Elder Druid Post “Golgotha” Video; Announce Jan. 17 Album Release Date

Posted in Bootleg Theater on November 20th, 2019 by JJ Koczan

elder druid golgotha video

I don’t mind telling you that I’ve seen at this point in my life a fair amount of videos that feature a band walking around, either playing or doing something spooky, in the woods. Like, a lot of them. In the era of the-technology-is-so-cheap-that-every-band-is-basically-expected-to-make-at-least-one-per-LP, it’s only fair there would be some overlap in subject matter in a genre — that’s what genre is, essentially — and in any case, it’s certainly not something to hold against anyone. I like walking in the woods sometimes too, as long as it’s dry. Actually, who the hell am I kidding? I like sitting on my ass on the couch and watching Star Trek. Going grocery shopping for me is like a major effort these days.

Before I get any further off-track here, Elder Druid‘s new clip for the title-track of their impending album, Golgotha — confirmed for a Jan. 17, 2020, release — is indeed one of the off-to-the-forest-type clips, and yet, having seen a number of them as I have, I’m still struck by the woods in question. They’re beautiful. The band apparently filmed in Woodburn Forest, in Carrickfergus, about 35 minutes southeast from their home in Ballymena toward the Northern Irish eastern coastline, and yeah, the scenery is just gorgeous. There’s some shaky-cam stuff in the video — fair enough considering the sludge-doom assault happening at concurrently in the music — but the video is otherwise shot in a kind of sepia filter that plays up the visual impact of the place, and having been in Northern Ireland for a few days earlier this year and felt like I saw any number of righteous sights, I clearly also missed one along the way. Guess my trip’s itinerary was too focused on politically-driven murder to go spend any time dicking around among the trees. So it goes.

Oh, and kudos to the band on finding a sunny day to shoot. That couldn’t have been easy either.

Elder Druid play this week in Bangor (not Maine) and then head across to England for four dates with Barbarian Hermit next week. They’ll do Crypt of the Riff, which they’re involved in organizing, and then it’s on to the album release party — a two-parter party, no less — and more festivals later in 2020 that one assumes will be supplemented by tour dates to come. Nothing like keeping busy.

Or sitting on ass, enjoying the view:

Elder Druid, “Golgotha” official video

Official music video for ‘Golgotha’, the title track from our upcoming album ‘Golgotha’ due for release in January 2020.

Filming and editing: Exposing Shadows Photography.
Performances: Patrycja Dziedzic, April Morgan & Elder Druid.
Special thanks: Fresh Garbage for providing costumes and Peter Clarke for his assistance in shooting the video.

Music:
Written and performed by Elder Druid.
Produced by Dale Hughes in Blackstaff Mill, Belfast.

Elder Druid live:
22.11: Elder Druid & Nomadus | The Goat’s Toe, Bangor
28.11: Elder Druid / Barbarian Hermit / Satlan / Gandalf the Green | Temple of Boom, Leeds
29.11: Elder Druid / Barbarian Hermit / Satlan / Slowbro | The Phoenix, Coventry
30.11: Elder Druid / Barbarian Hermit / Bad Kush | The Lounge 666, London
01.12: Elder Druid / Barbarian Hermit / Satlan / Kong Lives | Fuel Rock Club, Cardiff
13.12: Crypt of the Riff Vol. 4
17.01: Elder Druid • ‘Golgotha’ Album Launch • Voodoo, Belfast
18.01: Elder Druid • ‘Golgotha’ Album Launch • Fibber Magees, Dublin
01.05: Iron Mountain Metal Festival 2020
06.06: Stonebaked Festival
31.07: Monolith 2020

Elder Druid is:
Gregg McDowell – Vocals
Jake Wallace – Lead Guitar
Mikey Scott – Rhythm Guitar
Dale Hughes – Bass Guitar
Brien Gillen – Drums

Elder Druid on Thee Facebooks

Elder Druid on Bandcamp

Elder Druid on Instagram

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Elder Druid Announce English Touring with Barbarian Hermit & Satlan

Posted in Whathaveyou on October 31st, 2019 by JJ Koczan

elder druid (Photo by Twentyone Photography)

Elder Druid will hop islands at the end of November to do a four-show British run of shows with Barbarian Hermit and Satlan. My understanding from this past Spring was that the Northern Irish five-piece were planning to release their new album, Golgotha, before the end of 2019. I haven’t heard word either way as to whether that’s still going to happen as was initially laid out, but figure if it is, this tour would either be the band’s way of celebrating the record’s arrival or maybe heralding it for early next year, barring some kind of more significant delay.

Either way, good for them getting out. Chubby Thunderous Bad Kush Masters will sit in for Satlan on the London show, and there’s local support as well. More on Golgotha when I hear it — either the news or the album, that is. Ha.

Here’s the tour info:

elder druid uk tour

ELDER DRUID – UK TOUR UPDATE – CARDIFF SHOW

Very stoked to finally announce our English tour coming up at the end of November. We’ll be joined by the incredible Barbarian Hermit and Satlan as our main tour supports, with the lads in Chubby Thunderous Bad Kush Masters stepping in for Satlan on the London date.

We can finally announce the last date of our UK shows at the end of November/start of December.

We’ll be playing FUEL ROCK CLUB in Cardiff, Wales on Sunday 1st December with our touring heavyweights Barbarian Hermit, Satlan and Wales’ very own stoner doom/post-metallers Kong Lives.

TOUR DATES:

28.11 • LEEDS • Temple Of Boom Leeds
Elder Druid / Barbarian Hermit / Satlan / Gandalf the Green

29.11 • COVENTRY • The Phoenix
Elder Druid / Barbarian Hermit / Satlan / Slowbro

30.11 • LONDON • The Lounge Promotion: Nightclub Kolis
Elder Druid / Barbarian Hermit / Bad Kush

01.12 • CARDIFF • FUEL ROCK CLUB
Elder Druid / Barbarian Hermit / Satlan / Kong Lives

Elder Druid is:
Gregg McDowell – Vocals,
Jake Wallace – Guitar,
Mikey Scott – Guitar,
Dale Hughes – Bass,
Brien Gillen – Drums

https://www.facebook.com/elderdruidband
https://elderdruid.bandcamp.com/releases
http://www.instagram.com/elderdruidband

Elder Druid, Carmina Satanae (2017)

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Tyrell Black from Electric Octopus Releases Digital Single “Satori”

Posted in Whathaveyou on October 3rd, 2019 by JJ Koczan

I’ve written about Electric Octopus a couple times in this space. Hell, I saw them in Dublin in 2017, and indeed, they were awesome, but I probably haven’t spent as much time writing about them as I’ve actually spent listening to them — and no, that’s not just a comment on the fact that a given Electric Octopus release could be upwards of three hours of all-improvised jamming. It’s just that I tend to go back to those records, even if in pieces because, you know, there are only so many afternoons one can dedicate to a single one. I’ve played them a couple times on Gimme Radio as well, because I think they’re probably better heard than described — at least by me — as “jamming” doesn’t really begin to cover the positive spirit or personality their output actually conveys.

Perhaps that’s my failing to deal with. Fine. The more important point is that the band’s own Tyrell Black has released what I believe is his first solo offering in the form of the half-hour single “Satori.” It’s available name-your-price through the Electric Octopus Bandcamp page, and the exploratory feel it carries through its blend of drone and psychedelia, meandering guitar, sitar, percussion, etc., goes so much further than one might expect a solo — as in one-person-only — track to go in terms of feeling like a genuine outward reach. Again, I feel like maybe I’m not doing it justice to its more meditative feel, but fortunately, the audio is at the bottom of this post to pick up the slack. Dig into that and see what you think.

The info below also comes from the Bandcamp:

tyrell black satori

Over the last while i’ve spent most of my time being in this location, observing the continuous presence and how it’s constantly changing. Rather than trying to capture with words, i’ve decided to record this improvised piece of music which tells a much better story of my experiences.

It will take 30 minute of your time to listen and like presence itself, it grows and changes.

Of course it is completely free to download or you can choose to pay however much or little you’d like, music is made to be heard by everyone, not just those with money.

Presence is infinite….
Be present….

Released September 30, 2019.

Music – Tyrell Black
Artwork – Tyrell Black

https://www.facebook.com/electricoctopusofficial/
https://www.instagram.com/electric_octopus/
https://electricoctopusofficial.bandcamp.com/

Tyrell Black, “Satori”

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Slomatics Post “Telemachus, My Son” Video

Posted in Bootleg Theater on June 28th, 2019 by JJ Koczan

slomatics telemachus my son better

You’re going to have a hard time unseeing some of the stuff in Slomatics‘ new video, and I think that’s the idea, but I’ll just say this outright: I’d play this video game. I’m not much of a gamer — mostly I use the PlayStation to watch baseball, or at least that’s been the case since The Patient Mrs. and I finished Final Fantasy XV, which we bought the thing to play — but “Telemachus, My Son” kind of looks like Metroid happening on some alien wasteland, and I’m not saying it needs to be a first-person shooter or anything — because really, enough is enough with that Unreal Engine, or whatever equivalent is being used these days — but something grim and atmospheric like this would kind of rule. Plus a water level! Plus the big crab monster! Plus the all-black Destroyer at the gate. I don’t think it’d be one for the kids, but especially given the soundtrack, I have to think it would be awesome. I’d preorder it, even.

The bummer of this festival-laden past weekend was that Slomatics didn’t make it to Freak Valley. They’d been announced as making the trip from Belfast since last November, and it was to be a set celebrating their new album, Canyons (review here), which is newly out on Black Bow Records. Lufthansa, it would seem, had other ideas. Ideas like losing Chris Couzens‘ guitar and delaying him, fellow guitarist David Marjury and drummer Marty Harvey so long that they didn’t get to Siegen in time. They’ve already been invited back for next year — they’re the first band announced for Freak Valley 2020; I want to go — and no doubt their arrival will be doubly triumphant for the trouble this year, despite not being so timely to the new release. Just means people will know the songs. It’ll be fine.

Just to tie things together a little bit, a few weeks ago, when I just happened to be in Northern Ireland — because that’s a thing that just happens, right? what a prick — and got to visit Slomatics in their practice space, they were putting together the set for Freak Valley and they ran through “Telemachus, My Son,” deciding unanimously that, yes, that should be included. If you haven’t heard the song yet, it’ll be pretty easy to tell why when you watch the video.

And you know, sometimes I say maybe you can put the video on and just let the thing play while you do other stuff and check in. Not this time. Seven-plus minutes, and you kind of need to watch the whole thing. Go fullscreen.

Enjoy:

Slomatics, “Telemachus, My Son” official video

Telemachus, My Son – Slomatics
From the Album: Canyons
Released via Black Bow Records June 2019

Created by Dermot Faloon using C4D, Octane Render, Mixamo and using assets from Scan The World. Plug-ins from Merk.

Slomatics, Canyons (2019)

Slomatics on Thee Facebooks

Slomatics on Bandcamp

Black Bow Records webstore

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Crypt of the Riff Vol. 4 Announces Lineup for December in Belfast

Posted in Whathaveyou on June 18th, 2019 by JJ Koczan

crypt of the riff vol 4 banner

Let’s face it: if you’re doing a festival featuring any kind of heavy music, and you make it so far as to do a fourth edition, you’re pretty much obligated to base the poster design around Vol. 4. You gotta do it. I’d imagine that for festivals it’s both a celebration and a rite of passage to get to that point. Crypt of the Riff Vol. 4 in Belfast is set for this December with Tuskar headlining and Elder DruidHornetsGod AloneDuellistsTowers and Gravity Well confirmed. The traditional holding position is Voodoo in Belfast, and as I was in the city recently, I feel like I can say with some assurance that it’s a cool town to host a fest, and of course there’s plenty of Irish heavy to feature, as Plain Living Promotions and Elder Druid — who put the thing together — know fully well. The Obelisk presented the last edition, and if you happen to be in the neighborhood, I’d without hesitation recommend checking it out.

Here’s the info and copious links from the event page on Thee Facebooks:

crypt of the riff vol 4 poster

CRYPT OF THE RIFF VOL. 4

Belfast’s heaviest riff fest returns for Vol. 4 in December.

HEADLINER:

Tuskar (ENG)
A two piece doom/sludge outfit hailing from Milton Keynes, residing in the Surrey Hills. Combining elements of: Doom, Sludge, and Black Metal.

Comprised of vocalist and drummer Tyler Hodges and guitarist Tom Dimmock, Tuskar’s chemistry is unmistakable both live and in the studio. They have grown up playing together in bands and have struck out on their own with material that owes as much to Conan and Sleep as it does bands like Behemoth and Darkthrone.

https://www.facebook.com/TUSKARBAND/
https://tuskar.bandcamp.com/

Elder Druid
https://www.facebook.com/elderdruidband/
https://elderdruid.bandcamp.com

Hornets
https://www.facebook.com/Hornetsband/
https://hornets.bandcamp.com/

God Alone. (IRL)
https://www.facebook.com/godalonecork/
https://godalone.bandcamp.com/

Duellists
https://www.facebook.com/Duellistsband/
https://duellists.bandcamp.com/

Towers
https://www.facebook.com/TowersBelfast/
https://towersbelfast.bandcamp.com/

Gravity Well
https://www.facebook.com/GravityWellBelfast/

Date: Friday 13th December
Venue: Voodoo, Belfast
Time: 7PM
Tickets: £10 + booking fee

Tickets are available via Eventbrite at this link:
https://www.eventbrite.co.uk/e/crypt-of-the-riff-vol-4-tickets-63108010759

They will also be available on the door.

https://www.facebook.com/events/2504270066258014/
https://www.facebook.com/plainlivingpromotions/
https://cryptoftheriff.bigcartel.com/
https://www.facebook.com/VoodooBelfast/

Tuskar, The Tide, Beneath, The Wall (2018)

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So, I Went Down to Slomatics Rehearsal Last Night…

Posted in Features on May 30th, 2019 by JJ Koczan

slomatics practice

I’ve been fortunate enough to do some cool stuff in my quickly-increasing number of years, but being invited to a band’s practice space is no small thing. Even putting aside whatever clichés you want about inner-sanctums or where-the-magic-happens or that kind of thing, the fact is that a band in rehearsal is much different than a band on stage, and the practice space isn’t just where songs are run through, it’s where a band finds and develops their sound to then go and refine it live or in the studio. It is a personal place.

My brilliant-ass college professor wife, The Patient Mrs., has been leading students on a study-abroad trip for this past week. We were in Dublin and got up north to Belfast on Tuesday. I’m along basically to provide childcare for The Pecan — now 19 months old and screaming brutally enough to make every black metal band you’ve ever heard sound lightweight — and the first thing I thought of when I found out we were going to be in Northern Ireland was, “I wonder what Slomatics will be up to?”

The Belfast-native three-piece are on the cusp of releasing their new album, Canyons (review here), through Black Bow Records, and their rehearsal space is in an industrial park tucked away in a corner just off the city-center, above Jimmy’s TV Repair (and Allegedly Etc.), in a room with show posters and old Terrorizer foldouts put up. Guitarist David Marjury was kind enough to pick me up at the hostel where we’re staying — that’s right: baby in a hostel; it’s going swimmingly — as he happens to live nearby, and we drove about five minutes to get to the spot through Belfast’s curvy, carved-by-livestock-then-industrialized streets, where guitarist Chris Couzens and drummer/vocalist Marty Harvey (who also plays in War Iron) were already waiting.

With the new record coming out, they obviously weren’t writing or working on anything new or anything like that, but they’re booked to fly to Siegen, Germany, next month to play Freak Valley Festival, so the task was to work out the set for that. Some debate ensued about focusing on new songs versus older material — I’m generally in favor of new — and they ran through the first half of Canyons in succession, with opener and longest track (immediate points) “Gears of Despair” leading to “Cosmic Guilt,” “Seven Echoes” and “Telemachus, My Son,” the last of which was a unanimous pick to feature at the fest. To the side of where I sat, a marker board was littered with potential setlists in what was clearly an ongoing conversation.

In between the songs, the banter was light and familiar. Chris had been all sinus’ed up earlier in the day, Marty had gotten his face scratched by a patient at work, Dave had some amp buzz that might’ve been input trouble, and so on. Everyone talked about family, and as I’ve had the pleasure to meet the band on two prior occasions, seeing them first at Høstsabbat 2016 (review here) in marker boardOslo and then again the next year at Roadburn (review here) in The Netherlands, I knew going into it they were all friendly guys and my persistent, painful awkwardness would potentially have some manner of offset by their hospitality. Sitting in front of a drum kit that was either spare or some other band’s, laughing at some story or other, I was glad to be right about that.

They played through “Mind Fortresses on Theia,” again from the new album, and one other — was it “Beyond the Canopy?” — and then dipped back to older material, which sounded very much like a refresher as opposed to stuff they were still working out how to present live. That difference was palpable mostly in ways it wouldn’t have been on stage, in things like body language and during-song communication between Marjury and Couzens, Harvey all the while devastating his already-cracked cymbals in go-hard-at-practice fashion while belting out lyrics with no less force than I’ve been lucky to see him do on stage.

Even without a mic, his snare cut through the extra-low low-end of the two guitars, and some of it was interesting to see him count through some of the ambient parts of the newer material, which indeed is even more atmospheric than what the band had on offer with 2016’s Future Echo Returns (review here), as both Couzens and Marjury would periodically depart from the central lumbering riffs in which the band has long specialized to add keyboard-style effects that lent melody to the coinciding crush. I was glad that I make it a habit to travel with earplugs. The whole place seemed to rumble, or maybe it was just me.

All told, it was about two hours of time in the room, and while I don’t know what the final setlist will be for Freak Valley, it’s safe to say it’s going to be a powerful show. Slomatics have existed for 15 years at this point, and it’s clear Harvey, Marjury and Couzens have known each other for longer than that. Harvey had to call it a night, but Marjury, Couzens and I adjourned afterward to a coffee shop around the corner from where I’m staying — not the Nordic one with the espressos I’ve been habitually downing since we got into down, that’s across the street, but a different one that was also good — and spent some time shooting the shit about the band and laughing about family stuff, their embarrassing themselves in front of Goatsnake (I’ve still never seen them live, so not had the opportunity, of which I’d inevitably take advantage), the time Marjury saw Ozzy on tour for The Ultimate Sin, and whatever else. It was pretty laid back, even with the late coffee, and I was no less glad to be there than I’d been at the rehearsal space. These are good people.

Coffees done and work/baby in the morning, we said goodnight and I headed back around the corner to crash out and wake up to another day today. I’ll be honest and say it took me a while to get to sleep, not just for that last espresso, but just from the excitement of doing something like that. It doesn’t happen every day, and to be not just brought in, but actually welcomed by Slomatics was something special I’ll long remember. I’m here for another week, but it already made my trip.

Slomatics, “Mind Fortresses on Theia” official video

Slomatics on Thee Facebooks

Slomatics on Bandcamp

Black Bow Records

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Review & Video Premiere: Slomatics, Canyons

Posted in Bootleg Theater, Reviews on May 15th, 2019 by JJ Koczan

Slomatics Canyons

Slomatics, “Mind Fortresses on Theia” official video premiere

[Click play above to stream the video premiere of “Mind Fortresses on Theia” from Slomatics’ Canyons. Album is out June 14 on Black Bow Records.]

2019 marks 15 years since the advent of Northern Irish riffslayers Slomatics, and Canyons finds them charting a new path forward. Their last three albums, 2012’s A Hocht, 2014’s Estron (review here) and 2016’s Future Echo Returns (review here), followed a narrative structure and made for a play in three acts happening over developing sonic depth in such a way that made the last installment truly feel like a conclusion. Released by Black Bow RecordsCanyons follows 2017’s Futurians: Live at Roadburn (review here) — which was something of a victory lap for those three records — and the Belfast three-piece’s 2018 split with Mammoth Weed Wizard BastardTotems (review here). It’s the latter, which was by my estimation the best short release of last year, that would relate closest to what guitarists David Marjury and Chris Couzens and drummer/vocalist/synthesist Marty Harvey are doing with Canyons.

Those familiar with the band will know that their ply and trade is massive tonal heft with Harvey‘s shouted melodic vocals cutting through, atmospheric sampling and whatnot bolstering an otherworldly feel that never really touches on psychedelia in the effects-wash sense of execution, but has plenty of “out there”-ness to it just the same. It’s a sound that was and remains remarkably well suited to a sci-fi thematic, and though they’ve let go of some of that from the narrative arc they ended in 2016, songs like “Cosmic Guilt,” on which the vocals seem to be directly referencing Cathedral in their style, and “Mind Fortresses on Theia” and the 9:28 opener and longest track (immediate points) “Gears of Despair” have that element to them, even as side A finale “Telemachus, My Son” acts as an apparent sequel to “Ulysses, My Father,” which appeared on the band’s 2014 split with Holly Hunt (discussed here) and album-closer “Organic Caverns II” follows up on who knows what. Someone else’s song named “Organic Caverns,” maybe? Because Slomatics don’t have one. So there. Still an air of mystery around them.

Where the “new path” idea comes from is the increased use of synth and melody alongside all that nod and crush. Slomatics aren’t necessarily going prog, at least not any more than they already were, but the balance of elements in their sound is shifting here, so that “Beyond the Canopy” leads off side B with a break into a stretch of quiet guitar before its ultra-slow, deeply-weighted lumber kicks back in, and that even its opening crawl welcomes a melodic lead either of guitar effects or keys before the next verse. The increased melodic base of the vocals is something that comes forward in the midsection of “Gears of Despair,” and there along with the rest of the record, it’s not about Slomatics being less heavy — because, quite simply, they aren’t — but about adding range to that weight and pushing into places they haven’t been before.

They’ll be well recognizable to those who’ve encountered them before, but as the synth-topped interlude “Seven Echoes” provides a bridge between “Cosmic Guilt” and “Telemachus, My Son,” and side B’s mellotron-into-noise-wash “Arms of the Sun” bridges “Beyond the Canopy” and “Mind Fortresses on Theia,” it’s clear that mood has become a different level of concern for Slomatics, and that their songwriting has expanded in order to allow for that. I’ll say again that Slomatics remain a very, very heavy band, and they don’t sound like they’re looking to depart from the core tonality that has driven them toward their best work, but perhaps taking some influence from the aforementioned Mammoth Weed Wizard Bastard, they move in and out of volume changes with ease, crafting a more dynamic and broader sound that only enhances the densest moments of groove, like the chugging plod that rounds out “Organic Caverns II” at the end of Canyons or the slow-motion stomp and forward roll of “Beyond the Canopy.”

In kind, there is a level of symmetry to Canyons that the linear nature of storytelling couldn’t really allow for on other recent releases; a conversation between the two sides of the eight-song/44-minute release. The most obvious example is that each half of the LP has its interlude in “Seven Echoes” or “Arms of the Sun.” They’re differently placed, but both well positioned to act both as transitions and a hypnotic moment to help put the listener in the world the album is making. Further, “Mind Fortresses on Theia” shares some of “Cosmic Guilt”‘s post-Lee Dorrian vocalizing, and the harsher low-end of “Gears of Despair” seems to find an answer as well in the early going of “Organic Caverns II.” “Beyond the Canopy” might be the most outwardly heavy moment on Canyons, but it still finds room for a cinematic push of synth, and that’s also something “Gears of Despair” introduced. So while the songs may not — or they may; Slomatics were never really clear on just what was happening — tie into the plot of the offerings before it, it works in different ways to have the material relate to itself, and that’s before one considers “Telemachus, My Son” in relation to “Ulysses, My Father.”

The underlying point, I suppose, is that Slomatics have grown to be a more complex band, and that Canyons demonstrates that in multiple facets of its songwriting and arrangement. That kind of thing can garner a mixed response sometimes from a fanbase, but the way they go about it here doesn’t lead one to think they’re going to run into many detractors. Without diving headfirst into hyperbole — though a sound so big could arguably warrant it — theirs is an approach that has it both ways, and they pull it off by adding to the mix rather than taking something away. Canyons are huge, and Slomatics carve out a few here, but what matters most of all is that a decade and a half later, they refuse to be restrained either by their own approach or the outside tenets of genre. They sound like a band writing the songs they want to write, exploring the reaches they want to explore, and as a result of that, their every lurch, push or wash is more resonant. If that’s to be the narrative they’re working with now, then all the better.

Slomatics on Thee Facebooks

Slomatics on Bandcamp

Black Bow Records

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Elder Druid Post Golgotha Cover Art; Album Due Late 2019

Posted in Whathaveyou on May 2nd, 2019 by JJ Koczan

elder druid

Northern Irish riffers Elder Druid are preparing to release their second full-length later this year. Titled Golgotha, it will be the answer to 2017’s Carmina Satanae, which saw them blending sludge burl and doomed atmospheres and themes to encouraging and engaging degrees. What does the new album hold? Beats the hell out of me — I haven’t heard it yet. But if the cover art by Mariusz Lewandowski is anything to go by, things won’t be any less bleak this time around. Lewandowski was the painter behind the the striking cover of Bell Witch‘s Mirror Reaper, and Golgotha would seem to be on-point in terms of its general outlook. Murky and depressive. Heavy like slumped shoulders.

There’s no audio from the record as yet, or even a solid release date made public, so there’s probably more to come before the album is actually out — unless they get sneaky and just drop it without telling anyone first; it happens — but until then, the cover art and tracklisting are what there is to go on, so that’s what I’m going on. If you’re curious to learn what a song called “Paegan Dawn of Anubis” sounds like, me too. I’ll look forward to finding out.

Here’s the art and their corresponding post:

elder-druid-golgotha

ELDER DRUID – ‘GOLGOTHA’

Delighted to finally reveal the artwork and tracklist for our second full-length album, ‘Golgotha’, due for release in late 2019.

We have the honour of using this piece by one of the greatest surrealist painters in the world right now… the mighty Mariusz Lewandowski. (The artist behind Bell Witch’s ‘Mirror Reaper’ and Shrine Of The Serpent’s ‘Entropic Disillusion’).

Recorded in our rehearsal space in Belfast.

TRACKLIST:
1. Golgotha
2. Dreadnought
3. Sleeping Giant
4. Vincere Vel Mori
5. Sentinel
6. Paegan Dawn of Anubis
7. The Archmage

Elder Druid is:
Gregg McDowell – Vocals,
Jake Wallace – Guitar,
Mikey Scott – Guitar,
Dale Hughes – Bass,
Brien Gillen – Drums

https://www.facebook.com/elderdruidband
https://elderdruid.bandcamp.com/releases
http://www.instagram.com/elderdruidband

Elder Druid, Carmina Satanae (2017)

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