Tag Archives: Lee Dorrian

Witchsorrow – Hexenhammer

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Ever since Cathedral decided to hang up their Doom-encrusted boots, the UK has been dying for someone to fill the void with the same level of otherworldly mysticism and crushing heaviness. Obviously, we do have Conan making waves if you’re a fan of the weight of the world pounding you into the dust, but if you like your Doom with a touch more class and Sabbath flair, Witchsorrow should already be on your radar. Four albums in and the trio are still able to conjure some of the most infectious riffs and choruses, laden with vivid imagery and nihilistic sensibilities. Continue reading →


Cough – Still They Pray

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Cough - Still They Pray album cover ghostcultmag

Still They Pray (Relapse Records) is the first long-player in six years from legendary Virginian Doom quartet Cough, with a couple of later ‘splits’ the only things preventing their status from slipping into the mythical. Thankfully this time lapse hasn’t seen the band’s power or collective ability diminish.

Album opener ‘Haunter of the Dark’ exudes the heavy, Occult feel of their one-time ‘split’ mates The Wounded Kings: riffs and leadplay evoking the bone-crumbling mysticism of George Birch and Steve Mills. This is allied to the fuzzed sound and laconic, harrowing vocal of Electric Wizard, which is apt given that Jus Osborn handles production here. Follow-up ‘Possession’, however, and wonderful album highlight ‘The Wounding Hours’ with its haunting keys, both take on a new resonance: obsidian screams leading a slower trawl through infested swamps, resulting in the more familiar funereal pace. The standout feature here and in the crawling, sinister warmth of ‘Dead Among the Roses’ is some mournful, stirring leadwork, squealing and moaning through an oppressive riff and pummeling rhythm section like a speared anaconda.

This is, of course, the mark of this lumbering leviathan: it’s a sound you’ve heard before but, as with TWK, Cough adds a variety and subtlety which supposedly more influential contemporaries seem loath to display. The sheer evil of ‘Masters of Torture’s Blackened Sludge vocal heightens both the intensity and the omen: while wailing solos add morose emotion to a creeping, hideous body, suddenly enlivened by a rumbling, Dorrian-esque groove. The beautiful, leaden balladry of ‘Let it Bleed’, meanwhile, is graced by a Hippy drawl which still manages to carry a certain malevolence; as does the monstrous instrumental ‘Shadow of the Torturer’, Parker Chandler’s basslines plumbing the Pacific depths whilst seedy, seductive leads screech and oscillate, easing Joseph Arcaro’s lazy yet powerful drums to a crushing main section.

It’s a sound undeniably British, whilst reminiscent of Chandler’s work with Windhand and, as evinced in the acoustic-led closing title track, a late 60s Haight-Ashbury Americana. With such obliterating Doom spirited by the fire, despair and hate of the 21st century, Cough has never sounded so vital.

8.0/10.0

PAUL QUINN

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Roadburn Festival 2016 Part II: Various Venues, Tilburg NL

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neurosis 30th anniversary at roadburn

Part II

Noticing Amenra would be doing an acoustic set on Saturday, it brought nothing but confusion since they are well-known for their vigorous, powerful live performances. Acoustic? Singer Colin van Eeckhout even admitted feeling very nervous at the beginning of the set. The band was sat in a circle in the semi-darkness of the stage, only slightly illuminated by beams of light. 013’s brand new main stage felt almost obscenely big for such an intimate setting. However, once they got started, this added a vibe of disconnection from the band that almost gave you a feeling you were watching something you weren’t supposed to see. They managed to find a way to play their 2009’s acoustic EP Afterlife so timid and delicate, that the crowd seemed to be in trance and didn’t wake up until their cover of Tool’s ‘Parabol’, which earned them a deafening applause. For their second set at the Afterburner, they were back to their post-metal selves, screeching, pounding and shredding in exactly the way we know and love them. Leaving us to timidly watch the ripples forming in our beers as if a T-rex came stomping by, while the magic from the night before faded to a distant memory.

Amenra, by Susanne A. Maathuis Photography

Amenra, by Susanne A. Maathuis Photography

An unexpected highlight on the Saturday was Brothers of the Sonic Cloth. Both captivating and furiously loud, their psychedelic visuals and droning music created the perfect setting for a lot of people to hang out on the floor of the main stage and take in the wall of sound the Americans produced. For those of us feeling more awake, progressive space-rockers Astrosoniq, led by a very Rock’n’roll looking singer, gave a more fast-paced performance in the Green Room. Walter, in official terms the artistic director of Roadburn, but in reality the true heart and soul of the festival, brought out his visuals to accompany Astrosoniq’s very psychedelic guitar riffs.

 

Ghostcult Astrosoniq 47

Astroniq, by Susanne A. Maathuis Photography

Roadburn 2014 favorites The Vintage Caravan showed up for a surprise gig at café Cul de Sac on Sunday. Well, I say surprise, but 30 minutes before showtime the venue was absolutely packed with people. There is only one way to actually see a band in Cul de Sac: be hella early. So we found ourselves snuggly between 150 hot and sweaty, hungover fans with no chance of reaching the bar or the toilets in the next hour-and-a-half. But boy, was it WORTH it. The Islandic rockers tried to drill out our hangovers with their heavy bass and guitarist Oskar‘s relentless headbanging let us forget that this was our fourth day at the festival already and we were supposed to be very tired.

The greatest thing about Roadburn must be the diversity of the people you meet. Surrounded by more foreigners than native Dutch, you usually leave the festival a couple of Finnish words wiser than you were before (none of which probably as innocent as they led you to believe). However, I’m not going to lie: people watching is right up there on my list of favorite pastimes, and there really isn’t a better place for it than Roadburn. Mainly because metal shows in themselves are beacons of creative and eccentric people. And Roadburn, well, that is the holy grail of metal shows. Amidst a goldmine of glorious manes and enviously long beards, there seem to be more crust punks than usual (thank you G.I.S.M and Converge) and of course every back patch under the sun.

 

 

Neurosis, by Susanne A. Maathuis Photography

Neurosis, by Susanne A. Maathuis Photography

 

Neurosis, by Susanne A. Maathuis Photography

Neurosis, by Susanne A. Maathuis Photography

 

Neurosis, by Susanne A. Maathuis Photography

Neurosis, by Susanne A. Maathuis Photography

One of the most spotted patches this year was obviously Neurosis. You’d think that playing two ’30th Anniversary’ sets would bring about its problems. After all, having a thirty-year spanning discography to choose from can’t be easy. Remarkably enough Neurosis managed to represent each and every one of their records during their shows, right back to their 1985 hardcore punk debut Pain of Mind. It is astounding to see how much they have grown and changed over the years, before they settled into their skin of a contemporary hurricane of genres, set to a baseline of doom. When the final tones of 1999’s ‘The Doorway’ sounded at the Afterburner, it left us with nothing but goosebumps, hands sore from clapping and a profound sense that 366 days are way too many to wait until the next Roadburn.

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WORDS BY CÉLINE HUIZER

PHOTOS BY SUSANNE A. MAATHUIS