Hard to mess with Paradise Lost re-recording “Gothic.” Not that the original was in need of a revamp — frankly I think it still works even if it sounds dated — but it’s not like they’re saying there’s something wrong with the first version by making a new one. Amazing to think the places that Paradise Lost have gone sonically over their career, from their earliest days helping define gothic metal with the aforementioned song and album of the same name, to setting a course that a generation of European doom would follow alongside the likes of My Dying Bride and Anathema, each of whom has undertaken a varied journey as well.

A quarter-century on, Paradise Lost have hit on a solid balance of the elements that have shown up throughout their career. Their last two albums for Century Media, 2009’s Faith Divides Us — Death Unites Us and last year’s Tragic Idol, have been more than solidly executed, and they continue to refine what makes them who they are even as they seem to bask in the now-classic nature of their own atmospheres.

In other words, they like being gloomy and that’s just fine. To mark 25 years as a band, they just released the Tragic Illusion 25 compilation of rarities, remixes, and re-recordings. The PR wire has the details:

PARADISE LOST releases 25th anniversary compilation, ‘Tragic Illusion 25 (The Rarities)’, today in North America

Gothic-doom metallers PARADISE LOST have released their 25th anniversary compilation, Tragic Illusion 25 (The Rarities), today in North America! To purchase Tragic Illusion 25 (The Rarities), please visit iTunes for a digital copy or CM Distro for a mint green 10″ vinyl (USA exclusive color; limited to 300 copies) with a CD insert.

Tragic Illusion 25 (The Rarities) track-listing:
1. Loneliness Remains*
2. Never Take Me Alive (SPEAR OF DESTINY cover version)
3. Ending Through Changes
4. The Last Fallen Saviour
5. Last Regret (Lost in Prague Orchestra Mix)
6. Faith Divides Us – Death Unites Us (Lost in Prague Orchestra Mix)
7. Cardinal Zero
8. Back On Disaster
9. Sons Of Perdition
10. Godless
11. Missing (EVERYTHING BUT THE GIRL cover version)
12. Silent Heart
13. Gothic 2013*
14. Our Saviour 2013*
*=tracks that appear on the limited 10″

PARADISE LOST “Tragic Illusion 25th Anniversary” EU Tour w/ LACUNA COIL and KATATONIA
Nov. 6th – Herford, Germany – Club X
Nov. 7th – Aschaffenburg, Germany – Colos Saal
Nov. 8th – Dordrecht, Netherlands – Bibelot
Nov. 10th – Utrecht, Netherlands – Tivoli Oudegracht
Nov. 11th – Nuremberg, Germany – Hirsch
Nov. 12th – Vienna, Austria – Arena
Nov. 13th – Solothurn, Switzerland – Kofmehl

PARADISE LOST online:
http://www.paradiselost.co.uk
http://www.facebook.com/paradiselostofficial
http://twitter.com/officialpl

Paradise Lost, “Gothic 2013” from Tragic Illusion 25

By the time Saint Vitus did a weekender tour of the East Coast in October 2009 (the Brooklyn show was killer), they’d replaced drummer Armando Acosta with Henry Vasquez, who was brought on board having worked previously with Vitus guitarist Dave Chandler‘s Debris Inc. project in addition to front-drumming his own band, Blood of the Sun. Earlier in the year, however, Vitus played both a warmup show in New Orleans and debuted their reunion at the Roadburn festival in the Netherlands before embarking on a European tour. Blown away as I was by actually getting to see Saint Fucking Vitus play for the first time — somewhere there’s a picture of a very drunk me with a very drunk Chandler afterwards — you could tell looking at Acosta that he wasn’t healthy.

It would  be more than a year later, in December 2010 that Acosta passed away, and of course the Saint Vitus reunion was in full swing then and continues now as the band moves past their 2012 release, Lillie: F-65, and on to the prospect of a second full-length for Season of Mist. The lineup of Chandler, Vasquez, bassist Mark Adams and vocalist Scott “Wino” Weinrich have been back and forth to Europe a couple times at this point, and toured across the States as well, so although their original drummer didn’t live to see it, the continued success of the Vitus comeback I think says something about the timelessness of his work in the band, as well of course as that of the band overall.

Chandler spoke about his relationship with Acosta in an interview early in 2010 and about bringing Vasquez in as a replacement. It was a big deal at the time because although Vitus had been through a couple singers — Scott Reagers, Wino, Chritus Linderson — those were really the only lineup changes since they started out in 1978 as Tyrant. Subsequent touring and his work on Lillie: F-65 would prove Vasquez was indeed perfect for the drummer role — really all you had to do was watch him on stage with Adams and Chandler — but it was a surprise at the time nonetheless. Acosta‘s last tour with Vitus was that which followed Roadburn in 2009, and it’s from that run that this week’s Wino Wednesday clip comes.

Filmed in Cologne, Germany, by B-Light.tv at the Underground club, “I Bleed Black” is among Saint Vitus‘ most potent anthems. Originally appearing on the 1990 album V, it’s right up there with “Born too Late” and “Dying Inside” as some of Chandler‘s best lyrical declarations of the band’s first Wino-fronted era. Acosta sounds pretty rough here, but the band as a whole delivers an awesome rendition of the song anyway.

Enjoy and have a great Wino Wednesday:

Saint Vitus, “I Bleed Black” Live in Cologne, Germany, April 27, 2009

The new two-songer from Second Grave is something of a beast. In right about 18 minutes, the Massachusetts-based four-piece sum up the machinations of their prior self-titled full-length debut (review here) and also push the bounds of their emerging aesthetic, frontwoman Krista van Guilder (ex-Warhorse) belting out memorable choruses for both “Mourning Light” and “Drink the Water” as the two songs on Antithesis seem to lock in stylistic combat with each other. Meeting on the line between doom and metal, “Mourning Light” and “Drink the Water” each offer no questions as to their allegiances, but more importantly, as they make their way through, Second Grave sound consistent and confident playing to whichever end they so choose.

To wit, the marauding riff of “Mourning Light” runs at a faster, NWOBHM gallop — van Guilder and Chris Drzal‘s guitars winding around the pace set by Chuck Ferreira‘s drums and the bass of Dave Gein (also of Black Pyramid/The Scimitar) — while “Drink the Water” offers more morose fare, thoroughly doomed with a classic, Euro sensibility about it, heavy, lumbering, but with a tinge of emotional drama underpinning. Looking at the comparative runtimes for the two, “Mourning Light” at 6:38 and “Drink the Water” at 11:41, there’s an immediate understanding that Second Grave have a varied methodology, and the pairing of one right with the next brings that all the more into relief, but at no point do Second Grave sound like they’re putting on airs or cloying at sonic diversity for the sake of pretense.

With “Drink the Water” especially, the natural balance in the band’s sound comes out in the fluid tempo changes and the catchy hook, both of which give way to crushing, slow-paced crash topped with vicious screams emphatically delivered by van Guilder. Feedback-soaked madness ensues, and if nothing else, Second Grave finish out Antithesis on some of their darkest and most oppressive atmospherics yet.

Antithesis was recorded by Clay Neely at Black Coffee Sound and mastered by John Brenner of Revelation. Second Grave will support the Oct. 31 Pariah Child Records release (limited to 500 10″ vinyl copies) with a slot at Stoner Hands of Doom XIII at Strange Matterin Richmond, VA, on Nov. 9.

Enjoy “Drink the Water” on the player below:

[mp3player width=480 height=150 config=fmp_jw_widget_config.xml playlist=second-grave-drink-the-water.xml]

Second Grave on Thee Facebooks

Second Grave’s website

As they make ready to enter the studio to record the follow-up to their 2012 Misery Wizard full-length debut, Rhode Island doom upstarts Pilgrim have announced that they’ll join Windhand on a Fall 2013 European run. The two bands are no strangers, having done US dates together last year, and of course, Pilgrim played at Roadburn in 2013 as well, so this will be their second time on the continent this year. Still, good news all around for the band and for anyone who might find themselves in their destructive path.

Sayeth the PR wire:

PILGRIM coming back to Europe in November to support WINDHAND for a full tour!

Ready to enter studio next month!

Rhode Island Doom disciples PILGRIM have made an astonishing impact with the release of their debut album Misery Wizard and their European shows including a slot at this years Roadburn festival.

PILGRIM will return to Europe in November for a full tour with Windhand. Comments vocalist/guitarist The Wizard: “THIS IS GOING TO BE A TOUR WORTHY OF SONG AND LEGEND. Not only is it our first lengthy European venture, but we get to share it with our incredibly talented friends WINDHAND (whose music we worship). This is honestly a dream come true for us. We are will be featuring a new bass player for the excursion, whose identity shall remain a mystery for the moment. Unfortunately, we had planned to be supporting the release of our new record this tour, but due to various complications with our studio we were not able to meet our deadline. However, we just confirmed today that the recording of our second record will begin next month at Moonlight Mile Studios! And with that, so begins the next chapter of our pilgrimage. We have worked UNFATHOMABLY hard to make this tour come together. Blood, sweat, and tears. DO NOT MISS THIS TOUR!”

Windhand
+ PILGRIM
01/11/13 BE – Ghent – Charlatan
02/11/13 NL – Venlo – Mudfest
03/11/13 FR – Paris – t.b.a.
04/11/13 UK – Birmingham – Asylum
05/11/13 UK – Manchester – Star & Garter
06/11/13 UK – London – Our Black Heart
08/11/13 ES – Barcelona – Rocksound
09/11/13 ES – Madrid – Rock & Pop
10/11/13 ES – Bilbao – Sentinel Rock Bar
11/11/13 FR – Clermont Ferrand – t.b.a.
12/11/13 FR – Strasbourg – t.b.a.
14/11/13 NL – Groningen – t.b.a.
15/11/13 DK – Aalborg – 1000 Fryd
16/11/13 SE – Gothenburg – Truckstop Alaska
17/11/13 DK – Copenhagen – KB18
18/11/13 DE – Hamburg – Rote Flora
19/11/13 DE – Berlin – Cassiopeia
20/11/13 DE – Leipzig – Zoro
21/11/13 AT – Wien – Vrena
22/11/13 DE – Günzburg – Donaustüble
23/11/13 DE – Köln – MTC
24/11/13 NL – Amsterdam – Occii

http://www.facebook.com/hailthepilgrim
https://twitter.com/hailthepilgrim
http://www.youtube.com/user/PilgrimOfficial
http://www.metalblade.com/pilgrim

Pilgrim, Misery Wizard (2012)

I’m not sure what exactly lies “beyond the martyrs,” but I look forward to finding out when the third album from Pennsylvania doom merchants Argus drops. Cruz del Sur will release Beyond the Martyrs on Oct. 1 in North America, and as their last outing, 2011’s Boldly Stride the Doomed (discussed here) was such a classic-tinged thriller, it’s a date you might want to write down. Get a pencil. I’ll wait.

Hope to have more on this one soon. Till then, in case you missed it, artist Brad Moore talks about creating the Beyond the Martyrs cover here.

This from the PR wire:

ARGUS: Beyond the Martyrs Coming This October on Cruz Del Sur Music

Cruz Del Sur Music will release Beyond the Martyrs, from US doom metal outfit ARGUS, on October 1st in North America and October 7th release in the UK.

Beyond the Martyrs starts where their 2011’s release Boldly Stride the Doomed had left us…at the Ruins of Ouroboros. In between these two releases ARGUS has tested its strength and valor in several live shows both in their homeland and in Europe, receiving high praises from fans and from the record industry. Although a sense of impending fate marks again their compositions, the characteristic doom metal elements which were a distinguished trademark of ARGUS’ past releases have now given way to what is primarily to a genuine heavy metal approach, its nature rooted in the most classic environment of Heavy Metal tradition.

1. By Endurance We Conquer
2. No Peace Beyond The Line
3. The Hands of Time Are Bleeding
4. Trinity
5. Four Candles Burning
6. The Coward’s Path
7. Cast Out All Raging Spirits
8. Beyond The Martyrs

ARGUS’ third album is sure to force metal heads everywhere to raise horn-crested fists to the sky. Beyond the Martyrs contains the hallmarks of their previous works – twin guitars, soaring vocals, and a driving rhythm section; it is heavy, melodic, epic, and brooding all at once. After their successful shows at festivals such as Hammer of Doom in 2011 and Dublin Doom Days in 2012, the band will hit again the European soil with a proper tour in October 2013 in order to promote Beyond the Martyrs.

ARGUS is:
Butch Balich – vocals
Jason Mucio – guitar
Erik Johnson – guitar
Andy Ramage – bass
Kevin Latchaw – drums

www.argusmetal.com
www.facebook.com/argusmetal
www.youtube.com/user/arguspa

Argus, “At the Gallows End” (Candlemass cover) Live at Days of the Doomed II, 2012

With their eyes on a Fall 2013 release, Dallas doomers Elliott’s Keep have finished recording their third album, Nascentes Morimur. Last we heard from the trio, they were starting to record in May, so as the record is being mixed, they’re on track to have it out as planned. J.T. Longoria (whose considerable credentials you can see below) will be handling the mix, and while it’s probably not up there with the highest profile outings he’s worked on, Elliott’s Keep‘s mission of honoring their fallen comrade with heavy-as-hell trad doom continues to impress with both its sincerity and its metallic heft.

The band sent an update down the PR wire:

ELLIOTT’S KEEP COMPLETES RECORDING OF THIRD ALBUM

ELLIOTT’S KEEP, the Dallas metal doom trio have completed the recording of their third full-length album, entitled Nascentes Morimur, which is scheduled for a fall 2013 release.

As with their first two releases, ELLIOTT’S KEEP recorded again with J.T. LONGORIA (Solitude Aeturnus, Candlemass, Absu, Mercyful Fate, King Diamond, Volbeat). Primary recording was completed again at Nomad Studios in Carrollton, Texas. Drums were tracked at Empire Sound Studio in Carrollton, Texas.

Nascentes Morimur is currently being mixed by J.T. LONGORIA, with GARY LONG of Nomad Studios again mastering. In keeping with the band’s use of Latin titles, Nascentes Morimur means “from the moment we are born, we begin to die.”

Song titles for Nascentes Morimur are as follows:

Waves of Anguish
Days of Hell
Now Taken
Feanor’s Bane
Regicide
Tale of Grief
Convergence
Omen
Gates Beyond

In Medias Res was released in November 2008 on Brainticket Records. Sine Qua Non was released in September 2010 on Brainticket Records.

Elliott’s Keep, “Days of Hell” practice recording

Just when you thought you might get through April without buying yet another record, here come Portland-by-way-of-Providence malevolent doomers The Body with a new EP. The duo-plus will deliver their latest work, Master, We Perish, through the venerable At a Loss Recordings on April 30 — which is sure to be a dark day for humanity and a good day for the doomed.

The PR wire has the grim and gory details:

THE BODY: New Scourge From Apocalyptic Duo Set For Release Via At A Loss

In an ongoing pilgrimage towards the apocalypse and perpetual hatred for humankind, earthmoving doom duo THE BODY will dispense their latest scourge upon the masses in the coming weeks.

The newest wave of abhorrence from the nomadic family, Master, We Perish shows THE BODY’s nihilistic audio terror ever-forward with three new tunes sure to cause birds to fall from the sky and traumatize nonbelievers, once again recorded at Providence, Rhode Island-based Machines With Magnets (Battles, Daughters, Lightning Bolt, Chinese Stars). Blackened bursts of noise-drenched, low-fi doom are fueled by percussionist Lee Buford’s hypnotic, tribal rhythms via thunderous macaroni drums, the melee infiltrated by guitarist/vocalist Chip King’s penetrating vocal screech. The clan also recruited Leslie Weitz (Otesanek), Chrissy Wolpert (Assembly Of Light Choir) and Reba Mitchell (Whore Paint) for vocal contributions throughout the torrid endeavor adding an array of eerie dynamics to the songs. Saddened confessions of mental anguish are ended with a pump of a shotgun, a sludgy foreshadowing of the coming explosion of tortured screams. Feedback and noise erupt into the slow crush and the bellowing of an end to beliefs and an end to these truths…

With mangled-human cover art by Manifester, Master, We Perish is to be released as a 12” EP, CDEP, cassette and digital download on April 30th. The new hymns are to be disbursed once again by At A Loss Recordings, the group who also claimed responsibility for previous attacks from THE BODY including last year’s reissue of the band’s self-titled LP, their collaborative release with Braveyoung, and most notoriously, their revered and feared 2010-released All The Waters Of The Earth Turns To Blood. Preorders of all formats are available here.

Stay tuned to your trusted media sources for further updates as transmissions from THE BODY and their latest endtime message are broadcasted in the coming weeks.

Master, We Perish Track Listing:
1. The Ebb And Flow Of Tides In A Sea Of Ash
2. The Blessed Lay Down And Writhe In Agony
3. Worship

It’s a bleak psychedelic dronefest and nobody’s invited when you press play on Blut‘s Drop Out and Kill tape. The UK duo of N.B. and S.M. have released pretty much everything they’ve done on cassette, and listening to the Major Destroyer Records release of this album, which was originally reviewed  on CD, I can hear why. The band’s unremittingly extreme tin-can gnarl comes across even nastier through the analog compression, finding the Dorset-based outfit even more straddling the line between blackened lo-fi and stone-drone sludge, like Electric Wizard‘s misanthropy played at half speed somewhere down the block. Sometimes all you get it low-end rumble and malevolent echoing.

On headphones, with the volume up, the effect is even more grating. Blut‘s underlying drum groove is there — straightforward and slow — somehow managing to cut through a mountain of tonal lurch on opener “Aeon Long Death/Alcoholic on Cloven Hoof,” their anti-you-and-everything-else stance apparent from the very first second of the song. I said when I reviewed the CD that the band were probably unfit for just about any human ears, and I stand by that, since they push extreme sludge to what I consider new heights of fuckall. Whether or not one puts on Blut as the soundtrack to their sunny-day barbecue is irrelevant — they’re genuinely pushing the boundaries of what’s come before them and I consider Drop Out and Kill laudable just for that. That Blut have developed a clear sense of purpose over the last couple of years and releases like Grief and Incurable Pain (review here) and Ritual and Ceremony (review here) and turned spite into aesthetic is where I think they have most succeeded. The farther out they go, the less listenable they get, the better they become. They’re getting closer to (at least what I see as) their goals for the band.

If I’m overthinking it, well, I’m supposed to overthink it. Still, the foreboding drone of “Murder Hallucination” and “Skulls.Coffins.Nails” isn’t happening in a vacuum, and as much as Blut are casting off elements of traditional songwriting — verses, choruses, etc. — they are working in an established sonic sphere of extreme drone doom. Noise aficionados would probably hear Drop Out and Kill and call it straightforward because it has guitar and bass, but when I put on this tape, I hear the roots laid down by SunnO))) and Sleep’s Dopesmoker taken to vicious, dark, new places. That Blut include a side-two cover of Boston outfit Nightstick‘s “Ultimatum” — they call it “Ultimatum (Yog-Sothoth)” — only demonstrates their awareness of their own lineage. It also evens up the sides and gives Drop Out and Kill even more horrifying audio, but yeah, the other thing too.

Fact is, whatever level you want to approach them at, Blut aren’t about to make it easy for you. What they’re going to do — on tape or any other format — is crash and drone and scream and emit some of the most fucked up noise I’ve ever heard. That’s their thing, and whether you hear it on CD or on cassette, if you consider yourself a fan of the sonically abrasive, you should probably hear it. Tapes have the advantage of being cheaper and sounding fucked up. That suits Blut well.

Blut’s Blogspot

Major Destroyer Records