Review & Video Premiere: Deville, Pigs with Gods

Posted in Bootleg Theater, Reviews on October 19th, 2018 by JJ Koczan

deville pigs with gods

Deville, ‘Cut it Loose’ official video premiere

[Click play above to watch the official premiere of Deville’s ‘Cut it Loose’ video. Their album, Pigs with Gods, is out Oct. 26 on Fuzzorama Records.]

Sweden’s Deville seemed to lay self-aware claim to their straightforward approach to heavy rock and roll on their last album, 2015’s Make it Belong to Us (review here), which was their first outing through Fuzzorama Records after issuing their third LP, Hydra (review here), through Small Stone. But things change, and in the case of the Malmö four-piece, that extends to the lineup of the band, as guitarist/vocalist Andreas Bengtsson is now the sole remaining founding member of Deville, with lead guitarist Andreas Wulkan having joined before Hydra and the dual-Martin rhythm section of bassist Martin Nobel and drummer Martin Fässberg coming aboard in 2016. As Deville come upon their 15th anniversary in 2019, their latest collection, Pigs with Gods, will be the album that carries them through it, and it’s another forward step in their ongoing sonic development.

As to how much the Andreases and Martins share writing duties among them, I don’t know, but Deville has always had Bengtsson at the center, and that remains true throughout the substantial, LP-limit-pushing 12 tracks and 51 minutes of Pigs with Gods, but as cuts like “Came for Nothing,” “Hell in the Water,” “Cut it Loose” and “Gold Sealed Tomb” remind, the star when it comes to Deville‘s work has always been the songs themselves. Structurally tight, crisply produced and executed with a full, professional sound and energy, the material on Pigs with Gods offers little by way of surprises in the overall quality of its work. That is, after their last couple albums especially and even going back to 2007’s Come Heavy Sleep (which Heavy Psych Sounds pressed to vinyl in 2013) and 2009’s Hail the Black Sky (discussed here), they’ve worked to a high standard of output. With Bengtsson as the consistent factor in the band all along, one can at this point read a certain level of auteurship to their work, but again, it’s the songwriting that’s the proper focus.

And whether it’s the lumbering riffer “Lightbringer” or the one-two punch of opener “Lost Grounds” and the title-track right behind it, Pigs with Gods wants nothing as regards songwriting. The real shift as regards Deville‘s style is in the aggression level of the material overall. “Lost Grounds” puts that out immediately and sets a context for the rest of what follows such that even the uptempo push of “Cut it Loose” or the bombastic “Wrecked” later on seem informed by it. They play around with the dynamic, as one would think for a group of their established professionalism, and “Acid Meadows” mellows out while “Dead Goon” turns it somewhat darker ahead of “Came for Nothing” and the ending shove of “Medicated on a Concrete Road” and closer “In Reverse,” which tops six minutes in grand finale fashion with a striking vocal harmony, but the core tonality of Pigs with Gods — and even the title itself, unless they’re referencing Margaret Atwood — retains more of an aggro edge than anything they’ve done before.

deville

The effect there is to toe the line between heavy rock and hard rock, and taken in concert with the accessibility that their penchant for hooks grants them, one might read a commercial aspect to their sound, but I don’t think that’s what they’re going for. Whether they’re reflecting the times or some personal strife or whatever it might be, their intention seems not to make the widest-reaching album possible, but to push themselves into making the best album possible, and while Pigs with Gods is a considerable undertaking at 51 minutes — Make it Belong to Us was 37, to compare — they stave off redundancy with malleability and succeed in moving their aesthetic forward to someplace it’s never been. As to how much the arrival of Nobel and Fässberg might have to do with the sharper take, I can’t say, but it’s crucial that even as raucous as Pigs with Gods gets, on “Gold Sealed Tomb” or  “Wrecked” or even “Lost Grounds” at the outset, there’s no sacrifice of melody or catchiness in the name of making a show of being pissed off.

Nor should there be. Instead, Deville hit this new nuance in their modus with the same level of pro-shop confidence they’ve had for the better part of the last decade, and I firmly believe that’s because they keep the songs themselves as the core of the band. At no point does Pigs with Gods sound like Bengtsson sat WulkanFässberg and Nobel down at a band meeting and told them it was time to get mad. What it sounds like is that Deville wrote a new collection of tracks to follow-up the last one and the songs went where they wanted to go naturally. I’ve mentioned a couple times by now Pigs with Gods hitting expectations. In songwriting, in performance, etc. And it does, but that shouldn’t be taken to mean that it lacks passion or that it’s somehow otherwise flat, just hitting its marks and content with that. While there are steady elements to their approach and I wouldn’t say they ever come close to losing their tight grip on what they do, Deville are just working to a high standard, and surpassing where they were before is a part of that.

One would expect no less from them, no matter who’s in the band, or it simply wouldn’t be Deville. And with the rolling-forward riff of “Dead Goon” and the spacious time-taking of “In Reverse” — the bass of which is satisfyingly dirt-caked in its post-midpoint showcase — Pigs with Gods is unquestionably Deville. It shows how recognizable their sound has become over time and just how much the ownership they acknowledged their last time out has allowed them to do what they want with their songwriting and take it to places it hasn’t yet been. Whatever the future holds for them as they move beyond a decade and a half — one assumes they won’t have another album out next year, given past pacing — Deville give zero sign of letting go of the willfully grounded craft that serves as their foundation. As regards Pigs with Gods, it is only a source of strength for what they do.

Deville on Thee Facebooks

Deville website

Fuzzorama Records

Fuzzorama on Bandcamp

 

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The Riven Sign to The Sign Records; Debut Album Due in 2019; New Single This Week

Posted in Whathaveyou on October 16th, 2018 by JJ Koczan

On Friday, The Riven will unveil the first single from their impending 2019 debut album. That record doesn’t have a name yet, at least not a public one, but it will be released in a new deal the classic heavy rocking outfit has inked with The Sign Records and it will follow last year’s Blackbird EP (discussed here). Since that five-tracker was recorded in 2016, the band has moved from London to Stockholm, and the new record — because of course — was put to tape in Madrid. Consider it a pan-European heavy rock experience if you must, but The Riven will be another name on 2019’s most anticipated list, and I’ll hope to have more to come on it as we get closer to the release.

For now, here’s the announcement from The Sign Records, as per the PR wire:

THE RIVEN

The Sign Records signs The Riven. The band is set to release their debut album during the spring 2019 and their first single ‘Fortune Teller’ is set for release the 19th of October.

In 2018 The Riven went to Madrid, not to spend time under the Spanish sun but rather curled up in the valved cellar studio at Holy Cuervo Studios. In ten days they powered through the record’s nine songs producing an album that in the words of the drummer Olof Axegärd “Is loud, is rock, is soul, and prog, it has it all!”. The Riven will be releasing their highly anticipated first full length with The Sign Records in the spring of 2019.

The band have recorded their debut album with Ola Ersfjord (Tribulation, Lucifer, Primordial) in Madrid. The album artwork is made by Maarten Donders. The album is a pure injection of Rock into the system.

“The Riven are set to release one of the strongest Swedish debut albums in many years. The band holds a perfect combination of bluesy vocals and classical rock sound. We are humbled over the opportunity to work with, and be able to present The Riven to the world.” – Kaj Sivervik, The Sign Records

“We are super excited to announce that we are signing with the Sign Records. One of the reasons to why we moved the band from the UK to Sweden was that we wanted to be part of the scene over here. We have a great love for bands like Hällas, Hypnos and MaidaVale and to be on the same label as those guys, as well as other great acts too, is really a step in the right direction for us. We knew that working with Kaj and the Patricks would be great for the band when we first heard Kaj speak on Rockpodden. His love and passion for the bands on the label is something you don’t come across too often and we strongly feel that a collaboration of this sort needs to have that element. It was in that moment we knew that we wanted to be on The Sign records. Now let’s bring on the release and let the good times roll!” – Max Ternebring, The Riven

The Riven is:
Charlotta Ekebergh – Vocals
Arnau Diaz – Guitar
Max Ternebring – Bass Guitar
Olof Axegärd – Drums

https://www.facebook.com/TheRivenMusic
https://theriven.bandcamp.com/releases
https://www.facebook.com/thesignrecords/
http://thesignrecords.com/
https://freighttrain.se/en/the-sign-record/skraeckoedlan/

The Riven, Blackbird EP (2017)

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We are Wood to Release Heaven’s People Oct. 26

Posted in Whathaveyou on October 15th, 2018 by JJ Koczan

This is why you sign up for record store mailing lists. I haven’t seen anything about this release of We are Wood‘s debut LP, Heaven’s People, anywhere, but I got the newsletter from Sound Effect Records in Greece and the Swedish band happened to catch my eye in there. A little cursory investigation later and I found the track “When the Bees Made Honey from Edelweiss” on their Bandcamp and a few more on a Soundcloud page, and I’m pretty much hooked. Mellow Stones-via-Velvet Underground psych that’s all sunshine and warmth and just an absolute pleasure on the ears.

The outing is set to see issue through Soundcave Records, and I can’t find much about the label except as a substore through Avantgarde Music specializing in various extremities, so I don’t think that’s related. Either way, they’re linked up with 88mph booking and have a sound suitably back to the future to coincide. The track hit a nerve and I wanted to share it.

Here’s the info from Sound Effect‘s release page. If their Soundcloud dates are anything to go by, the project goes back at least four years:

we are wood

We Are Wood provide the nostalgic euphorical sound of the colourful and mind-altering festivals and spiritual journeys of the late 60s that you were never around to experience first hand first time around. However, with We Are Wood, the circles of time are perfectly looped, and you get to ride a kaleidoscopic sound wave and jump an entirely new tour bus of trippy sounds which these days are more relevant and multi-layered than ever! Leaving you not completely sure of where it will take you, but drop-dead-certain that you wanna go, We Are Wood take you off road and down the spiraling paths of psychedelia, leading towards an entirely new musical era!”

The collective’s first full length release “Heavens’s People”, took more than one year to complete, and contains performances of musicians from some of Gothenburg’s finest acts, including: Den Stora Vilan, IKONS, GOAT, Hills, Lamagaia, SonSon, Cult Of Boyda and URAN. Heaven’s People represents the curiosity of exploring music, blending of different sounds and experimental recording. Tracks such as “LOU REED” and “Härryda Commune” concists of sound collages and editing together multiple takes in an experimental, playful way, an element that is present through out the entire record. While “In The Sun”, “Antelope” and “Can’t Come Back” make a display of the collectives love for “The Wall Of Sound”. “Heaven’s People”, is for you to enjoy, take your favourite seat, close your eyes and have the musical trip you never had!

We Are Wood was formed in Gothenburg, however, members are not sure when it occurred. But with an ever-changing line-up, and unconditional love for music, the collective creates its own version, blends old with new, but also at the same time gazes into the future.

https://www.facebook.com/wearewoodband/
https://wearewoodband.bandcamp.com/releases
https://soundcloud.com/we-are-wood

We are Wood, “When Bees Made Honey from Edelweiss”

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Hällas Announce Live Dates with Graveyard for Nov./Dec.

Posted in Whathaveyou on October 15th, 2018 by JJ Koczan

I had a couple crucial learnings at this year’s Hostsabbat Festival in Oslo. Among them? Patchy pants are all the rage in Norway. I guess it’s a post-apocalyptic kind of thing? Like acknowledging that the dystopia is already here? Anyway, by the time I left town two days later, I wanted a pair. Still do.

More relevant: Hällas do not screw around on stage. Their set opening the fest in the Kulturkirken Jakob was likewise pro-shop and raucous; hot rock delivered with a cool hand but not at all staid or boring to watch. I felt fortunate to be able to catch them, and they more than stood up to the task of the high ceiling under which they played.

In addition to being one of the first bands announced for Desertfest Berlin 2019, they’ll be out for more than a handful of Scandinavian dates alongside kingpins Graveyard starting in early November and finishing up just before the holidays.

Don’t forget your patchy pants:

hallas

Hällas Announces Tour supporting Graveyard

Hällas announces a Scandinavian tour supporting Graveyard. These dates will provide a perfect mixture of Swedish rock during eleven dates. Tickets to the tour is running low on several dates. Secure your tickets through Ticketmaster.

Hällas Tour supporting Graveyard
2018.11.02 – SE – Nöjesfabriken – Karlstad
2018.11.03 – SE – Nordfest – Sundsvall
2018.11.09 – SE – Frimis Salonger – Örebro
2018.11.10 – DK – Pumpehuset – Copenhagen
2018.11.22 – SF – Tavastia – Helsinki
2018.11.23 – SF – Lutakko – Jyväskylä
2018.11.24 – SF – Klubi – Tampere
2018.12.14 – SE – Pustervik – Göteborg
2018.12.15 – SE – Pustervik – Göteborg (Sold Out)
2018.12.21 – SE – Cirkus – Stockholm

Hällas album “Excerpts from a future past” was released in October 2017 by the Sign Records. The band have toured all over Europe upon the release. The band have played festivals as Høstsabbat (NO), Devilsstone (Lit), Fusion Fest (De), Roadburn (NL) and Muskelrock (SE) during the last couple of months. The bands just released their hit single ‘Star Rider’ as a flexi seven inch as the band once again heads out on tour, this time in Scandinavia.

Hällas is:
Tommy Alexandersson (bass/vocals)
Alexander Moraitis (guitar)
Kasper Eriksson (drums)
Marcus Pettersson (guitar)
Nicklas Malmqvist (keys)

https://www.facebook.com/haellas/
https://www.instagram.com/hallasband/
http://www.hallasband.com/
https://www.facebook.com/thesignrecords/
http://freighttrain.se

Hällas, “Star Rider” official video

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Domkraft, Flood: Torrential Downpour

Posted in Reviews on October 12th, 2018 by JJ Koczan

domkraft flood

Listening to some of their more crunching riffs, Domkraft are easy enough to lump into the category of post-Monolord undulation, big tones and spacious vocals on a song like “The Watchers” seeming to make the Stockholm trio kin to that Gothenburg outfit. That, however, is less than half of the whole story. Domkraft‘s approach, especially on their second album and Blues Funeral Recordings debut, Flood, is a melting pot of modern heavy. Yes, that heft is there, but even more so throughout the seven-song/41-minute outing is a sense of drift and space rock thrust, a heavy rocking swing and bounce, an element of noise rock and post-metal in some of the shouted vocals and plenty of psychedelia throughout.

With rhythmic repetition, the trio of guitarist Martin Widholm, bassist/vocalist Martin Wegeland and decidedly-not-named-Martin drummer Anders Dahlgren affect a sense of nodding hypnosis from the outset of opener and longest track (immediate points) “Landslide,” which seems to earn its title via the consuming wash of wah and massive crashing riff in its second half — either evoking or causing the titular devastation; it’s hard to tell which. Either way, the earth moves, but as huge as its riffing is — and it’s not just at the end either; dig that turn at about 3:03 into the total 9:56 — that leadoff also performs the essential function of introducing the more sprawling aspects of Domkraft‘s sound. Those, along with the crush, the style and layout of cover art, the use of a well-placed interlude, etc., are things Flood carries over from 2016’s debut LP, The End of Electricity (review here), which was released by Magnetic Eye Records, but there has been a shift in the production as well as in the reach of the songs themselves, and Flood pushes farther out into open terrain even as it seems so ready to pummel the listener into those same grounds.

One might think of “Landslide” as a companion-piece to “The Rift,” which gloriously opened the debut, and it’s no less effective in establishing the tones and breadth on which what follows continues to build throughout the remaining six tracks. It is a natural progression from one to the next, and in that way emblematic of what is accomplished throughout Flood as a whole. Both “The Watchers” and the subsequent title-track are shorter and represent a momentum-building between them that simplifies some of the moves from “Landslide” but still ties to that song in terms of the elements at play, whether it’s the wah in “The Watchers” amid the Neurosis-style shouts from Wegeland or the tonal heft that they seem to make bounce in “Flood” itself, showing themselves as unafraid to play to heavy rock traditionalism despite being so outwardly modern in their approach. That is, it’s okay to like a fuzzy riff and a locked-in groove. No one’s going to yell at you. The sense of forward motion through both “The Watchers” and “Flood” is crucial, but no less so is the centerpiece interlude “They Appear to Be Alive” (one wants to put an ellipse before the last word of the title: “They Appear to Be… Alive,” if only for dramatic effect), which is less than 90 seconds long but serves in its sort of winding guitar mini-swirl to emphasize Domkraft‘s trance-inducing aspects and the psychedelic flourish that has been accompanying the sonic heft all along.

domkraft

It’s a slowdown, or a breather, after the apex of “Flood” and its downhill push with “The Watchers” following “Landslide,” but it efficiently reorients the listener and prepares them, almost unknowingly, for the second half of album. Already, though, we see the band’s modus is not unlike the match-lighting seabeast adorning Flood‘s cover, with multiple tentacles connected to a three-eyed, somewhat monstrous whole, like an Octorok from Zelda but with better graphics to seem all the more fierce as it belches smoke and carries — tellingly — a hook. Domkraft have a few of those as well, and though their songs aren’t immediately chorus-based in let’s-get-this-verse-out-of-the-way-so-we-can-get-to-why-we’re-really-here fashion, they nonetheless cast a memorable impression that all the more distinguishes the fluid balance of their material, shifting between styles while creating a cohesive entirety from them.

Side B begins with the tempo manipulations of “Sandwalker,” turning first to more of a pushing instrumental chorus and then into a sprawling pre-midsection guitar solo. Madness ensues. With increasing intensity, Domkraft move into a wash of noise and another solo before hitting the brakes again, and then go back for more speed before the song seems to pull itself apart. The chorus turns out to be the solo — an instrumental hook that proves all the more memorable for being the final statement the 7:29 track makes. That length is important because it speaks to the change in structure on side B. Where the first four songs were like a rollercoaster, climbing up “Landslide” and then rushing down “The Watchers” and “Flood” into the valley of “They Appear to Be Alive,” side B works as bookends. “Sandwalker” and the 8:09 closer “Dead Eyes Red Skies” (not to be confused with the 2013 Tombstones album, Red Skies and Dead Eyes) surround “Octopus,” which at 4:40 is the shortest of Flood‘s non-interlude inclusions. That change gives the album as a whole a more varied personality and the sense that the band are willfully not trying to mirror the two halves on each other, which has become the norm for those willing to put in the effort at all. By going another way, Domkraft make themselves all the more distinct from their peers, and “Octopus” gives a crisp reaffirmation of the effectiveness of its quicker side A counterparts while summarizing the rolling groove that has served the band so well.

The closer answers back with another fervent nod, but also a more patient delivery than most of what Domkraft have heretofore brought forward, allowing the tones to flesh out even as they ready for the next shove. Departure into a particularly psychedelic solo leads to a holdout of some feedback and a surge of riffing that identifies readily as the culmination of the record, getting thicker as it goes with the vocals still cutting through, mellowing out one more time, getting heavy quick, then cutting out altogether to finish with whispers over atmospheric guitar and bass. It’s a chaotic finale, but that’s obviously what it’s meant to be, and Domkraft wield it ably as they have done all along throughout Flood. The album is executed with a level of self-awareness across its span that further underscores that notion, and as Domkraft take this unmistakable step forward, they seem to show no signs of resting in this place either. I wouldn’t be surprised if their next outing found them dug even further into the realms of psychedelic ultraheavy, but that of course is just one of Flood‘s accomplishments on which they might build.

Domkraft on Bandcamp

Domkraft on Thee Facebooks

Domkraft on Instagram

Blues Funeral Recordings on Thee Facebooks

Blues Funeral Recordings on Bandcamp

Blues Funeral Recordings website

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Greenleaf Solve Lineup Issue in “Good Ol’ Goat” Video

Posted in Bootleg Theater on October 9th, 2018 by JJ Koczan

greenleaf good ol goat

So I guess maybe Hans Fröhlich couldn’t make his flight and Greenleaf and video director Peder Bergstrand — a bassist himself — decided to run with it as a video concept? Fair enough. The results are pretty hilarious in the Swedish heavy rockers’ new clip for “Good Ol’ Goat,” which comes from the impending Hear the Rivers, out Nov. 9 on Napalm. The song itself — its bluesy hook with Arvid Hällagård‘s vocals an all the more essential element to their approach and the classic stomp in Sebastian Olsson‘s drums — is kind of lighthearted, so it works on that level, but the story they go with is that because Fröhlich didn’t get there in time, they decide to hold open auditions for a bass player to fill in for the video. Chicanery ensues.

A bunch of first names appear at the end of the video: Jugglo, Kapsylen, Linus, Chris, Rikard, Lena, and so on, but I’d love to see a comprehensive list of who all the people are who show up to “audition” for the bassist role, because I’m willing to bet a couple of them would be familiar. Not to spoil it — though it’s handled pretty cleverly, and I won’t give that away — but it’s all the more fitting that they resolve the issue by having guitarist Tommi Holappa step into the bassist role himself. As the founder and sole remaining original member of the band, who are coming up on 20 years as a unit around Holappa, it’s kind of always been his answer anyway. Perhaps the biggest surprise of all is that Bergstrand does not himself show up for an audition spot. Maybe he didn’t want to give the impression that anything was taking away from the work he’s currently doing in the studio on a long-awaited new album from his band, Lowrider.

In any case, the video rules, and could hardly be a better lead-in for the arrival of Hear the Rivers, a month away. Also a month away is that release tour — and I think at this point I’ve posted these dates at least three times before; watch out, this might not be the last, either — Greenleaf will do with Germany’s Samavayo, who as well will herald a new album.

Clip follows. Have fun:

Greenleaf, “Good Ol’ Goat” official video

Mighty Swedish Stoner force GREENLEAF just released their amazing and amusing music video for “Good Ol`Goat”. The band on their epic movie:

“We wanted to do something funny and entertaining and Peder Bergstand came up with this idea. It’s a very fitting video since it’s packed with dad jokes and some of us recently became fathers. Enjoy the bass!”

On November 9th, Hear The Rivers comes into world via Napalm Records. This album turns out to be quite the mesmerizing bag of tricks that seizes the Swedish Stoner sound and enriches it with so many wonderful things, like the just released unforgettable riff-o-rama “Good Ol`Goat” or the slow soul-feeder “We Are The Pawns”. An absolute gem of an album that is best kept in the family – which is why former GREENLEAF- and Dozer drummer Karl Daniel Lidén (Craft, Bloodbath, Crippled Black Phoenix amongst others) produced it.

Pre-Order HERE!

GREENLEAF – Live w/ SAMAVAYO
08.11.18 DE – Dresden / Beatpol*
09.11.18 DE – Berlin / Musik & Frieden
10.11.18 DE – Stuttgart / Keller Club
11.11.18 AT – Vienna / Viper Room
12.11.18 DE – Munich / Feierwerk
13.11.18 CH – Olten / Coq d’Or
14.11.18 DE – Cologne / Helios 37
15.11.18 UK – London / Underworld
16.11.18 FR – Paris / Glazart
17.11.18 NL – Eindhoven / Helldorado Festival*
*without SAMAVAYO

Greenleaf is:
Arvid Hällagård: Vocals
Tommi Holappa: Guitar
Hans Fröhlich: Bass
Sebastian Olsson: Drums

Greenleaf on Thee Facebooks

Greenleaf on Instagram

Greenleaf at Napalm Records

Napalm Records website

Napalm Records on Thee Facebooks

Greenleaf at Sound of Liberation

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Dun Ringill Sign to Argonauta Records; Debut Album Welcome Due in 2019

Posted in Whathaveyou on September 27th, 2018 by JJ Koczan

Adding to the ever-expanding roster of Argonauta Records is the Swedish troupe Dun Ringill, which boasts in its six-piece ranks members of The Order of Israfel and Silverhorse, among a slew of others. Music is pretty sparse at this point — that is, no demos or anything like that — but there’s a studio snippet they posted on Thee Facebooks you can see below and that sounds plenty doomy. The band take their name either from the Jethro Tull song or the Iron Age fort on the Isle of Skye that inspired it, and either way, the promise of Scandinavian folk with some pro-shop doom sounds pretty right on to me. Their debut album, Welcome, is set for release early in 2019, and I’ll hope to have more to come before then.

The PR wire gives the announcement like this:

DUN RINGILL

DUN RINGILL SIGN TO ARGONAUTA RECORDS!

Feat. members of THE ORDER OF ISRAFEL, DOOMDOGS, LOTUS, SILVERHORSE & many more!

Debut album ‘Welcome’ coming in early 2019!

When The Order of Israfel took a one year break from September 2017, the rhythm section Patrik Andersson Winberg (Bass) and drummer Hans Lilja (also in Lotus), grabbed the chance to create new music again together with Patrik’s old band mate from the Doomdogs era, Tomas Eriksson (Intoxicate and ex Grotesque).

Of what started as a dark and doomy project with Nordic folk influences, creating music with big harmonies and present them with lyrics in the land of evil and darkness that were hiding behind a closed door in the mind of Winberg, became something bigger and your new favorite Swedish Heavy Doom Rock band was born: Welcome DUN RINGILL, who just signed a worldwide deal with Italy’s rising label Argonauta Records!

Says the band: „We in Dun Ringill are super stoked to strike this deal with Argonauta Records! We do believe that Argonauta is the new Black for the doom and hard rock scene and that together with us as a band we will create magic and reach beyond our wildest dreams. Welcome to the land of Dun Ringill!“

To be able to make this project as great as possible the band teamed up with some of the best musicians the Gothenburg scene has to offer: Tommy Stegemann, Guitar (Silverhorse), Jens Florén, Guitar (also in Lommi & ex live guitarist for Dark Tranquillity), as well as Patric Grammann (SFT, Neon Leon) on guitar, a master of melancholy melodies and harmonies.

DUN RINGILL just finished to record their debut album with mastermind Julien Fabré as sound engineer and co-producer together with the band. Titled ‘Welcome’, the band is set for an album release in early 2019 with Argonauta Records. The soon to be unveiled album artwork has been created by Niklas Sundin (Dark Tranquility). ‘Welcome’ will also feature songs with guest musicians such as Per Wiberg of Candlemass, Kamchatka and formerly Opeth.

Stay tuned for many more news, live dates & album details coming soon!

www.facebook.com/DunRingillSwe
www.argonautarecords.com
www.facebook.com/ArgonautaRecords

Dun Ringill, studio snippet

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Domkraft to Release Flood Oct. 19; New Song Streaming

Posted in Whathaveyou on September 24th, 2018 by JJ Koczan

domkraft

As they make ready to appear next month at Desertfest Belgium 2018, Swedish trio Domkraft announce they’ve signed on with Blues Funeral Recordings — founded by the enviable tastes and entrepreneurship of Jadd Shickler, who once upon a time started a little company called MeteorCity and thereby helped shaped heavy rock as we know it today — for the release of their second album, titled Flood. They’re streaming a new song from the record now called  “The Watchers,” and one can only hope that The Watchers will respond with a track called “Domkraft,” but in the meantime, the Stockholm outfit will also feature on Magnetic Eye Records‘ impending Pink Floyd tribute, The Wall [Redux], about which you should stay tuned for more to come around these parts.

Domkraft‘s debut LP, The End of Electricity (review here), was issued in 2016. The PR wire fills in on everything they have going on, and there’s plenty:

domkraft flood

Domkraft share first track from forthcoming sophomore album Flood

Swedish trio Domkraft share the first track from their forthcoming sophomore album Flood.

The album will be the first release on new label Blues Funeral Recordings, founded by former MeteorCity (Truckfighters, Nebula, The Obsessed) cofounder Jadd Shickler.

Domkraft will also appear on Magnetic Eye Records’ massive Pink Floyd homage, THE WALL [REDUX]. Out in November, the song-by-song recreation and reimagining of the iconic Floyd double album features recognizable artists including The Melvins, Mark Lanegan, ASG, Pallbearer, Ruby the Hatchet and Scott Reeder, and includes Domkraft’s rendition of the song, “Empty Spaces.”

Musically, Sweden has always been exceptional at sensing and seizing upon significant moments. And at a time when political chaos and societal unrest have deadened our senses, it takes a band with monolithic, hypnotic power to secure our attention and offer a mollifying score to civilization’s decline. Domkraft are that gloriously massive and land-levelling band.

If debut album The End of Electricity was the soundtrack to the impending apocalypse, then follow-up Flood provides the musical backdrop to armageddon in full, The Purge-style swing. A strong contender to dominate a style some are calling the New Wave of Swedish Doom Metal, Domkraft wield a mindbending soundscape of obeliskian riff-majesty, layer upon layer of crushing fury weaving through the wormhole punctures of spacetime in defiance of beginnings and endings.

Majestic, annihilating, reductive and roaring, Flood merges blackwater tributaries from Neurois, YOB, Monolord, and Windhand into an all-encompassing torrent of nothingness and resignation, but in the most singable, appealing way imaginable. There is no fan of blistering, melodic doom on earth who should be without this record.

DOMKRAFT. Their name combines the Swedish “DOM” for judgement and “KRAFT” for power.

The seeds for this monolithic Stockholm band were planted in Gothenburg, where bassist/singer Martin Wegeland, guitarist Martin Widholm and drummer Anders Dahlgren met while playing in various musical constellations.

Bonding over the likes of Spacemen 3, Monster Magnet, Sleep and Hawkwind, plus a fascination with trudging, 10-minute/three chord songs, they finally came together after each relocated to Stockholm. Drawing from the heaviest of their combined influences, the three spent spent years shaping and crafting a sound that blends towering dirges of annihilating doom, mindbending psychedelia, and hypnotic minimalism.

“Our songs build from one riff, played LOUD, then we add and lose parts to mold it into something powerful,” says bassist/vocalist Martin Wegeland. “Focusing on the dramaturgy of the songs, we have clear images in mind when writing, often inspired by films like Jake Paltrow’s Young Ones, Stephen Fingleton’s The Survivalist and (of course) The Road Warrior, though we never let it interfere with the groove and energy. The results of our songwriting method may differ in shape from one song to the next, but the foundation is always the same — repetition and volume! You’ll eventually get sick of every melody, but grooves are forever.”

Flood will be available on LP and download on October 19th, 2018 via Blues Funeral Recordings.

Artist: Domkraft
Album: Flood
Record Label: Blues Funeral Records
Release Date: October 19th, 2018

01. Landslide
02. The Watchers
03. Flood
04. They Appear To Be Alive
05. Sandwalker
06. Octopus
07. Dead Eyes, Red Skies

Domkraft is:
Martin Widholm – Guitar
Martin Wegeland – Bass & Vocals
Anders Dahlgren – Drums

domkraft.bandcamp.com
facebook.com/domkraftband
https://www.facebook.com/bluesfuneral
https://www.bluesfuneral.com/

Domkraft, “The Watchers”

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