To quote legendary Pentagram frontman Bobby Liebling, speaking about himself, “I’m one of the original dinosaurs that made it through the ice age.”

It doesn’t really matter that the dinosaurs died millions of years before the last ice age, because Bobby’s right anyway. Not only for a rock and roller, but for any human being at all to have survived the life he’s led so far into his existence is beyond fantastical. The stories he has to tell are guaranteed to blow your mind like the first time you heard “Forever My Queen,” and having spent an hour with him on the phone to conduct the nearly 5,400-word interview you’re about to read, I can honestly say that you don’t even have to ask him about them; he’ll just tell you. Bobby Liebling is an open book.

Three years sober, married to wife Hallie with a full touring schedule, a movie about his life, the prospect of a new album and a baby on the way, Liebling’s drug years — decades, really — now serve him as vital memories of everything he’s come through to get where he is today. He says he’s blessed and I don’t know how many other explanations there are for it than that, because to hear him tell it, he probably should have died multiple times over by now.

Throughout the course of our conversation, Liebling went from laughing raucously about the mob guys in the Philadelphia neighborhood where he and his wife now live to audibly welling with tears talking about last year’s untimely passing of Blue Cheer bassist/vocalist Dickie Peterson. And even as Pentagram guitarist Russ Strahan announced his departure from the band on March 14 (which Liebling hints at in our conversation), it leaves the door open for new lineup opportunities that will supposedly be announced soon. For now, Pentagram is rounded out by bassist Mark Ammen (Unorthodox) and drummer Gary Isom (Spirit Caravan, Valkyrie).

What you’re about to read is probably the most honest and, again, open, interview I’ve ever had the pleasure to do (and I barely asked any questions!), and it is with great honor that I present it to you, as true to how it happened as possible, in Q&A form after the jump below. Please enjoy.

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When they made their debut in 2008 with Embrace of the Narrow House (Eichenwald Industries), the then-duo of multi-instrumentalist Steve Mills and vocalist/guitarist George Birch inserted themselves into the ever-growing sphere of bands with a direct line to Black Sabbath’s darkest moments we commonly know as traditional doom. Though subgenre designations are debatable (endlessly so), what comes across centrally in the material of the UK’s The Wounded Kings is not the band paying homage in the form of imitation, but rather, striving to bring something new to the foundations on which they’re working.

With their follow-up, sophomore effort, The Shadow over Atlantis, on Sweden’s I Hate Records, Mills and Birch have developed this ethic even further, incorporating linear songwriting and threaded themes running the course of the record’s six tracks. Not only is the sound (recorded by Mills) working within and beyond the parameters of doom, but by injecting elements of darkened psychedelia and classical compositions, The Wounded Kings are ensuring none who hear The Shadow over Atlantis will come out of it without realizing the individuality driving the band who wrote those songs.

Though The Wounded Kings have since made permanent their two live members — bassist Luke Taylor and drummer Nick Collings — and are scheduled to participate in this year’s Roadburn Festival in The Netherlands, and though The Shadow over Atlantis was recorded nearly a year ago, Mills recently took some time out for a cross-continental phone interview to discuss the album, its concept and the band’s motivations and outlook going forward. You’ll find it available for reading after the jump. Enjoy.

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As was the case with their self-titled debut, Asteroid’s second album, II (Fuzzorama), reveals its personality more and more with time and repeat listens. Many bands strive for this for their whole career — to make a record that gets richer the more you hear it — but to the Swedish trio of vocalist/bassist Johannes Nilsson, vocalist/guitarist/organist Robin Hirse and drummer Elvis Campbell, it at least seems to come naturally.

In fact, if there’s a word to encapsulate II, it would probably be “natural.” The band has loosened the structural reins somewhat compared to the first record, and in so doing has allowed a series of heady jams to take place within the songs that doesn’t just make the album different from what came before it, but introduces a creative freedom that wasn’t necessarily evident last time around. Very quickly over the course of a duo of solid outings, Asteroid is one of Sweden’s brightest and fuzziest hopes.

Nilsson took some time out for an email exchange about the band’s shift in approach, the recording process that went into making II and where they think they might go from here. If this album is anything to judge by, that could be pretty much anywhere.

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As I told The Brought Low bassist/backing vocalist Bob Russell while we waited outside guitarist/vocalist Ben Smith’s work for him to come down with a suggestion as to where to go to lunch and conduct this interview today (March 2, 2010), and as I’ve said on multiple occasions prior, every time I come to Midtown Manhattan, I swear it’s going to be the last time I ever do it. Sure enough, though, there’s always something to bring me back.

This time, it’s The Brought Low’s Third Record (review here), the band’s first offering in five years since they made their Small Stone Records label debut with Right on Time. An entirely unpretentious and confident collection of songs, it was easily worth the drive into the city to discuss with Smith and Russell the process of making the album with producer Andrew Schneider (Throttlerod, Puny Human, etc.), and as we went to dine at Cafe Edison — located in the hotel on Broadway of the same name — the environment reminded me of something straight out of a New York movie, one of those scenes where intimacy is somehow managed in one of the planet’s most crowded spots. For the record, Smith credits his father with showing him how to navigate Midtown.

Likewise, both Smith and Russell agree that a good portion of Third Record’s natural, organic sound comes from Schneider’s work behind the board, but neither discounts their comfort in the trio lineup of the band — rounded out by drummer Nick Heller — as a factor in the positive results. Over our shared meal, there was a lot of joking and a lot of lighthearted sarcasm (one of the charms of The Brought Low has always been their self-deprecating sense of humor), but it’s no question that the band is passionate and serious about what they’re doing and how far they’ve come in their decade of existence.

After the jump, Smith and Russell discuss making Third Record, their plans surrounding South by Southwest in Austin, Texas, and, of course, how every other band is jive and The Brought Low kicks ass. It’s a given. Enjoy the interview.

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The above headline, “Looking Forward to Go Back,” is modified and taken out of context from the last line of my recent telephone interview with Apostle of Solitude guitarist/vocalist Chuck Brown. Brown was talking about touring Europe, which is something he did as a member of The Gates of Slumber. But I think the phrase can be applied to Apostle of Solitude as a whole, what the band does, their sound and their execution. They look forward to go back.

The music on their sophomore offering, Last Sunrise — the follow-up to 2008’s stellar Sincerest Misery — is undeniably modern in structure, sound, feel and production, but there’s also no question that it is traditional doom, and linked to a lineage of bands that spans decades. But, with eyes geared toward the future, they’re not just rehashing old Sabbath or Trouble riffs and calling it a record. They’re bringing that sound, and us as listeners, forward with them.

Brown, who is joined in Apostle of Solitude by Justin Avery (guitar), Brent McClellan (bass) and Corey Webb (drums), recently took some time out for an in-depth telephone interview to discuss the careful processes behind making Last Sunrise, and the consideration that went into the details of the album. Q&A is after the jump. Please enjoy.

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Raucous riff and roll from the Midwest isn’t something that comes across my desk every day, so when Must Destroy, the third album from Madison, Wisconsin, trio Droids Attack landed, robot-laden artwork facing up, I was immediately interested. Not only did the record live up to song titles like “The Great Wall of ‘Gina” and “Koko Beware,” but it proved to operate on a deeper level than just that surface goofiness as well. A win all around.

The Obelisk is streaming the album here if you haven’t heard it yet, and of course there’s the review as well, but I thought there might be more to say about Droids Attack, so I dialed up guitarist/vocalist/chief robot constructor Brad Van for a chat about the band’s outlook, past and future. In our extended discussion, presented after the jump, Van details his working relationship with bassist Nate Bush and drummer Tony Brungraber, their writing process, attitude on making music — and yes, robot manufacturing technique.

Please enjoy the Q&A after the jump.

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1:26AM: Made it into the valley about an hour ago. Not bad time. The Patient Mrs. did her undergrad in Waltham, MA, which essentially means I can do the Masspike-to-84-to-91-to-95-to-287-to-287 (the highway so nice you have to drive on it twice) thing with my eyes closed. Helpful in situations such as tonight, when I basically did.

I still have Solace songs stuck in my head after the drive. They were finished with “Disillusioned Prophet” when I left, 9:20PM by my watch, and were talking about starting tomorrow with “The Immortal, the Dead and the Nothing,” since it’s the longer and potentially more complicated of the two songs left to do. As for the rest of the night, there was some talk of drinking, some talk of going up the road to see Doomriders, but mostly I think Tommy wanted some ice cream and Justin wanted to not smell anymore. Both reasonable desires.

So ends my in-studio adventure with Solace. I don’t know how done A.D. will be by the time the two guitarists head back to Jersey tomorrow — it’s an album and anything can happen — but of course I wish them all the best with the rest of the work they put into getting it out, and thank them for letting me come up and observe for a bit. Anyone who’s ever made a record knows it can get tedious even in this technologically advanced age, but as someone perpetually fascinated by even the boring parts of the process, I’m happy to witness it whenever I can, whether I’m in the band or not. Thanks again to them as well as Benny Grotto (whose band, Motherboar, I’m looking forward to checking out) and Mad Oak Studios for their hospitality, and to you for reading. Hope you enjoyed it half as much as I did.

7:54PM: A little dinner (okay, a lot of dinner) later and spirits are up. Work is resumed on “Disillusioned Prophet” and universal opinion in the room — that is, mine, Justin’s, Tommy’s and Benny’s — is that the song is kicking ass. I don’t imagine much if anything will be done when this song is “finished,” but given how much work has gone into the two tracks that were worked on today, if I was required to judge one way or the other, I’d say it’s a win.

Still to be done are the songs “The Immortal, the Dead and the Nothing” and “Six Year Trainwreck,” which will likely be tackled tomorrow, but as far as closing out the work this evening, the decision to walk away for a bit and have a bite to eat was definitely the right one. Everyone feels better and as I hear “Disillusioned Prophet” closer to closer to being done, I can easily imagine it being the opener. The song has great energy and sets a good tone for the rest of the cuts (at least the ones I’ve heard so far; unless they go blackened folk metal on the others, it should fit nicely into its intended spot).

My plan is to split out of here in either an hour or so or when this song is done, whichever comes first. Doomriders are reportedly playing down the street at this or that bar, but hitting the road back to Jersey wins. Real life was bound to come back into it sooner or later.

5:35PM: Work has begun on “Disillusioned Prophet,” and yes, that is as ominous as it sounds. The song is set to be the opener of A.D., and for the last two hours or so, Benny has been going track by track — that’s “track” as in the individual layers of instrumentation and vocals making up the songs, not the songs themselves — making sure all the frequencies and whathaveyous are where they should be. At first, he kicked Justin and Tommy and I out of the room, but I cited freedom of the press and wormed my way back in for what he aptly called, “The Boring Part.”

Everyone’s a little tired, a little hungry, a little on edge. By yesterday at this time I had at least three PBRs in me, but more than that, I think all parties involved were hoping today would go a little faster than it has been. Getting “Down South Dog” (or maybe “The Down South Dog Boogie,” I don’t think a final call has been made as regards the title) to where it was supposed to be proved a monumental task, and since it’s the opener, the same applies in an ongoing tense for “Disillusioned Prophet.” The layers of guitar alone — acoustic coupled with electric, solos, harmonies, etc. — could probably take two days to work out.

But that’s mixing, and if my arsty-fartsy black and white photo of a plastic cup and stack of CDs that were on the counter in the lounge proves anything, it’s that downtime can do strange things to people in a given physical space. Tommy spent much of the time working out his restlessness on the Asteroids machine and he and Justin wrote a honky-tonk song in the live room (sorry no video), so there’s that. I have half a headache and could stand a shower, but that’s heavy metal. Earlier on, we all gathered around Benny’s laptop to watch the over-the-top ridiculousness that is Dream Evil’s video for “The Book of Heavy Metal.” I imagine when and if that book is ever written, afternoons such as these will be left out in favor of giving space to tits, beer and moshing, but this is how shit really happens. Life is not what you see on VH1 or read on self-indulgent music blogs.

2:48PM: We’ve been asked to leave the control room so Benny can concentrate. Reasonable. When putting together the semi-final version of “Down South Dog,” one of the several hundred of Jason’s vocal tracks went missing, so there’s some work to be done there. The thing is, these songs were recorded in at least three separate sessions, over the course of more than three years, so a major challenge for Mr. Grotto has been making it cohesive. You know, like an album. Fortunately he seems up to the task.

Miraculously, I fell back to sleep on the floor of the live room this morning. Breakfast was at around 10:30AM at a cafe up the street. Kind of a hippie place, local art on the walls and all that, but not too crowded and not too pretentious — and a killer breakfast burrito goes a long way. Some gorgeous collegiate-types directed us a couple blocks down to In Your Ear Records, where Tommy picked up his fair share of vinyl and then some. I grabbed some CDs that I’ll likely detail at another time.

If there’s anything I’ve noticed in listening to these tracks, it’s the growth. The last five years have not left Solace the same as they were. Even since their last EP, 2007’s The Black Black, the change is audible in the songs. There are rampant harmonies in the vocals and guitars — of course guitars are a central focus since I’m here with the two guitarists — but as much as we’ve been throwing around dick jokes and one-liners about anal beads, there’s no question the process is incredibly important to these dudes.

It’s worth noting these aren’t to be the final final mixes of the A.D. record. Although the tracks are complete in terms of the recording, there’s more to putting it all together. Jason, for example, still has to okay the vocal mixes, and there will probably be another round of tweaks for the instruments as well. But it’s working out and as odd as it is to think of the words “Solace” and “mature” in the same sentence, musically at least there’s a sense that the long time they’ve taken to make this record happen hasn’t been for nothing.

John Arzgarth was here and gone, but it was good to see him however briefly. A sample of his then-infant son is set to open “Down South Dog.” Plans are to head to a dive bar for drinks later, but that probably depends on how much is left to do with these songs. Time’s always a factor. It’s after 3PM now and we’re back in the control room, but there’s still a ways to go. It wouldn’t be doom if it didn’t take a long time.

DAY TWO, 8:23AM: It’s early yet and so far I am the only one awake. I’ve been up for about an hour now and I can hear periodic snoring from the lounge where Justin is sleeping. My campsite was/is in the live room, next to a large translucent blue floor tom. The floor wasn’t all that comfortable, but the acoustics of my night farts were fantastic. I used a sleeping bag I brought along as a mattress pad and covered myself with a blanket provided by the studio. I’d be willing to bet that at one point or another it was inside a bass drum.

Last night’s jam session, of which a clip was posted, went on in progressively drunker fashion until at around 12:30AM it petered into lampooning Gilligan’s Island characters with raunchy Tenacious D-style verses in A minor. The specifics are fuzzy, but I recall something about Ginger sucking leopard cock, if that helps paint the picture. Shortly, Star Trek: The Next Generation came on, and a discussion was had about whether William Riker was “a pussy.” Riker proved his mettle throughout the show, but at the end of the episode, Picard was still captured by the Borg, so I suppose there are arguments to be made on both sides.

The plan for the day as I understand it is breakfast whenever Tommy and Justin wake up, then work on mixing four more tracks when Benny gets here. I’m not sure whether or not they’ll be staying over again and I don’t think they are either. There’s still some Guinness left from last night, so anything’s possible. The snow has stopped and the sun is out now. Could go either way, probably.

This just happened where I am. I hope where you are it also kicks ass.

Tommy and Justin are working out an acoustic part to a song not yet written. So far as I know, it doesn’t have a name.

10:37PM: Howls of laughter are coming from the lounge where dinner was just a bit ago. There’s a documentary on about Black comedians. We ordered the meal from some Italian place down the road on the recommendation from Benny or one of the other Mad Oak dudes. It came delivered by an old man, who I immediately felt bad about having made drive in the snow. Food was alright. You don’t come to Massachusetts for the pasta — or, rather, if you do, you’re an asshole.

Mixing ended at around 8:30PM. The aforementioned Benny (last name Grotto) is in charge of the board, though I think it’s pretty clear to all involved this is Tommy’s ship. His ear has been driving what of the session I’ve been here to witness, and almost universally to its betterment. That’s not a slight against Benny at all, he seems incredibly capable at his job. I mean in terms of emotional investment.

And why shouldn’t Southard be emotionally invested in making A.D. the best album he can? It’s been five years in the works. Hardly seems reasonable to throw out some undercooked garbage now, even if the anticipation for it is at an all-time high because it seems now more than ever that it’s actually coming out. The songs I’ve heard this evening — “From Below,” “The Skull of the Head of a Man,” “Down South Dog” and “Borrowed Immunity” — all sound finished or at least well on their way. It’s a bummer new drummer Keith Ackerman didn’t join the band in time to make it onto this album, but I guess with all the time Kenny Lund put in, he earned his place.

It’s beers for the rest of the night, and tv and shit-shooting. The snow is still coming down but I don’t think there were plans to head out anywhere anyway. There’s apparently a Mad Oak mouse somewhere around, but I haven’t seen it yet. The night is young. Johnny Arzgarth from StonerRock.com was supposed to make an appearance tonight, but the weather kept him home. When and if he comes tomorrow I’ll have to make sure I mention it took me four hours to get here. Ha.

To the commenter who said “How about an exclusive track premiere?” I don’t think we’re there yet, but when the time comes I’ll try to make it happen.

6:00PM: Got here about an hour and a half ago and found Solace guitarists Tommy Southard and Justin Daniels playing Asteroid in the lounge of Mad Oak Studios, which, if you’d think about it, is pretty much what you’d expect. The Mad Oak crew was hard at work mixing a song called “From Below.” Of course, my opinion is going to be biased, because I’m here — like the press embedded with the military that tries to be impartial; good fucking luck — but when we sat down to listen to it, it was pretty god damn huge.

It took me about four hours solid to get here with the snow and traffic. 95 was shitty, 91 was shittier, 84 was fine, the Masspike was, well, full of people from Massachusetts, so you have to watch your ass anyway. One way or another, I was relieved when I found this place.

The current project in the control room — from whence I’m reporting live — is a track called “The Skull of the Head of a Man.” I’ve only heard the instruments so far, no vocals, but if unimonikered-singer Jason were to come on with some NYHC growls, it wouldn’t be inappropriate. Tommy has been sitting with Justin talking about the hardcore scene and how it’s changed and, frankly, how it sucks, and I’ve been trying to figure out how to make pictures go from my camera to my computer. Damn complicated technology.

If the evening so far is any indication, it’s looking like the night’s going to be filled with a lot of PBRs and a lot of guitar tracks. Fine by me. More later.

A quick shower (and maybe some packing) from now and I’ll be on the road heading north to the famed Mad Oak Studios in Allston, Massachusetts, to join Jersey doomers Solace as they mix their upcoming Small Stone Records debut, A.D. I’m not sure yet what format the actual in-studio feature is going to take — mostly I think it depends on how much drinking is done at any given time — but I’ll be checking in one way or another with updates, so stay tuned.