A headphone record in the truest and most engrossing sense of the term, Pombagira‘s Flesh Throne Press is set to release internationally on March 27. The album is the UK duo’s seventh overall since 2008, but it’s a landmark as well for being their debut on Svart Records, and they’re doing it up in style accordingly. Following the path they began to lay out on 2013’s Maleficia Lamiah (review here), guitarist/vocalist Pete Giles and drummer Carolyn Hamilton-Giles delve even deeper into melodic, tonally blissful psychedelics, crafting a rich, warm swirl that permeates the album’s extended 86-minute/2LP course. At times minimal, as on the interlude “Soul Seeker” near the end of the first of two CDs, it can also move with abstract shoegaze melody, as on the prior “Endless,” or unfurl a doomly roll, as on the later “I Curse I Pray.”

There are consistent elements throughout, and it’s certainly possible to put on Flesh Throne Press, nod out and experience it as one massive unfolding, languid, live-sounding psychedelic experience — no doubt that was at least part of the intent — but disc two seems to be even more exploratory and experimental than its predecessor. Opening with the 15-minute “In the Silence” (Pombagira are no strangers to extended forms; see also 2011’s single-song full-length, Iconoclast Dream), the two-piece float between airy minimal builds and the pedal-stomped consuming fuzz of earlier pieces like “Sorcerous Cry” and similarly-minded album opener “The Way.” Pete‘s vocals are a major factor in tying it all together, and his performance on Flesh Throne Press is also his boldest to date in Pombagira, confident enough to wisp through the spaciousness of “Blessed are the Dead,” suitably ghostly, or come to the fore à la Mad Season on “Ash to Flesh” after the particularly folkish interlude “Time Stone.”

Shifts in vibe between individual tracks are more of a factor with Flesh Throne Press than Maleficia Lamiah, but I’d just as likely chalk that up to where the experiments led Pete and Carolyn than any master-planned intent — the master plan being “experiment,” in other words — and while some of disc two’s shorter pieces could’ve hit the cutting room floor in order to make the album a single disc, it would’ve required a double-vinyl anyway, so enhancing the atmosphere with “Time Stone” or the closer “Yesterday’s Tomorrow” makes a kind of contextual sense in keeping with the overarching fluidity of the material, which is brought to a head on the molten, gorgeous and weighted “Cold Descent.” Penultimate on the record, it is the arrival point to which the journey leads, one of the album’s most resonant movements distinguished by a memorable riff progression and ambitious, accomplished vocal presence that speaks not only to how far Pombagira have come, but how far they can still go.

Because that’s the thing about Flesh Throne Press. It doesn’t just make Maleficia Lamiah seem transitional in context — it reaffirms the same thing about everything Pombagira does, including itself. “Cold Descent” moves into an instrumental jam in its second half and comes around to a sort of grunge-gaze apex, but the duo don’t take the easy way out and click back into mega-thick fuzz. Instead, a quick bout of swirl and then onto the epilogue in “Yesterday’s Tomorrow.” It shows that, even at what would seem to be a crucial moment, Pombagira are willing to hold back and restrain if it best suits the atmosphere of the album overall, which, of course, it does.

And while there’s little likelihood that whatever Pombagira do next will make it seem primitive, “Cold Descent” and Flesh Throne Press as a whole demonstrate that as they get closer to the completion of their first decade as a unit, Pete and Carolyn remain firmly entrenched in a sense of sonic adventurousness.

Please find “Cold Descent” on the player below, followed by info off the PR wire, and enjoy:

Pombagira return with their sixth album since their inception in 2007. Flesh Throne Press sees the band expanding on themes covered in their previous double album release Maleficia Lamiah . Recorded in July 2014 across two intense weeks the band put down over 80 mins of material all of which will be made available on the double CD and double album, both of which will be released by Svart Records in March 2015.

Musically, this album projects the band forward with a mind-expanding purpose for exposing the body to a varied compositional range. When it is heavy, it obliterates in an avalanche of riff making, and when in full tilt, it is only matched by the orchestral quality produced by tracking six amps and cabs for every guitar take.

More concise in its delivery than Maleficia Lamiah , the overall cerebral effect upon the listener is apocalyptic. It will not only rattle you to the very core of your being, but it also wills the listener to a plane where an inner meditative pose can be sustained. This is accomplished by way of the heaviest songs Pombagira have written to date, and by injecting stripped down undistorted constituents to the proceedings. Surfacing in standalone songs as well as being interspersed amongst those heavier tracts of progressive expansiveness, the band this time around present to the listener their most exact example of musical uniqueness. Coursing with the undulations of textural juxtaposition, Pombagira make firm their claim of being a truly original band without compare.

Retentive themes regarding the dead and the necromantic discourse for conversing with ancestors both forgotten and the fallen is here enfleshed. In many ways this album solidifies a connection between the written word composed within Peter Hamilton-Giles’ soon to be published “Grimoire of the Baron Citadel” through Three Hands Press, and the ongoing ritual work to serve the forgotten and fallen. Flesh Throne Press actually refers to the visceral experience of the grave dirt which presses in on the flesh during the initiatory procedure.

Embodying both aspects of ingress and egress, this new album will present a more psych-o-delic side to Pombagira’s music, as they find innovative ways to evolve their sound. In an attempt to bind the sorcerer to the spirit entourage that comes from taking every deviation, Flesh Throne Press explores the ‘nightside’ like no other.

Pombagira on Bandcamp

Pombagira at Svart Records

Svart Records on Thee Facebooks

Originally announced for release last fall, the sixth album from UK doom/drone psych experimentalist duo Pombagira is now set to arrive as their Svart Records debut on March 23. The two-piece’s last work, 2013’s Maleficia Lamiah (track stream here), plummeted into deep reaches of dronescaping, and it seems that going by the 13-minute title-track posted below that Flesh Throne Press will follow suit and expand on those ideas, the band’s evolution having been ongoing since their first release now eight years ago and traceable in the vocal progression and movement toward heavy doomadelia in that time.

It’s also a double-album, so expansive might just be the key idea on Flesh Throne Press, but we’ll see how it goes when it shows up, and if Pombagira get out for more shows in support. More to come as I hear it, but in the meantime, if you were, say, putting together a massive list of 2015’s anticipated releases, Pombagira would be a fitting candidate for inclusion.

If that was a thing you were doing, say.

To the PR wire:

POMBAGIRA REVEAL DETAILS OF THEIR UPCOMING SIXTH ALBUM, FLESH THRONE PRESS, TO BE RELEASED VIA SVART RECORDS 23RD MARCH

Pombagira return with their sixth album since their inception in 2007. Flesh Throne Press sees the band expanding on themes covered in their previous double album release Maleficia Lamiah. Recorded in July 2014 across two intense weeks the band put down over 80 mins of material all of which will be made available on the double CD and double album, both of which will be released by Svart Records on 23rd March 2015.

Musically, this album projects the band forward with a mind-expanding purpose for exposing the body to a varied compositional range. When it is heavy, it obliterates in an avalanche of riff making, and when in full tilt, it is only matched by the orchestral quality produced by tracking six amps and cabs for every guitar take.

More concise in its delivery than Maleficia Lamiah, the overall cerebral effect upon the listener is apocalyptic. It will not only rattle you to the very core of your being, but it also wills the listener to a plane where an inner meditative pose can be sustained. This is accomplished by way of the heaviest songs Pombagira have written to date, and by injecting stripped down undistorted constituents to the proceedings. Surfacing in standalone songs as well as being interspersed amongst those heavier tracts of progressive expansiveness, the band this time around present to the listener their most exact example of musical uniqueness. Coursing with the undulations of textural juxtaposition, Pombagira make firm their claim of being a truly original band without compare.

Retentive themes regarding the dead and the necromantic discourse for conversing with ancestors both forgotten and the fallen is here enfleshed. In many ways this album solidifies a connection between the written word composed within Peter Hamilton-Giles’ soon to be published “Grimoire of the Baron Citadel” through Three Hands Press, and the ongoing ritual work to serve the forgotten and fallen. Flesh Throne Press actually refers to the visceral experience of the grave dirt which presses in on the flesh during the initiatory procedure.

Embodying both aspects of ingress and egress, this new album will present a more psych-o-delic side to Pombagira’s music, as they find innovative ways to evolve their sound. In an attempt to bind the sorcerer to the spirit entourage that comes from taking every deviation, Flesh Throne Press explores the ‘nightside’ like no other.

http://www.pombagira.org.uk
http://www.pombagira.bigcartel.com/
http://www.svartrecords.com/

Exploratory cosmic doomers Pombagira embarked on new sonic terrain with 2013’s Maleficia Lamiah (discussed here), which at this point is a title I can’t even read without hearing the echo of its delivery swirling through the psychedelic morass of the song itself. The British duo — who’ve also been confirmed for an appearance at Desertfest in London — will release their next album, Flesh Throne Press, through Svart Records, as they’ve joined that Finnish imprints richly varied and relentlessly creative lineup. As much as a band like Pombagira could belong anywhere, Svart makes sense.

The PR wire sends over word of the deal and more info on Flesh Throne Press, which is due in the Fall:

POMBAGIRA signs with SVART RECORDS – new album later this year

Magical and psychedelic UK group POMBAGIRA will be returning this fall with a new album to be released by SVART RECORDS. Titled Flesh Throne Press, the work will be available on CD, double-vinyl LP, and digital.

POMBAGIRA was formed in 2008 by Peter Hamilton-Giles and Carolyn Hamilton-Giles out of a desire to reset the controls for the heart of the heavy. Having set out as a more typical doom/sludge band, across the course of their previous five albums, they’ve turned their attention to exploring the psychedelic in musical composition. This was realized the most in their most recent release, Maleficia Lamiah, which received across-the-board praise for its innovative approach. This moved them away for just being notorious for their sheer volume, using a backline not dissimilar in stature to Sunn o))). Although this may not necessary be the complete emphasis for the band, they continue to be one of the loudest and most oppressive bands to witness live. However, this has been colored by incorporating a psych-o-delic light show.

Commenting on the imminent Flesh Throne Press, Peter Hamilton-Giles states, “In many ways, this album solidifies a connection between the written word composed within the Grimoire of the Baron Citadel to be published by later this year by Three Hands Press, which I am currently writing, and the ongoing ritual work to serve the forgotten and fallen. The Flesh Throne Press is therefore a reference to the visceral experience of the grave dirt that presses in on the flesh during the initiatory procedure for approaching the crossroads.”

The band feels this new album encompasses everything it has done before. But in true POMBAGIRA style, they have found new ways on how to push at the very limits of innovative music. In an attempt to bind the sorcerer to the spirit entourage that follows from taking every deviation, Flesh Throne Press explores the “nightside” like no other band.

POMBAGIRA continue to grow in stature and prowess by continuing to develop a unique sound that has as much to do with the innovation of ’60s psychedelic pioneers as it does with contemporary forms of presentation. This combined with their ongoing professional phenomenological interests in Vodou, witchcraft, and other forms of traditional religious practices, the band have managed to transcend the simple “occult rock” tag and have appeared on the other side of any clear label-making device.

MORE INFO:
pombagira.bandcamp.com
www.svartrecords.com
www.facebook.com/svartrecords

Pombagira, Maleficia Lamiah (2013)

We already knew Desertfest wasn’t fucking around, but goodness gracious. To add Sourvein, Graves at Sea, Kongh, Grime, Pombagira, Lifer and War Wolf all at once is ridiculous. It’s like you took two already-quite-heavy fests and smashed them into each other. The Human Disease Promo/When Planets Collide stage is aptly named, if nothing else, because with acts this heavy tossed in, it adds an entirely different dimension to London Desertfest 2014 and makes its roster of bands all the more enviable.

I won’t waste time with a long intro since there’s a lot to wade through here. The following comes courtesy of the Desertfest website, with words by Staggerin’ Matt and Gareth Kelly. Dig it:

Welcome To The HDP / WPC Stage @ Desertfest 2014

Back for the third year running, human_disease_promo / when planet’s collide are teaming up once again to curate a stage of smoked-out heavy rumblings at DesertFest 2014.

Anyone who caught the crushing slab of decibel meter smashing doom that radiated from their stage earlier this year will know to expect the heaviest, loudest, most tripped out, underground sludge / doom from around the globe when The Underworld gets taken over on the final day of the festival again in April. This year will see them bringing as many variations of the theme as are out there to forge a dynamic stage including elements of pysch, prog, dark metal and crust, as well as the traditional dirty sludge and weedy doom riffs. Bring your earplugs and lose your mind as hdp / wpc draw out the festival in swampy, distorted style.

DESERTFEST DROWNS IN GRIEF WITH GRAVES AT SEA

Purveyors of the finest crust-doom nihilism Arizona’s Graves At Sea will be landing in the middle of the eye of the storm at The Underworld to bring forth a cargo laden with wretched snarls of bile and horror.

With relatively little in the way of released material G.A.S. built up a slew of interest due to the sheer grief / woe ridden intensity of the sound that they spewed forth. 2 tracks on a split with Asunder in 2005 showed the band to also possess a quality of strong dynamic ability, although it is the sheer overall nastiness of the bands squalid down-tuned sound that make their status as one of the most sought after underground dark sludge offerings fully justified. Few bands could hope to possess such varying and well laid down exorcisms (at times reminiscent of the vocal stylings of the likes of Corrupted, Burning Witch, Noothgrush, and occasionally even through to Autopsy / Abscess), draped over smoke enriched fuzzed licks and long low bass rumbles.

Many of us were disappointed when, following a long hiatus, the bands recent euro stint alongside New Zealand’s Methdrinker didn’t reach the UK mainland, so we’re totally stoked to play host to them on the human_disease_promo / when planet’s collide stage at the next installment of the festival. Get ready for a slow twisting vortex of ravenous filth throughout!

KONGH TAKE DESERTFEST THROUGH THE PORTAL

Sweden’s driving wall of darkened heaviness Kongh have been taking sludge and doomed post-metal to the next level for the best part of a decade now, destroying stages and minds worldwide with their own unforgiving barrage of dynamic noise and they are set to blast into The Underworld’s hdp / wpc curated stage for a UK exclusive show in April.

The band’s 2006 demo and the recently re-released 2007?s debut LP “Counting Heartbeats” were maelstroms of storming riffs, combining chugging sludge with other worldly ambiences to create a mesmorisingly crushing sound. Since then the trio have never looked back. Pushing forward with 2 more albums and a handfull of splits of intense grandiose tripped-out sludge noise, 2013?s Sole Creation is an accomplishment of gigantic proportions, projecting the band onto a trajectory of altering perceptions of what is possible within the realms of heavy music. Epic and monstrous guitar work layered up with pounding drums and vocals varying from trad-doom warbling to soaring harmonised melodys to crushing death-sludge roars and blackened rasps, all of this gelling together into a head-banging, brain-devouring force, it’s easy to forget sometimes that this huge sound is coming from only 3 members.

Kongh have been busy since they last hit these shores with YOB / Dark Castle in Oct 2011. As well as the album, a slew of European dates and a recent outing supporting heavyweights Meshuggah across Scandinavia have landed the band in a place ready to destroy the senses of all who can squeeze into the Underworld to catch them. Get ready to work those necks, throw claws, pound fists, and yet still be taken to a place far outside of this reality in the same process… Kongh are hitting DesertFest to liquidise your friggin’ minds!

SOURVEIN OFFER UP THE DIRGE WINE AT DESERTFEST 2014

North Carolina’s legendary dirt-sludge outfit, led by T-Roy the revered reverend of the dirty south, are set to land back on these shores to spread the gospel of hard times, turbulent troubles and violent struggles of life that they have been laying down since way back in 1993.

There are those bands that create a swamp of dirge so thick that you feel the possibility there may actually be no escape or mental resolve before the final end-time. Sourvein are not just one of those bands, they are the goddam masters! Oozing a southern drawl and nomadic mysticism that invokes images in the mind of horror and fright, and that uncertain feeling of teetering on the very edge of sanity. It’s akin to full engulfment in a THC cloud from the opening bars right through a distorted mire of torment, and whisky fueled loathing, to the bitter lasting feedback of the destructive climax. Basically Sourvein don’t fuck around, they do away with the pleasantries and get straight to the fucking point.

Following from the past appearances and incantations of the band at The Underworld on the “No Sleep Til Halloween” tour of 2006 (alongside fellow DesertFest favourites Church Of Misery), and again in 2008 with Orange Goblin, we are proud to once again welcome back T-Roy and his current outfit of NoCal’s finest filthmonger’s to this fair city of ours. Catch the sludge veterans on the human_disease_promo / when planet’s stage, preferably near the peak of your intoxication limits… and get ready to Bangleaf mother fuckers!

GRIME BRING THE FILTH TO DESERTFEST 2014

The Adriatic coast of Italy isn’t one of first places that springs to mind when thinking of the nastiest kind of down-tuned, spite-filled, blackened sludge… but that’s exactly what Trieste’s Grime bring to the table in droves.

Whether it’s the bloody history of Northern Italy’s past, or possibly the isolation of their hometown region? It’s left to be guessed, but Grime produce a sound that is most certainly dragged from the depths of despair, suffering and antipathy, crawling with venomous snarls and screeching, this is dark and heavy music at it’s best! That is not to say however that 2013’s crushing (Billy Anderson mixed) LP “Deteriorate” is lacking in soul. Far from it. In fact the band’s second offering is rich in warm tone and offers finely crafted riffmanship within interspersed chunks of head nodding weedy vibes. The overall feel of this band is a slow, brooding type of heavy that has initiated the band into doom / sludge circles with an instantly high regard. A European tour last year with Cough and shows with Steven O’Malley, Ufomammut and a Russian stint with Suma have cemented the trio as being a strongly anticipated soundtrack to a slice of post-smoke negativity when they make their UK debut on the human_disease_promo / when planet’s collide stage at DesertFest in April next year.

We can’t wait… let the bad times roll on!!

POMBAGIRA TO AMP UP SPELLBINDING SEAS OF DOOM

Few bands are capable of delivering the palpable blow to the senses than the UK’s loudest duo Pete and Carolyn Hamilton-Giles drive with sheer ease.

Huge waves of riff repetition of early releases earned the originally London based two-piece a reputation for a one-of-kind uncompromising volume experience with their live shows across the UK and Europe over the course of the last 7 years, plus a short stint on the US north west coast. A more recent move to a rural base has given rise to the massive 60 / 70’s influenced opus of 2013’s Maleficia Lamiah, the opening title track of which is currently being streamed for free on their own Black Axis Records website. With artwork by Vic Singh (also responsible for Pink Floyd’s Piper At The Gates Of Dawn cover art) Pombagira have conjured up a unique journey of modern doom-psych fusion, and this latest offering has yet to be experienced in a live setting in the capital… Until now! Expect their full backline of vintage hardware to drive home the heavy tide of a new found acid-doom drenched sound over the audience in a thick veil of hypnotic low end magnificence.

War Wolf To Howl In Camden

Hailing from England’s South coast WAR WOLF are a beastily heavy 3-piece whose credentials speak firmly for themselves, (being two-thirds ex-Dopefight, one third Sea Bastard / ex-Jovian).

This year’s debut 8 track EP “Riding With Demons” destroyed minds across the board and gave birth to a much needed balls-out band on the UK scene. Vehemently anti-Thatcher and outspoken against hypocritical catholic dogma / neo-fascism and economic plight, War Wolf blast a concentrated stream of criticism and spite into their music. But… this band also has riffs! Big gnarly riffs mixed with a giant distorted tone. Yet perfectly disjointed and stabbingly sharp to the point, owing as much to their raw talent as a general distain for all conformist ideals.

Overall, War Wolf are a blistering D.I.Y. punk-sludge force, reminiscent at times of the likes of early Cavity. Naturally in-your-face but addictively watchable, duo-vocaled , ripping riff heavy, and a welcome breath of fresh air from the mundane. A killer 3 tracks on their side of a recent split with Sob Story (self-released through drummer Ant Cole’s own Headless Guru Records label) hint towards the immanent new full length as being an important and highly anticipated record. One that will most likely carry both the unexpected as well as another leap forward into a solid standing as a modern UK export with a giant middle finger to the hypocrisy around them, echoing the crust heavyweights of yesteryear, yet with a hardcore / doom fusion that ensures their ability to remain up there with some of the heaviest bands around today.

Definitely a kick to the head not to be missed on the Human_Disease_Promo / When Planet’s Collide stage at DesertFest 2014.

LIFER TO OPEN AT DESERTFEST 2014

Coming in somewhere between Sick Of It All and the mighty Down these Welsh masters of the raging riff (ft ex-axeman of UK stoner heroes Acrimony) are due to set off the Human_Disease_Promo / When Planets Collide stage at this year’s festival.

Having played triumphant sets at the likes of Hammerfest and Bloodstock (appearing not once but twice, playing to a strong crowd on their second stage in 2013), the band have also played storming shows supporting many fellow “Lifer’s” like Viking Skull and Orange Goblin. Their debut Album ‘Curse them Out’ was released to rave reviews and with 2014 seeing them disappear back in to the studio once again we hope that this year’s appearance at DesertFest may be a good chance for them to air some brand new material too. These boys are coming from the valleys to crush your tiny minds. Do not miss out!

http://www.thedesertfest.com/
https://www.facebook.com/humandiseasepromo
https://www.facebook.com/DesertfestLondon

Sourvein, “Dirty South” Live

In 2011, London-based doomers Pombagira released an album called Iconoclast Dream. It was comprised of a single, 42-minute track, but really, they should’ve kept the title in their pocket for the subsequent outing — because as it turns out, the latest, Maleficia Lamiah, is far more subversive. The duo’s fifth LP overall, it answers the question of what comes after that single-song record, what you could possibly do after you’ve already pushed your sound as far is it can go? It’s an issue Ufomammut tackled with last year’s Oro two-parter, and their answer was to keep getting bigger, to release one album as two. For Pombagira, it wasn’t going to be that easy.

The two-piece of guitarist/vocalist Pete Giles and drummer Carolyn Hamilton-Giles would keep working in extended tracks — Maleficia Lamiah has two, its title cut and the subsequent “Grave Cardinal” — but for the latest recording, they adopted a far more psychedelic context for the sound. It’s not a complete reinvention, but for the first time in a career that goes as far back as when he played in Azagthoth with Napalm Death‘s Shane Embury in 1987, Pete uses clean singing on the songs, and the material as a result calls back to early psychedelic influences that Pombagira has adopted with striking ease as part of their aesthetic, from Maleficia Lamiah‘s deep-toned artwork to their promotional photos for the album, taken by Vic Singh, who also shot the cover of Pink Floyd‘s debut, The Piper at the Gates of Dawn, in 1967.

And not only does Pete sing clean, but he works in an eerie falsetto depending on which of the album’s movements it seems to fit. The song “Maleficia Lamiah” sprawls its just-under-19-minutes in varied movements, Carolyn‘s drums backing bizarro synth and cawing crows in the post-midsection after what’s already been an alternatively driving and stupefying journey through the first half. What Pombagira make clear on Maleficia Lamiah more than anything is that they’re unwilling to be tied to expectation — even their own — and as the title-track winds up in a tempest swirl resuming the intonation of the name of the record, the only tenet Pete and Carolyn are adhering to is that which they’ve created for themselves.

Given the changes in approach Maleficia Lamiah represents, there was as you might imagine a lot to talk about. In the interview that follows, Pete discusses how Maleficia Lamiah came about following Iconoclast Dream, the band’s reticence toward playing live and how they’re handling the inevitability of bringing the new material to a stage, how the working relationship between the duo has grown over the course of five albums, where he thinks this new direction might lead them and much more.

Please find the complete 3,400-word Q&A after the jump, and please enjoy:

Read more »

Clocking in at over 19 minutes of multi-movement progressive doom exploration, Pombagira‘s “Maleficia Lamiah” is essentially an album unto itself, with a complete linear flow and fully realized psychedelic mysticism. The band’s fifth album, Maleficia Lamiah, is now available for pre-order from Black Axis Records ahead of its March 18 release date.

Maleficia Lamiah is the follow-up to 2011’s single-track full-length, Iconoclast Dream, so they’re no strangers to long-form work, and their wanderings seem to find direction even as they get willfully lost along the way. The title cut opens with a few minutes of layered feedback, and then the husband/wife duo of Pete (vocals and guitar) and Carolyn (drums) smoothly introduce and work their way through varied presentations of thickened, darkened ritual psychedelia. Their drone-ready sprawl is given just as likely to open space rocking as it is to doomly crush, and in its peaceful moments, “Maleficia Lamiah” enacts some of its greatest threats.

The album can be pre-ordered in three different versions from Black Axis. A limited black and yellow marble swirl 2LP also includes a t-shirt and three bonus tracks, and there’s also a regular vinyl edition and the CD. Rest assured, all three contain Pombagira’s gloriously heavy wash and richly progressive take. It’s my extreme pleasure to host “Maleficia Lamiah” for streaming in advance of the record’s release. Some who’ve encountered Pombagira‘s rawer past works may be surprised at some of what they’re doing here, but rest assured, their sound remains their own.

Please find the track below and enjoy the trip:

[mp3player width=470 height=150 config=fmp_jw_widget_config.xml playlist=pombagira.xml]

Pombagira‘s Maleficia Lamiah was recorded at Foel Studios and Earthworks in the second half of last year and can be pre-ordered now through Black Axis Records at this location. For more on the doomly doings of Pete and Carolyn, check out Pombagira on Thee Facebooks.

I’ve been waiting for British doomers Pombagira to release a new album to basically give myself an excuse to finally get acquainted. It’s a name I’ve seen kicked around for more than the last couple years, and it’s high time I got to know the band better. Their fifth album, Maleficia Lamiah, is set for release in March on Black Axis Records with preorders going up the first week in February.

The PR wire has details. One more to be stoked on:

Pombagira to release profoundly epic new album Maleficia Lamiah

Pombagira have emerged from the gloom with their most profoundly epic album to date MALEFICIA LAMIAH.

Released on 18 March on Black Axis Records. The LP version is limited to 500 copies will be available for pre-order at www.blackaxisrec.co.uk from 5 Feb. This version will contain three extra bonus tracks.