Posted in Whathaveyou on April 2nd, 2018 by JJ Koczan
Last year, Texas four-piece Destroyer of Light hit a new level of misery entirely with their third long-player, Chamber of Horrors (review here). Seriously. Did you hear it? Don’t get me wrong, there’s a lot of doom out there these days, and a fair amount of it comes from the Lone Star state, but fucking hell, you want to talk about a band outdoing themselves, that’s exactly what happened with that record. All these guys have done is tour and kick ass. They’re like specialists.
Destroyer of Light have a new track posted now called “Nyx” that comes from their upcoming EP, Hopeless, which is out May 11 on their affiliated imprint, Heavy Friends Records. It’s nine minutes long, and the video’s cool, but if you have to put it on and switch to another tab or something because your life is just that busy — and hey, it may well be; if so, thanks for taking the time to check in — the important thing obviously is that you listen to the song, which once again is dead-on in its crawl and atmosphere. I swear this band would be bigger if their name didn’t make you think they were grindcore.
They’re not, by the way. Not grindcore.
To the PR wire:
DESTROYER OF LIGHT: Texan Harbingers of Doom Return with Hopeless EP | West Coast Tour Kicks Off Next Month
Hopeless EP by Destroyer of Light is released on 11th May 2018 on Heavy Friends Records
From deep within the belly of the beast, Texan harbingers of doom Destroyer of Light rise in 2018 with the release of a brand-new EP and string of West Coast tour dates throughout North America.
Hopeless EP is the latest in the Austin-based quartet’s devastating canon and will get an official release on 11th May through Heavy Friends Records. Containing two, practically feature-length tracks which set out to fill the silence between the praise of last year’s Chamber of Horrors and the promise of their follow up full-length next year, the EP charts an ominous course into the heart of darkness which deals directly with depression, suicide and drug addiction. Reworking the grim theatricality and crushing, heavy metal dirges of their earlier recordings, death and destruction is very much the order of service but with a new and somewhat progressively charged life-force.
“With Hopeless, I wanted to focus more on my clean singing, and our song writing has become more melodic while still maintaining the heavy riffs,” explains guitarist/vocalist Steve Colca. “We don’t limit ourselves to what we write, and the direction you’ll hear on this EP is a taste of what’s to come in the future.”
Unmistakably influenced by the likes of Electric Wizard, Mercyful Fate, EYEHATEGOD, Sleep and Autopsy, along with countless literary and horror anthologies, this new EP signals a massive shift in potential and a development that will see the band step out of cavernous, dank basements and into psychedelic realms hitherto unknown. What’s more, on their way to that strange place, over the coming months the band takes to the road for an extensive West Coast tour (see tour info below) in support of Hopeless, which will be released on 11th May 2018 on Heavy Friends Records.
TOUR DATES: 20th April – El Paso, TX – Neon Rose 21st April – Albuquerque, NM – Sister Bar 22nd April – Denver, CO – Streets of London 23rd April – Boise, ID – High Note Cafe 24th April – Richland, WA – Emerald 25th April – Tacoma, WA – The Valley 26th April – Portland, OR – High Water Mark 27th April – Sacramento, CA – The Blue Lamp 28th April – San Francisco, CA – Thee Parkside 29th April – Pacifica, CA – Winter’s Tavern East 30th April – Los Angeles, CA – Five Star Bar 1st May – San Diego, CA – Til Two Club 2nd May – Tempe, AZ – Yucca Tap Room 3rd May – El Paso, TX – Rockin’ Cigar Bar 4th May – Odessa, TX – The Gabby Doo Saloon 5th May – San Antonio, TX – Faust Tavern DESTROYER OF LIGHT:
Steve Colca – Guitar, Vocals Nick Coffman – Bass Keegan Kjeldsen – Guitar, Synth Penny Turner – Drums
Posted in Whathaveyou on March 15th, 2018 by JJ Koczan
I don’t have any idea what Shadow Woods IV — the name trimmed down from the original Shadow Woods Metal Fest for reasons that will become clear as you continue to read — would possibly have to gain from any kind of endorsement on my part, official or not, but let me say anyway that if you can’t respect this idea, the fact that they’ve done it four years running, and the obvious blood-borne passion that goes into making each edition an event unlike anything else in the US when it comes to the mix of bands, the locale, the vibe and the very concept from which it’s working, you can basically fuck off. I may not be into every band on this list — it’s a really, really long list — but there are plenty here who would justify a trip to Harpers Ferry in September, and yeah, all this is is something special year after year.
The lineup this time around is completely over the top, as you can see first in the grim-grim-grim poster below, then in the running order for each for Shadow Woods IV‘s three nights, and then, finally, in alphabetical order, because they are thorough and that’s only one more reason to hold Shadow Woods in such high regard.
Behold:
Shadow Woods Productions LLC presents the fourth edition of Shadow Woods Metal Fest, now simply referred to as Shadow Woods IV.
What: Shadow Woods IV is a multi-day open air music and camping event in that includes bands from many subgenres of metal, rock, folk, experimental and noise. The fest will host more than 40 bands on two alternating stages with no overlapping sets so attendees can enjoy every set. There will also be delicious food, craft beer, a vendor marketplace with art, jewelry, home decor, music, and rock and metal merchandise.
Where: Our new fest venue is the Harpers Ferry Adventure Center (HFAC) located at 37410 Adventure Center Lane in Purcellville, VA 20132, situated in the beautiful Blue Ridge Mountains at the confluence of the Shenandoah and the Potomac rivers. HFAC features zip lines, ropes courses, tubing, white water rafting, cabins, campsites and an onsite craft brewery. It is located just a little more than a hour from Washington DC and Baltimore, MD near the intersection of the Maryland, Virginia and West Virginia state lines. Festival attendees receive a discount of HFAC activities as well as on the cost of campground and cabin rental with the Shadow Woods group rate.
When: Sept 20-22, 2018. Thursday night features primarily acoustic, folk and ritual noise from 6 p.m. until 11 pm. Friday and Saturday showcases rock and metal bands from noon until 11 pm each day.
How: Tickets are on sale now. A full weekend event pass is $130. Day passes for Thursday are $30; Friday and Saturday passes are $60 each. (Important note: Tent camping and cabin are not included in the tickets. Reservations must be made directly through the HFAC and you must request the Shadow Woods group rate. The venue is requesting that attendees hold off on reserving sites for the time being until a system can be put in place for managing this.)
Why: “It was pretty clear from the positive feedback I received after the 2017 fest that festival goers did not want to see Shadow Woods end, even though our property in Maryland had been sold,” said Mary Spiro, fest founder. So without a venue or a confirmed lineup, I started quietly raising the funds to do a new fest via the contributions of past attendees. In January 2018, I was able to find an fantastic site to host the fest that was even better than what we had before. The lineup came together very quickly and I am extremely proud and excited to present these past favorites and new discoveries.”
Here is lineup by day in roughly the reverse order of playing (so headliner at the top) subject to change of course. Then the lineup is in ABC order at the bottom. Brian Sheehan has done the poster.
At this time in terms of Vendors, you can say expect to see some of the ones seen last year plus many new ones.
Don’t have any food vendors or specific sponsors named yet. Beer is the Harpers Ferry Brewing Company which is part of the venue.
Thursday Xasthur – doomgrass, folk rock (Los Angeles, CA) On The Water – strange folk (Philadelphia) Goblin Hovel – metal folk (NY/PA) Skulsyr – occult noise (Doylestown, PA) Jerome Deppe and Miss Elizabeth’s All-Girl Band – folk ballads of the damned (Baltimore, MD) Bound For The Ground – the devil’s blues supergroup with members of Grave Gnosis, The Owls Are Not What They Seem, and Cultic (GA/FL/PA) Earendel – acoustic folk duo (Baltimore)
Friday Tombs – post metal (NYC) Rozamov – psyche-tinged grueling doom (Boston) Heavy Temple – Hard Fuzz, Psych and Doom (Philadelphia) Barishi – Gritty Progressive Metal (Brattleboro, VT) Aether Realm – Viking folk metal (Greenville, NC) Destroyer of Light – doom and roll (Austin, TX) Electropathic – doom hard rock with members from several foundational Maryland doom groups (Wheaton, MD) Husbandry – Fugazi meets Aaliyah (NYC) God Root – ritualistic sludge (Philadelphia) Dysfigure – modern heavy metal (Martinsburg, WV) Windfaerer – extreme aural entity (New Jersey) Witch Hazel – occult rock and roll/doom (York, PA) Forest of Legend – doom/stoner/sludge (Virginia Beach, VA) Hepatagua – sludge/doom/thrash (Boston) Flummox – nongenre specific doomy metal (Murfreesboro, TN) Ferus Din – black metal and flutes (Buffalo, NY) Haze Mage – stoner metal (Baltimore) Malphas – progressive blackened melodeath (Philadelphia)
Saturday Uada – black metal (Portland, OR) Cloak – black and roll (Atlanta, GA) Panzerfaust – black metal (Toronto, ON) Voarm – black metal (Richmond, VA) Imperial Triumphant – black metal (NYC) Athame – black metal (MD/WV) Hubris – black metal (Buffalo, NY) Enthauptung – atmospheric black metal (Rochester, NY) A Sound of Thunder – traditional/NWOBHM heavy metal (DC/VA) Bound By The Grave – death metal (Baltimore) Destroying Angel – dark folk rock (Philadelphia) All Hell – black and roll (Asheville, NC) Black Mass – death thrash (Boston) Hexxus – sludge metal (Birmingham, AL) Replicant – death metal (NJ) Tyrannis – death metal (Radford, VA) Sluagh – progressive metal (Martinsburg, WV) Sickdeer – death metal (DC)
Alphabetical Aether Realm All Hell A Sound of Thunder Athame Barishi Black Mass Bound By The Grave Bound For The Ground Cloak Jerome Deppe and Miss Elizabeth’s All-Girl Band Destroyer of Light Destroying Angel Dysfigure Earendel Electropathic Enthauptung Ferus Din Flummox Forest of Legend Goblin Hovel God Root Haze Mage Heavy Temple Hepatagua Hexxus Hubris Husbandry Imperial Triumphant Malphas On The Water Panzerfaust Replicant Rozamov Sickdeer Skulsyr Sluagh Tombs Tyrannis Uada Voarm Windfaerer Witch Hazel Xasthur
Name your band Destroyer of Light and you’re setting up some pretty serious expectations on the part of your audience. The Austin-based outfit — veterans of Psycho California, Freak Tulsa, Electric Funeral in Denver and others — have never tackled those expectations as head-on as they do with the newly-released Chamber of Horrors, their third album. Songs like “Into the Smoke” and “Luxcrusher” bring a refocused approach on grim, rolling doom even from what the band presented on 2014’s Bizarre Tales Vol. 2, and the chugging, driving, lumbering pummel suits them remarkably well, coming as it does complemented by a persistently bleak atmosphere summarized in the title. More than they ever have before, Destroyer of Light are putting their listeners in a specific place. And it’s pretty damn horrific in there.
Brought to the blinding light of day by guitarist/vocalist Steve Colca, guitarist Keegan Kjeldsen, drummer Penny Turner and bassist Jeff Klein (who seems to since be out of the band), Chamber of Horrors may be playing more toward the heft Destroyer of Light are known for in their live performances, but that doesn’t mean it’s all raw or wanting for a sense of purpose in its vibe as a studio album. Rather, the murk conjured by songs like “Prisoner of Smoke” and “The Virgin” and the ambient threat that lingers from the moment the chamber door opens at the start of intro “Whispers in the Threshold” till the moment it closes at the end of 10-minute finale “Buried Alive” resound with doomed directionality, the finisher especially punishing in its tempo and uncompromising in its trades between creeping, The Gates of Slumber-esque verses and Electric Wizardly swirl in its marching hook.
The whole record carries the stink of death, and Destroyer of Light have never sounded so alive as they do reveling in it.
As Destroyer of Light set themselves to the task of a 2018 that will be spent largely supporting Chamber of Horrors as well as a follow-up two-song EP that’s set to arrive in the coming months via the band-affiliated Heavy Friends Records — see also: Heavy Friends Booking, which handles their touring end — as well as perhaps finding a new bassist if they haven’t yet, I wanted to talk to them about how their experience on the road already has affected their sound this time in the studio, how they developed the ideas that became Chamber of Horrors and how they see themselves continuing to grow as they move forward from here. Fortunately, both Kjeldsen and Colca were willing to discuss these subjects and more, and you’ll find the results below.
Please enjoy the following Six Dumb Questions:
Six Dumb Questions with Keegan Kjeldsen and Steve Colca of Destroyer of Light
Talk about writing Chamber of Horrors. The album is a pretty significant change for the band in terms of sound. How did that come about? Was there something you wanted to consciously shift in your approach, or did it just happen in the writing process?
Keegan Kjeldsen: We knew before we started writing it that we wanted to make a very heavy record, which may sound like a cliché. But the previous material was sludgier and usually more up-tempo, and we experimented a lot. For the self-titled release, we’d had some pretensions of getting a ‘vintage, lo-fi’ sound. That kind of sound wasn’t really right for us, though, and our goal shifted to creating a record with the kind of powerful, crushing experience that audiences were getting live. We heard a lot over the years, “The album is cool and all, but you guys are so much heavier live!” We took it as a compliment, but it taught us that the shows were selling the recordings, the recordings weren’t really selling the shows. So we wanted to push it to the limit in terms of both quality and volume. Thankfully, our engineer Matt Meli outdid himself this time. We also included elements of our live shows: lengthy feedback, melodic interludes, sample clips from old horror movies. But from the start, our core has always been doom metal, so the natural thing for our goal of making a heavier record was to focus on that.
Steve Colca: Like Keegan said, we did go in wanting this record to be more heavy sonically and closer to what we sound like live. However, when we wrote the music for this album, we didn’t have the intention of how the songs would take shape. Obviously, it still sounds like us at the core, but our songwriting keeps improving and our palettes progress over time to add different touches to our sound that maybe we didn’t show previously. As you grow as musicians and songwriters, it definitely helps with your confidence and allows the ability to try new, different things.
You’ve done significant touring the last several years. Do you feel like that was a factor in how this record took shape? If so, how?
KK: Touring will whip you into shape. You’re effectively practicing the same set every single night for a month. After playing some of our material live so frequently and consistently, we’d find that a year after we recorded something, it was sounding very different on stage. Sometimes it was just little nuances or flourishes that one of us didn’t come up with until months of playing the song live. But sometimes the whole tempo would change, or parts would be extended or added. We were determined to let the songs for Chamber of Horrors breathe. After we recorded them for a pre-production demo, we played the whole album from start to finish on a six-day tour through Texas. By the time we were recording the album proper, we felt like the songs had developed enough that we could call them finished.
SC: Yeah, I believe doing a six-day run just playing the album front-to-back live really gave these songs the energy and final touches that they needed. We always found previously that after playing the songs live that we would change things here and there. To add, extensive touring also improved our playing as musicians and we become more confident in our abilities as songwriters. For me, vocally, all the touring and learning to deal with my vocals helped a lot on this record.
Is there a concept at work behind the album? What’s the story being told in these songs?
KK: It’s a loose concept album. Most of the storytelling and symbolism can work on multiple levels, so it’s up to the audience as to what you want to take from it. The album begins with the opening of a large, heavy door, and ends with it slamming shut. There are also whispering voices in both the first and last song. We were playing with the idea of the line between dream and reality being blurred. I was thinking a lot about Carl Jung at the time, and how there really isn’t much difference in what we mean by the word ‘hell,’ and a psychological hell that a person creates for himself. People make themselves suffer because of the things they pursue, and sometimes the private torment they undergo is more real than anything else in their lives.
So, the song “Into the Smoke” – on one level it’s about a protagonist who goes down into a cave, searching for something valuable, but is possessed by a monster made of psychedelic smoke that permeates him and enslaves him, sending him on a bad trip that lasts forever. On another level, it could be a song about drug addiction. But more archetypally, it’s a song about the feeling of being powerless, driven by forces beyond your control into a mental underworld. It’s opening the door to the unconscious part of the psyche and getting consumed by the shadow. The Twilight Zone was also a huge influence on both Steve and myself in writing these horror stories, or alternatively, private hells within the chamber of horrors, since a lot of Rod Serling’s stories deal with a character trait, usually a flaw, that becomes a real, physical phenomenon in the character’s life.
SC: I was also thinking along the lines of In the Mouth of Madness. As every song has its own individual theme and story, they all tie into the question, is it a dream or reality? There is a lot of ugliness in the world, and sometimes you don’t want to believe it and want to stay naive to the whole possibility. However, you read the news and papers, and some of these stories really happen.
You seem to be trying a lot of new things vocally in particular here. Tell me about changing your voice to fit a certain part in a given song. What makes you feel like “Luxcrusher” needs a different approach than “The Virgin?”
KK: In the case of “Luxcrusher,” I wrote that song, and really wanted to sing a significant part of the lyrics because of how personal they were. I’ve usually had one or two vocal parts on each recording, but I think that’s something I’m going to move away from. I feel like I’m at the point where I’m getting worse, whereas Steve gets better on every record. The lyrics are actually about being in a doom band and touring – when I’m talking about “midnight worship at the shrine” and my body being throttled every night, being ravaged by sound. But the lyrics also take a nihilistic turn because that’s how I was feeling at the time.
The placement of that song on the album was something that unconsciously worked really well with the concept, because the lyrics ended up recounting the subject matter of the first half of the record – talking about human sacrifice, or about being pulled into a haze. It was unintentional, but I think of it now as if “Luxcrusher” is the voice of the devil that was summoned in “The Virgin.” As far as the different approaches in general, I think the narrative structure of the songs sometimes lends itself to different voices in a variety of styles, as if they’re different characters or personas. Suzy does this on “The Virgin.” It was a Fleetwood Mac kind of attitude – we had three vocalists on this record, lending different styles where it was appropriate.
SC: Back to extensive touring throughout the years, I have become more comfortable and confident in my vocal ability. Which has allowed me to try and do different things. Vocal melodies have always been very important to us. Also, from the start of this band, we wanted to incorporate screaming and growling as I used to be in a death metal band and a heavier sludge band before this. Whatever vocal style the song requires, we want to be able to do it. No need to be tied down to one particular sound or style. That’s the beauty of writing music, no limitations… unless it is completely out of your capability.
I know it’s early, but where do you see Destroyer of Light going from here sound-wise?
KK: More melody, and even heavier. It’s not as early to talk about it as you might think. We have an EP that we plan on releasing soon, I can’t say anything about when exactly, but it’s already recorded. It’s two songs that are tuned even lower, with a more pounding, guttural tone. We did one of the slowest songs we’ve ever done. All the space you get when you play a really slow, plodding song allows you to fill the void with harmony, melody. I’ve been listening to a lot of drone music, maybe you could even call it post-doom, stuff like later-era Earth, OM, Grails. Steve’s love for Alice in Chains came out, also. I think the next full-length will head even further in that direction. Me and Steve have also been jamming some of our favorite stuff from the ‘80s recently, like The Cure, Tears for Fears.
SC: We’ve already started writing of a few songs for the follow-up. It is a continuation of where the last album left off. Like Keegan said, the music will be heavy, but probably more of a focus on melody. Like I said, no limitations. We do plan on incorporating some different approaches because of some of our other influences coming out in the songwriting. I’ve been listening to a lot of Alice in Chains, The Cure, Depeche Mode, and Helmet. A lot of bands that I grew up listening to when I first started learning guitar. So, we shall see where some of this will take us. However, the two-song EP that we release down the line will give you a taste of our direction.
How much will you tour for Chamber of Horrors? Any other plans or closing words you want to mention?
KK: We’re going to tour for the foreseeable future. We have some short jaunts planned, but next year we’ll be hitting the road a lot harder. This year has been relatively slow for us. It’s great to finally put this album out, and take a breather before we dive headfirst into it again. I guess, on that note, the only closing words I have is a thank you to all the fans and friends who have let us stay with them, made us food, or even just bought a shirt or bought us a shot of whiskey. You guys are the reason why we’re able to go on the road, and we love y’all.
SC: We have a few short runs lined up to finish the year. I think more of the extensive touring for Chamber of Horrors will begin in 2018. This year, where it may have been the slowest year for the band; albeit, a couple tours, recording of a two-song EP, and an album release. Our personal lives have been very busy. So, it’s been nice to have a somewhat, casual year, but it’ll be nice to get back out there and do what we do. Thanks to everyone that has bought and said some very nice things about Chamber of Horrors. Very proud of this record and glad to see a lot of you agree with us on it. See you again soon on the road, I can’t wait to see you! Much love!
[Click play above to stream ‘Lux Crusher’ by Destroyer of Light from Chamber of Horrors, out July 14 via Heavy Friends Records.]
The last couple years have apparently done much to hone the focus of Austin, Texas’ Destroyer of Light. Chamber of Horrors is the third full-length from the four-piece and their first standalone outing since 2014’s Bizarre Tales Vol. 2, which was followed by the 2015 Endsville split/collaboration LP (video premiere here) with Godhunter, and its seven tracks mark a significant turn of approach and mood. This could well be the result of heavy touring undertaken since Bizarre Tales Vol. 2 came out, but it feels like a conscious decision one way or the other, and as guitarist/vocalist Steve Colca, guitarist Keegan Kjeldsen, bassist Jeff Klein and drummer Penny Turner elicit their most directed and longest offering yet at 44 minutes, they also find themselves holed up in a doomed swamp befitting the Adam Burke cover art, otherworldly and ruinous as it is.
Patiently and with purpose, they roll out massive grooves like that of 10-minute closer “Buried Alive” or the preceding “Prisoner of Eternity,” on which Colca‘s vocal cadence and the march in general seems to be in direct conversation with Sweden’s Goatess more than the brash heavy rock Destroyer of Light offered on their previous outings. Flourish of organ in that track, guest vocals and samples on “The Virgin” and ambient pieces like the intro “Whispers into the Threshold” and the centerpiece/presumed side B opener “Twilight Procession” add depth and complexity to the morose vibe, and a mix by Matt Meli of Austin’s Orb Recording Studios sets up a suitable abyss into which the band can feel free to plummet. And plummet they do. Gloriously.
The first grim claw is raised not long after “Whispers into the Threshold” begins with a sample of a creaky, heavy-wood door opening into an echoing room and likewise echoing guitar (also actual whispers). It’s worth noting that at the end of “Buried Alive,” there’s a corresponding shutting of that door, and one assumes that’s the band putting their audience in the titular Chamber of Horrors. So be it. That bookend is one more example of the kind of cohesion and attention to detail Destroyer of Light bring to their third album, and the songwriting holds up to a similar standard, whether it’s the mournful wail of lead guitar and earlier shouts turning to moans in the second half of “Into the Smoke” that set the stage for more of what’s to come later or the more direct horror-worship of “The Virgin,” which with its guest vocals alongside Colca and even more dramatic take is something of an outlier in the tracklist, despite the engaging flow that’s already been crafted between the first two songs and which continues throughout. It’s almost as though, after years of being called a doom band, Destroyer of Light decided to turn around and become one.
It suits them. The devil himself shows up on “The Virgin,” which almost feels like it was bound to happen somewhere along the line, and amid spacious lead guitar, the band unfurl an accordingly resonant melody and percussive thud to lead into the first creeper verse of an effective linear build. As with “Into the Smoke,” they’re telling a story. I don’t know if Chamber of Horrors would or should be considered a concept record, but it’s definitely thematic, and there’s a clear intent in the way it plays out piece by piece. A somewhat minimalist weaving of two guitar lines over a subtle dirge of drumming takes hold with “Twilight Procession,” and almost before the listener realizes what’s happened, Destroyer of Light have constructed a momentum that’s carried them through side A without misstep.
It’s one thing for a group to grow into a new sound. It’s another for them to arrive at it sounding already so well schooled in the tenets of the style and so readily knowledgeable about which rules they want to abide by and which they want to break. As they touch on post-Electric Wizard riffing to start “Lux Crusher” in a way that mirrors somewhat the progression at the outset of “Into the Smoke,” it again makes clear the level of nuance to which Destroyer of Light are playing, and though, as noted, “Lux Crusher” calls to mind the righteous swaying Vitusism of Goatess especially in Colca‘s vocal approach, the band bring this influence into their own sonic context, harsher shouts emerging as they roll toward the track’s chugging, feedback-laden conclusion and into its six-minute companion-piece “Prisoner of Eternity,” which begins with rim taps from Turner and clean-sounding guitar before its full rumble kicks in, signaling the end is near. Like “The Virgin,” “Prisoner of Eternity” centers more around its hook, but the addition of organ beneath and around its guitar solo adds an even more classic feel. That’s fair game for Destroyer of Light at this point, because with the 10-minute “Buried Alive,” which follows and rounds out, they engage an entirely different level of doomly traditionalism.
With perhaps the boldest take on clean vocals out front to start, “Buried Alive” reinterprets an ambience that brings to mind The Gates of Slumber, and though they’ll move into more extreme growls and a wash of noise before they’re done, the lumbering misery of their finale never gets lost in the slow-motion cacophonous melee that ensues. Once again, they cap with feedback before that door closes, and though it’s hard to know from the context of the audio whether we’re trapped in the Chamber of Horrors or we’ve managed to escape, one way or the other, the album makes a lasting and colorful impression such that, even if we’re out, we’re not unaffected by what’s been witnessed within. It’s not the most dramatic sonic turn that’s ever taken place — that is, Destroyer of Light had elements of doom even at their most psychedelic moments, and they have elements of psych here even at their most doomed — but Chamber of Horrors nonetheless represents a brazen reset on the band’s part and whether they continue to walk along this bleak path or head elsewhere aesthetically, what they’ve accomplished in pulling off the shift in these brave and willfully dismal tracks is not to be understated.
Posted in Whathaveyou on June 12th, 2017 by JJ Koczan
This Friday in Denver marks the beginning of Electric Funeral Fest 2017. Kicking things off at 4:15PM will be West Coast boogie groovers Lords of Beacon House, followed immediately by High on the Mountain right across the street. I know these things because the festival has newly announced its full schedule for its two-day run, which features the likes of Slow Season, The Well, Sourvein, Goya, Oryx, headliners Acid King and Corky Laing’s Mountain, and many others. I’ve got kind of a whirlwind couple weeks coming up as it is, but if you were offering me a ticket and a flight, I’d have a hard time turning this one down. Looks like it’s going to be an incredible time for those fortunate enough to be there.
If that’s you, I hope you have a blast. Here’s the info:
SATURDAY JUNE 17th The Joint by Cannabis Stage at 3 Kings Tavern 4:15 – 4:50 Dizz Brew 5:15 – 5:50 Red Wizard 6:15 – 6:50 Feather Stone 7:15 – 7:50 Great Electric Quest 8:15 – 8:50 Barrows 9:15 – 9:55 The Heavy Eyes 10:15 – 11:00 Electric Citizen 11:40 – 12:40 ACID KING
Electric Funeral will once again be happening in the South Broadway district of Denver. Anyone that is familiar with Denver knows that S. Broadway is one of the greatest neighborhoods this city has to offer. In our second year of this event, we have added a second stage at Hi Dive. Hi Dive is across the street from 3 Kings Tavern and easily one of the greatest places to party in Denver.
There is also no shortage of other great bars and restaurants in the area for attendees to visit if they need a break from head-banging. Although both stages are indoors, this will feel like just as much of an outdoor event as people go back and forth between the two venues that will run simultaneously through both evenings. Hey hey, my my, rock n’ roll sure ain’t fuckin’ dying in Denver!
Posted in Whathaveyou on May 4th, 2017 by JJ Koczan
I’m digging the organ-soaked doomliness of this new Destroyer of Light track for sure. The Austin-based outfit have spent the last few years ping-ponging their way back and forth around the US supporting their Endsville split LP (video premiere here) with Arizona’s Godhunter, as well as their Bizarre Tales Vol. 2 2014 full-length on Heavy Friends Records, but they’re or sure due for a new one, and it seems like the upcoming Chamber of Horrors is bringing about something of a shift in sound. Maybe. I wouldn’t necessarily count on the track “Prisoner of Eternity,” which you can stream below, to speak for the whole of the new record, but like I said, I’m digging it. You wouldn’t find me complaining.
The PR wire brings art (is that you, Adam Burke?), info and audio, as is its custom:
DESTROYER OF LIGHT: Austin quartet to unearth Chamber of Horrors this July | Stream and share new song ‘Prisoner of Eternity’
Chamber of Horrors by Destroyer of Light is released on 14th July 2017 via Heavy Friends Records
Hailing from Austin, TX, harbingers of doom Destroyer of Light are no idlers. Within a year of forming in 2012 and with little mind to wait around, the heavy-as-hell/louder-than-war quartet released their self-titled EP themselves and in doing so kick started what would became an ongoing DIY endeavor driven by huge riffs, hallowed tales and endless road journeys.
No matter which rock you look under there’s no hiding the fact that the band is heavily indebted to the darker side of stoner metal and everything that goes along with it. Bathed in an aural haze and ominous song craft, Destroyer of Light’s music is unmistakably one of grim theatricality and crushing heavy metal dirges. Influences such as Electric Wizard, Mercyful Fate, EYEHATEGOD and Autopsy serve as striking counterpoints to the literary and filmic references they dig up in Wiccan-stalked forests and horror anthologies. Following up on their debut in 2014 with their second release Bizarre Tales Vol. 2, if anyone just so happened to be in any doubt, death and destruction is very much the order of service and confessional sermons are delivered in a constant sea of feedback and percussive right hooks.
This July however Destroyer of Light are primed to unearth their latest album, a haunting and humid foray into the realms of doom rock, aptly titled Chamber of Horrors. Dragging their music into a cavernous basement to experiment freely with underground sounds, listeners are treated to a ritual ear beating and a memorable trip into psychedelic realms unknown.
Chamber of Horrors by Destroyer of Light will be released on 14th July on Heavy Friends Records.
Destroyer of Light: Steve Colca – Guitar/Vocals Jeff Klein – Bass Keegan Kjeldsen – Guitar Penny Turner – Drums
Posted in Whathaveyou on April 3rd, 2017 by JJ Koczan
Acid King and Mountain as headliners? Look, I was pretty much sold on the notion of Electric Funeral Fest 2017 anyway, but it’s not like adding Corky Laing and a bunch of other dudes playing Mountain classics hurts. The festival is set for this June in the Mile High city of Denver, Colorado, and in addition to those two it features a swath of righteous acts from the West Coast, the Midwest, the South and the East, pulling in various kind of heavy from doom to sludge to classic rock and roll in what’s an obviously well curated environment. If I could go, I’d be there in a heartbeat.
Some of the below was posted previously, but I want to reiterate to underscore the point. If you’re in this part of the world, you should fucking go to this. Events like this deserve your support and they deserve to continue to flourish and grow. Don’t suck. Go and have a good time. That’s my piece. I’ve said it.
Info follows:
“Honored to announce the headliner of Day 1 at Electric Funeral Fest is current iteration of iconic rock band, MOUNTAIN. Original drummer Corky Laing has teamed up with a band to play Mountain hits from the early ’70s. It is a true pleasure to host a legend from the era that started it all.
Electric Funeral will once again be happening in the South Broadway district of Denver. Anyone that is familiar with Denver knows that S. Broadway is one of the greatest neighborhoods this city has to offer. In our second year of this event, we have added a second stage at Hi Dive. Hi Dive is across the street from 3 Kings Tavern and easily one of the greatest places to party in Denver.
There is also no shortage of other great bars and restaurants in the area for attendees to visit if they need a break from head-banging. Although both stages are indoors, this will feel like just as much of an outdoor event as people go back and forth between the two venues that will run simultaneously through both evenings. Hey hey, my my, rock n’ roll sure ain’t fuckin’ dying in Denver!
Electric Funeral Fest 2017 – Friday June 16th & Saturday June 17th Location: Denver, CO @ Hi Dive & 3 Kings Tavern
LINEUP
Friday June 16 Headliner: Corky Laing’s Mountain Support: Sourvein, Slow Season, Goya, R.I.P., The Well, Glitter Wizard, Monarch, Muscle Beach, The Munsens, Communion, Lords of Beacon House, Greenbeard, Oryx, Smokey Mirror, High on the Mountain
Saturday June 17 Headliner: Acid King Support: Electric Citizen, The Heavy Eyes, Destroyer of Light, Crypt Trip, Cloud Catcher, Love Gang, Barrows, Great Electric Quest, Red Wizard, Banquet, Ocelot (performing as Feather Stone), Jagged Mouth, Pueblo Escobar, Urn
Flier art by Christina Hunt Flier layout by Keith Dreissen
Posted in Whathaveyou on February 23rd, 2017 by JJ Koczan
Today, Denver’s Electric Funeral Fest 2017 reveals Acid King will headline and the likes of Sourvein, Slow Season, Goya, Electric Citizen, Destroyer of Light, The Well, Cloud Catcher, Oryx and many more will appear. Limited early tickets — there seem to be 40 — are on sale as of right this second.
One headliner is still TBA, but even so, it’s a remarkably ambitious return for Electric Funeral Fest, which had its first showing in 2016. Put on by DUST Presents, it finds hometown representation through The Munsens, Love Gang, Oryx, and Cloud Catcher, likely among others, and reaches far and wide in filling out an impressive roster of acts. To be perfectly blunt about it, it looks fucking awesome.
The fest was kind enough to let me host this initial lineup announcement, and below, organizer Shaun Goodwin gives some background on the area where it will take place across two venues and the vibe they’re shooting for with Electric Funeral Fest 2017.
Dig it:
Electric Funeral Fest 2017 – Friday June 16th & Saturday June 17th
Location: Denver, CO @ Hi Dive & 3 Kings Tavern
Tickets:www.electricfuneralfest.eventbrite.com – There will be 40 early bird discounted 2-day passes available at $49 – After those are sold, presale 2-day passes are $59 – 1 day passes are $32
Electric Funeral will once again be happening in the South Broadway district of Denver. Anyone that is familiar with Denver knows that S. Broadway is one of the greatest neighborhoods this city has to offer. In our second year of this event, we have added a second stage at Hi Dive. Hi Dive is across the street from 3 Kings Tavern and easily one of the greatest places to party in Denver.
There is also no shortage of other great bars and restaurants in the area for attendees to visit if they need a break from head-banging. Although both stages are indoors, this will feel like just as much of an outdoor event as people go back and forth between the two venues that will run simultaneously through both evenings. Hey hey, my my, rock n’ roll sure ain’t fuckin’ dying in Denver!
LINEUP
Friday June 16 Headliner: TBA Support: Sourvein, Slow Season, Goya, R.I.P., The Well, Glitter Wizard, Monarch, Muscle Beach, The Munsens, Communion, Lords of Beacon House, Greenbeard, Oryx, Smokey Mirror, High on the Mountain
Saturday June 17 Headliner: Acid King Support: Electric Citizen, The Heavy Eyes, Destroyer of Light, Crypt Trip, Cloud Catcher, Love Gang, Barrows, Great Electric Quest, Red Wizard, Banquet, Ocelot (performing as Feather Stone), Jagged Mouth, Pueblo Escobar, Urn
Flier art by Christina Hunt Flier layout by Keith Dreissen
