Stockholm riff-pummelers Domkraft made their debut this fall with The End of Electricity on Magnetic Eye Records — a blown-out collection of dense-toned low end push, mean in its execution and weighted on a planetary scale. Rest assured, plenty of electricity went into its making, though perhaps they chose the title for the number of fuses they blew in the studio trying to power all those tube amps. A question for another time.
Today we concern ourselves with what drove the three-piece of bassist/vocalist Martin Wegeland, guitarist Martin Widholm and drummer Anders Dahlgren to craft this monstrosity of riff in the first place. One learns early on in writing about music that the question “Who are your influences?” is off limits once you’re no longer writing for the high school newspaper. That’s some shit that you, as a critic, should know by the time you talk to someone. But Domkraft were kind enough to take the initiative and answer the question anyhow in the form of counting down (counting up? either way, counting) 10 records that made them who they are as a band.
And though I’m sure you’ve heard it by now, just like you already know they’ve been tapped to play Psycho Las Vegas 2017, because you’re hip like that and into the rock and/or roll, just in case you want some context for what the band discusses below, I’ve also included the stream of The End of Electricity at the bottom of this post, so you can hear what all this cool stuff sounds like when it comes out the other side of Domkraft‘s blender.
Thanks to Domkraft for taking the time and to Jadd Shickler for coordinating. Enjoy:
10 Records that Made Domkraft
PINK FLOYD, Meddle (1971)
Well, where to start with this one? A seminal album in every aspect. This is the very blueprint for how drums, guitar and bass can interact in long, sweeping, echoing compositions that grow in and out of one given theme. Some of us have listened to this album ever since we were kids. The epic pounding of “One of These Days” still lacks comparison. And even if we work in a different musical context, the live version of the song from Pompeii 1972 in particular captures the very essence of how music should feel for us; overwhelming, transcendental and all-consuming. An inspiration in so many ways.
SPACEMEN 3, Playing with Fire (1989)
“Just play one note. No fancy stuff.” With fancy stuff being two notes, this band is a marvel in itself. When it comes to creating greatness out of almost nothing, Spacemen 3 are still unrivalled. And Playing with Fire is arguably their finest moment. From the dream-like inner and outer journey of “Honey” and “How Does It Feel?” to downright life-transforming sonic freight trains such as “Revolution” and “Suicide,” this is probably one of the bands that has had the biggest impact on how we apprehend music. The tones themselves decide the structure of the song, not the other way around. And less is almost always so much more. We love both sides of this band, the mellow stuff as well as the really powerful, even though I think most of the people who appreciate Domkraft will get more out of the louder stuff. Anyway, an amazing band and an album that sounds as fresh today as it did when it was released in 1989.
LOOP, A Gilded Eternity (1990)
When we’re writing, groove and pace are two cornerstones. Loop purified the bond between sparse, focused rhythms and feedback guitars. Their music is so self-conscious — it’s almost as if all parts not proven vital for the song’s existence have been removed. Staccato drumming and kraut-like bass grooves together with screaming minimalistic, echo-drenched wah-wah guitars give songs like “The Nail Will Burn” a unique, hypnotic vibe. The riffs feel endless. No beginning. No end. Everything so simplified, repeated and recycled that even the smallest alteration makes a huge difference. In Domkraft, we work a lot with the idea of trusting a riff enough to let it take over a song. One riff, one firm groove. That’s all you need, really. And it does not necessarily have to space out — keeping it sharp can be equally mind-bending. And Loop knew that early on.
GOD MACHINE, Songs from the Second Storey (1993)
Apparently there’s at least one other band with the same name now, but we’re talking about the classic San Diego ’90s band here. So, yeah, some elements on this album haven’t aged that well and sound very much like a product of their time. But when they hit the sweet spot, oh man… they are sooo good. Not metal, but still heavier than most bands of that era, and with longing, desperate vocals floating upon gluey, crawling, rock-solid riffing. It becomes something that is hard to really label –- without making a fuss about being genre-bending. You can definitely hear echoes of God Machine in Domkraft, especially in how we work with vocals.
ENTOMBED, Wolverine Blues (1993)
If you’re Swedish and into heavier music, you just have to relate to Entombed somehow. We’re pretty old school, so the first three albums are where it’s at for us. Strangely though, with Wolverine Blues being the defining moment that moved them away from the classic death metal they played a big part in shaping, this is also one of their absolutely heaviest offerings. And it also features some of Nicke Andersson’s finest drumming –- he has that pretty unique Bill Ward-quality of making everything sound alive and in constant motion. Apart from being an inspiration rhythm-wise, there’s also a few scales that would probably not be there if it wasn’t for Entombed.
MELVINS, Houdini (1993)
When Melvins decided to slow things down, they certainly didn’t half-ass it. Their raw, bass-heavy and down-tuned sound made a huge impact on us (and still does). There is something about these guys that makes you feel like metal, punk or rock music never existed before. Seemingly uninterested in appearance and with almost surrealist lyrics, they challenge the whole concept of genres. That, combined with the intense drumming, the bass tone, the rhythmic and sludgy riffing of songs like “Hooch” and “Night Goat,” was a big reference for us when Domkraft was formed.
MONSTER MAGNET, Dopes to Infinity (1995)
Even though the band had released a few albums before, Dopes to Infinity was the album that really made us fall in love with them. At that time no one could deliver more powerful riffing and spaced-out songs and still be heavy as fuck. They seemed to mix the anglo-surrealism of Syd Barrett with punk rock attitude, Iommic riffing and the free-form song structures of Hawkwind. Echoing phasers, earth-shattering riffs and songs that, when needed, are long enough to make you lose track of time. The result was mind-bending to us then and still continues to influence us.
HIS HERO IS GONE, Monument to Thieves (1997)
Like a restless bastard sibling to Neurosis, Memphis’ His Hero Is Gone made a couple of albums in the late ’90s that sounded pretty much like the musical equivalent of nuclear war. Crusty pain-ridden hardcore, no nonsense d-beat and extreme, doomy low-end. Call it proto-sludge, if you will. Call it brilliant, you must. The atmosphere of this album is dark and gloomy, still somehow strangely beautiful in all of its intensity and almost bittersweet –- and it all sounds natural. That is something that very well might echo in our songs as well.
BURIED AT SEA, Migration (2003)
How low can you go? Well, this is about it. At least if you want to retain some kind of detail. Pretty minimalist as far as song structures go and manages to be extremely dense and atmospheric at the same time. The deranged, distorted vocals that appear very sparsely are almost like they’re just there to remind you that “oh! this is actually played by humans.” It’s also brilliantly produced, and well, what less could you expect with Sanford Parker in the band? The low-end just levels everything in its path and the highs accentuate everything that happens in the background (and that is quite a lot). Possibly one of the most intense — and groovy! — albums ever. The impact on Domkraft is probably mainly the realization that you don’t have to fear either mid or treble in order to still keep things heavy as fuck.
SWANS, The Seer (2011)
There is something about Swans that is close to impossible to describe in words alone. Especially regarding the second stage of their career. The constant building, how minor alterations make all the difference and the notion that you never really know if there could ever be an end to it. And you really don’t ever want it to end either. It’s a trance-like state, but the sheer power still makes you very aware of every change. It’s beautiful and threatening at the same time. Clean, crisp and sometimes almost orchestral. We might be on the other side of the sonic spectra with our massive use of fuzz and effects, but the spirit and the idea that each song itself sets its own rules has been a massive influence on us. Probably one of the three most important bands for us -– the other two being Sabbath and Spacemen 3.