures to it.

We’re into the top 25 tomorrow. Come back for more!

Keep your mind open.

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Live: Windhand – November 07, 2018 – Subterranean – Chicago, IL

A place called “Subterranean” seems like a perfect fit to see doom metal rockers Windhand. A lot of their songs cover subjects like graveyards, tombs, and ancient things best left buried. They played to a happy crowd of metal heads, goths, and music geeks like yours truly in the small club. Unfortunately for me, their opening band, Satan’s Satyrs, were wrapping up their set about the time I was walking up to the door. Yes, I could hear them from outside and even across a busy Chicago street.

Windhand were just as loud, if not louder. I hadn’t seen them since I caught most of their set at Levitation Austin earlier this year, and that was an open-air stage. This would be my first time seeing them in an enclosed space. I’m glad I brought my earplugs.

Emerging to a recording of spooky Halloween / haunted house noises, they opened with, what else, “Old Evil” and immediately unleashed thunder.

Lead singer Dorthia Cottrell was fully warmed up by the time they reached “First to Die,” and following it with “Forest Clouds” and “Grey Garden” had the entire crowd head-banging in unison.

One thing I noticed live that I now can’t believe I missed when listening to their new record, Eternal Return, was how Garrett Morris‘ guitar work often brings in distortion and effects with shoegaze influences. It’s no secret that I love shoegaze music, so this is probably one of the many reasons I like Windhand so much.

Everyone in the crowd was ready for the Grim Reaper to show up by the time Windhand got to “Red Cloud” and “Cossack.” It was a heavy, powerful performance that I needed after a work week that had me dealing with a staggering amount of paperwork until my eyes were sore.

Another breath of fresh air at this show was something you don’t see much of anymore – affordable merchandise. $20 T-shirts, $10 CD’s, cheap stickers, reasonably priced hoodies, and more were available at Windhand and Satan’s Satyrs’ booths.

Catch them before they leave for a bunch of European dates. Heck, go to Europe and see them (where I’m sure they’ll sell out most, if not all, of their shows). Let their power overwhelm you.

Keep your mind open.

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SOM release shoegaze / metal track “Open Wounds” from their upcoming debut.

SOM share animated video for first song from forthcoming debut

Ex-members of Constants, Junius, Caspian. Animated video by Josh Graham (Neurosis, Soundgarden, A Storm of Light)

Watch & share “Open Wounds” (YouTube) (Brooklyn Vegan)

“SOM craft songs of epic melancholy that stagger the ears as well as the heart.” — Onion AV Club

“Serenely slowdive into shoegaze.” — SPIN

“A big, atmospheric mix of shoegaze, post-rock, space rock, and sludge metal, all led by Will’s ethereal vocals.” — Brooklyn Vegan

Post-metal shoegaze trio SOM premiere the first track from their forthcoming debut album today via Brooklyn Vegan. The animated clip for “Open Wounds” is created by visual artist Josh Graham (Neurosis, Soundgarden) and available to watch and share HERE. (Direct YouTube.)

On their debut record, SOM “craft songs of epic melancholy that stagger the ears as well as the heart” (Onion AV Club) and “serenely slowdive into shoegaze” (SPIN). Drummer Duncan Rich and bassist Justin Forrest build thunderous rhythms that give drive and pulse to the fuzzed out wall-of-synth-and-guitar-noise. Dark and heavy throughout, their music is complemented by memorable hooks and melodies in singer/guitarist Will Benoit’s somber, lamenting vocals.

Featuring founding members of seminal Boston space rockers Constants — and former and touring members of Adai, Junius, Rosetta, and Caspian — SOM wrote and recorded their debut album at Benoit’s solar powered The Radar Studio, along with engineer Daryl Rabidoux (Doomsday Student, Drowningman).

The Fall will be available on CD, cassette and download on November 9th, 2018. Pre-orders are available via Bandcamp HERE.

Artist: SOM

Album: The Fall

Record Label: self-released

Release Date: November 9th, 2018

01. Prayers

02. Chemical Joy

03. Open Wounds

04. Black Out The Sky

05. Ten Years

06. Starless Sky

07. Stranger

08. Reflection

09. Aerosols

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Review: Windhand – Eternal Return

Just in time for Halloween, doom metal rockers Windhand (Parker Chandler – bass, Dorthia Cottrell – vocals, Garrett Morris – guitar, Ryan Wolfe – drums) have released their newest album, Eternal Return. Fueled in part by one of the band’s co-founders, Asechiah Bogdan, leaving the band in 2015, the death of a friend of the band, and the birth of Garrett Morris’ son. Eternal Return speaks of the cycle of life and death, doors closing and opening, and acknowledging some things will forever remain mysteries. The album’s cover shows a woman who looks not unlike Cottrell standing in a forest and looking a hole in the ice over a frozen lake. Did she just push someone in there? Is she thinking of jumping into the lake? Is she remembering someone who died there, or is she just admiring the cold beauty of it all? I don’t know, but all of those are possibilities when you hear the themes of life and death throughout the record.

The album opens with “Halcyon” and the freight train-like in utero heartbeat of Morris’ son just before Morris’ cosmic chariot guitar kicks in and then Chandler and Wolfe nearly flatten you like the aforementioned train as Cottrell’s haunting voice entices you to stand on the tracks. “Would it kill you to be here?” She asks at one point. It might, but it’s worth the risk.

“Grey Garden” has Windhand sliding effortlessly back and forth between doom metal heaviness and sultry psychedelia. Cottrell’s vocals about, I think, a forgotten cemetery and the lover she’s buried there, display grief, love, and (as always) a hint of danger. The breakdown makes no bones about the band’s love of psychedelic metal, and the track is all the better for it (and good heavens, Morris’ solo…). “Pilgrim’s Rest” is a metal ode to long-forgotten settlements, explorers, and a time when the land was still pure.

If that’s not metal enough for you, I’m sure “First to Die” is from the title alone. Cottrell sings of suffering and sacrifice while Wolfe pounds his kit through the floor and Morris and Chandler unleash the sound of a swarm of killer robotic bees attacking during an earthquake. “First to die, to be born,” Cottrell sings, again reflecting the themes of reincarnation. The title of the instrumental “Light into Dark” keeps up the theme as well, and soars by like a comet nearly hitting the Earth.

“Red Cloud” features some of Wolfe’s heaviest beats and Morris’ heaviest shredding. It’s a stunning piece firmly rooted by Chandler’s bass and Cottrell’s vocals enhance the riffs and beats instead of the other way around on the track. It’s a neat choice by the band. “Eyeshine” is an eleven-minute feast of doom sludge that crawls along like an alligator in a deep, dark lake.

Depending on how you define “Diablerie,” it either means “reckless mischief,” “charismatic wildness,” or “sorcery assisted by the Devil.” Eternal Return is a doom metal album, so you can probably guess which definition Windhand was leaning toward here. Cottrell repeats, “Hope it don’t come back again.” multiple times, leading one to believe the song is about how dabbling in magic sometimes goes horribly wrong and one is lucky to escape with their life.

The album ends with the thirteen-minute “Feather,” which begins with simple strummed guitar chords and a near-military march beat. Cottrell sings, “What is laughing in the wind? What is waiting at the water’s edge?” These could be the thoughts of the woman on the album cover as she’s haunted by something in that frozen lake or in the woods around her. It ends the album on a mysterious note, which is perfect for a record about the unknowable.

Windhand are crafting fine doom metal that deserves to be heard by a wider audience. Cottrell’s spell-casting voice and Wolfe, Morris, and Chandler’s heavy and skilled instrumentation are a powerful combination. They aren’t afraid to explore themes we consider when we close our eyes. While many of us would avoid the frozen lake altogether, Windhand is willing to walk up to it and face whatever is there.

Keep your mind open.

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Rewind Review: Windhand – Grief’s Infernal Flower (2015)

Windhand (Parker Chandler – bass, Dorthia Cottrell – vocals, Garrett Morris – guitar, Ryan Wolfe – drums) say they’re from Richmond, Virginia, but I think they secretly might be from Hyperboria, Jupiter, or beyond the Black Veil of Space and Time due to the heavy riffage they unleash on their 2015 record Grief’s Infernal Flower.

The opener, “Two Urns,” unleashes enough doom bass by Chandler to power a mission to Mars and soon Cottrell’s incense voice wraps around you like a black velvet cloak, Wolfe pounds out the rhythm of your jittery heart, and Morris shreds open your eyelids. If that’s not enough power for you, don’t fear. “Forest Clouds” comes next and it’s the sound of Tolkien ents marching toward a battle with orc troops from Mordor. Cottrell sings about something dark waiting to awaken from an eight hundred-year sleep. I love how Cottrell’s vocals have a quality that lies between sexy and menacing. She can sing strange incantations, dire warnings, and tales of mystery and the fantastic with equal skill.

Not dark enough? The title of “Crypt Key” should cheer you up. It starts with an acoustic guitar over synths that sound like a faint wind, but then turns into powerful sludge. Cottrell’s vocals on “Tanngrisnir” (a song about one of the goats who pull Thor’s chariot) are layered with just enough reverb to make them spookier than normal, and Wolfe’s drums sound like he’s been transformed into a giant doom metal centipede. “Sparrow” is almost a blues ballad. It’s a nice center to the album that lulls you into a peaceful place amid the dark creatures that lurk throughout the album.

“Hyperion” is the most upbeat song on the record – not necessarily by the lyrics, but definitely by the beat and straight-forward rock riffs by Morris and Chandler. I’m not sure if “Hesperus” refers to the Greek god of the planet Venus / the Evening Star or the poem The Wreck of the Hesperus by Henry Longfellow, but both are appropriate for over fourteen minutes of great stoner metal. Chandler’s bass and Wolfe’s drums are like primordial monsters rising from the depths to bring down a sea vessel, and Morris’ guitar and Cottrell’s vocals seemed designed to herald the arrival of a Venusian god. It abruptly ends, much like the fate of the ship in Longfellow’s poem. “Kingfisher” is about the same length as “Hesperus” and just as heavy. Cottrell sings about something or someone, perhaps even her, being “all-seeing, all-knowing” while Morris throws down riffs powerful enough to probably make him levitate. The album ends with “Aition” (a term for how religions explain the origin of a myth or legend), leaving one to think that the end of the record is actually the beginning to another journey…and Windhand does have another album coming out this October.

It’s a solid record of stoner metal that isn’t angry but certainly is menacing.

Keep your mind open.

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