Every day we get news updates from all of the metal labels around the world and imagine my interest today when I saw that Hour of 13 are coming out with a new album. I’ve been a fan since Earache Records put out some of their titles 15 years or so ago, but… I know that vocalist Phil was no longer in the band (last time I saw him he was fronting the epic band Sumerlands. Anyways even though its Chad’s band to me Phil was a very important part of HO13. Soooo I gotta, say I was kinda of nervous clicking the link and listening to this first track His Majesty of the Wood……well what do ya know? Its actually good… and who’s singing you ask? The riff meister himself Chad! Wow great. Check the track here to see what I am talking about:
Here’s the album cover and tracklisting
Tracklisting for Hour of 13’s Black Magick Rites 1. His Majesty Of The Wood 2. Return from the Grave 3. House of Death 4. Black Magick Rites 5. Within the Pentagram 6. Harvest Night 7. The Mystical Hall of Dreams
This record comes out on Shadow Kingdom records (links below) who if you remember released the Hour of 13 debut way back in 2007. This is the bands first full length album in at least 5 years (correction : Ok its been 8 years) So if you love doom in the vein of Black Sabbath, Altar and Witchfinder General then head over to Shadow Kingdom and preorder your copy today
Experimental Sludge outfit ERDVE are now releasing the second brand-new track of their upcoming album! ‘Savigaila’ is scheduled for worldwide release on July 23, 2021. Listen to the new song ‘Sugretinimas’ here:
ERDVE comment: ‘The song name “Sugretinimas” translates as “Juxtaposition”. This song is about a tendency to juxtapose different points of view for the sole purpose of comparison while disregarding the actual result of an issue. The purpose of this video is to present different angles of the same subject and to raise the question whether the process of an argument of comparing is meaningful at all, if the result remains the same.’
Crushing insanity drips atmospherically out of every crack on ‘Savigaila’, experimenting with elements from hardcore, sludge, and black metal.
When ERDVE formed in the Lithuanian capital Vilnius in 2016, the band had a clear aesthetic vision of creating a unique heavy sound that experimented with elements from hardcore, sludge, and black metal – yet was not bound by any unwritten “rules” surrounding those genres. ERDVE’s members had already been active in their local scene and performed in various acts such as NYKSTA, SRAIGĖS EFEKTAS, and SPIRALE. A self-made tape version of their debut made its rounds in underground circles and the Lithuanians received the rare honour of being picked straight out of the dreaded demo pile by virtue of their musical strength and compelling quality.
The core ideas behind ERDVE are translated into lyrics, visuals, and sound by in-depth reflection on concepts such as domestic violence, utmost disgusting behaviour, crimes against humanity, and extremism. Their debut album ‘Vaitojimas’, released in 2018 by Season of Mist, delivered exactely that!
The new offering ‘Savigaila’, which translates as “self-pity”, revolves around overcoming the numbness within the great challenges of unsettling reality, and accepting them as they are. Regret, envy, self-regard, love, care and togetherness. From completely understandable to the most unreasonable sense. This idea is turned into melodies, rhythm, and sound by ERDVE on the bands upcoming sophomore album.
But make no mistake, ERDVE successfully transformed these melodies into a new unnerving experience on how THEY perceive life and with ‘Savigaila’, you may find that enjoying life, can be entirely implausible…
Join ERDVE on their next journey into the Baltic darkness!
Today, black-doom deviants Nekkrofukk stream the entirety of their highly anticipated fourth album, Mysterious Rituals in the Abyss of Sabbath & Eternal Celebration of the Blakk Goat. Set for international release on March 30th via Putrid Cult. Hear Nekkrofukk‘s Mysterious Rituals in the Abyss of Sabbath & Eternal Celebration of the Blakk Goat in its entirety here:
One of the most iconic bands of the modern Polish metal underground, for nearly a decade now, Nekkrofukk have been pursuing an extremely dark ‘n’ deranged form of blackened doom that harkens back to black metal’s earliest and most unorthodox days. Nekkrofukk is the sole work of ultra-prolific maniac Lord K., renown for DeathEpoch, Goathrone, and Deathvasstator among many others. But ultimately, Nekkrofukk is his most personal vehicle of expression, and hereby has he spit disgust upon the cross over the course of four EPs, three full-lengths, and even a live album.
The triumph of death rises again in the form of Nekkrofukk‘s fourth full-length, Mysterious Rituals in the Abyss of Sabbath & Eternal Celebration of the Blakk Goat. Demanding much from the listener but caring not one bit for one’s comfort, the tongue-twisting Mysterious Rituals in the Abyss of Sabbath & Eternal Celebration of the Blakk Goat sees Lord K. taking Nekkrofukk in a direction that’s both catchier and more evilly experimental. Like Beherit and Barathrum drowning together in glue or Faustcoven covering Mortuary Drape and Mystifier simultaneously, matters move malevolently and s-l-o-w-l-y here, yet the wealth of textural twists applied puts Nekkrofukk in rarefied company. Of course, it’s massive and ugly – or, simply, MASSIVELY UGLY – and keeps its nose firmly within the closed borders of heavy metal, but that doesn’t mean Mysterious Rituals in the Abyss of Sabbath & Eternal Celebration of the Blakk Goat sacrifices any otherworldly experience. Indeed, to “experience” Nekkrofukk here is to submit to sin and the darkest of arts, to open one’s third eye and be blinded by boundless darkness absolute. Or, one could merely be CRUSHED underfoot by the album’s ominous plod & pound…it matters not to Lord K.
Nekkrofukk have stood as one of the pillars of Putrid Cult since the beginning, and the blood pact grows even thicker with the heightened expectations placed upon Mysterious Rituals in the Abyss of Sabbath & Eternal Celebration of the Blakk Goat. If you want blood, you got it!
Preorder info can be found HERE at Putrid Cult‘s Bandcamp.
Cover and tracklisting are as follows:
Tracklisting for Nekkrofukk’s Mysterious Rituals in the Abyss of Sabbath & Eternal Celebration of the Blakk Goat 1. The Great Beast Speaks [1:44] 2. Summoning of Azrael [5:44] 3. Kkursed Gathering on Sabbath [7:10] 4. Devil’s Blood Injekktion [6:20] 5. Spiewajac Psalmy Smierci [6:01] 6. Vlci Zena [5:46]
Today, Iron Bonehead Productions announces May 28th as the international release date for Cross Vault‘s highly anticipated third album, As Strangers We Depart, on CD and vinyl LP formats.
Slowly yet surely, Cross Vault have built a small-yet-stellar canon of releases that are extremely personal in nature and absolutely poignant in execution and effect. After two acclaimed cult albums – Spectres of Revocable Loss and The All-Consuming in 2014 and 2015, respectively – Cross Vault joined with Iron Bonehead for the release of a special mini-album, Miles to Take, released in late 2016. Although “just” two songs, this epic short-length was a transitional record in more ways than one: the quintet had solidified its lineup after two members had graduated from “session” status, and the sum result suitably proved stunning, showing how far they could stretch their Viking doom sound whilst keeping it fiercely focused. Cross Vault were on the march…
Alas, quality of such a standard is not an overnight matter, and time did pass…now nearly five years since the release of that last, tantalizing EP. Cross Vault return, mightier and more majestic than ever, with As Strangers We Depart. Right from the opening notes, this is the goosebump-inducing Cross Vault many have come to cherish as the metal underground’s most overlooked masters: solemn, steady, sweepingly stoic, but stirring the emotions and indeed the heartstrings like few others can these days. The formula hasn’t changed across As Strangers We Depart so much as the bravado and confidence in which Cross Vault dole out these seven towering hymns. Viking-era Bathory is still a touchstone, as are Solstice and Minotauri, but where the battlefield has gone bloodied but silent, the quintet explore the solemn aftermath with devastating dynamics. Not that Cross Vault‘s third album is merely an exercise in loud/quiet cliche; rather, delicate nuance has taken center stage with As Strangers We Depart, giving the record the overarching air of Viking funeral or simply a lament for lost times. And when that characteristic heaviness at last arrives, indeed is it the thunder of the gods…
Classic doom METAL is a very heavy, and very human, realm. Cross Vault roam that field of experience with a pathos and bathos that’s blanching to behold, and none more so than As Strangers We Depart: without a doubt, a great work of ages!
Hear (and see) for yourself with the brand-new video “Gods Left Unsung” here:
cover and tracklisting as follows:
Tracklisting for Cross Vault’s As Strangers We Depart 1. Golden Mending [8:43] 2. The Unknown Rewinds [7:40] 3. Gods Left Unsung [6:39] 4. Other Rivers [7:21] 5. Ravines [1:29] 6. As Strangers We Depart [6:47] 7. Silent Wastes Untrod [4:42]
To be clear, this
isn’t metal. In fact, it’s the end of times. The chilling moment right before
you die. It’s something to be loved, feared and hated at the same time. An
intense cataclysm, clawing and writhing its way from the blackened abyss. It’s
to be adored or recoiled in disgust with no compromise in between. A grotesque,
iconoclastic deity that should be worshipped or burned at the stake. A
magnificent terror caught in the crossroads between heaven and hell that lights
the way for the damned amidst eternal darkness. It’s artistry for the outliers
and outlaws; for those with reckless abandon and exclusive fetishes. This
is Draagyn.
With its first
offering, “Majesty,” Draagyn parts a dead sea with an
8-minute opus of juxtaposing sound, beginning with an ethereal prelude, before
all out collapsing into a torrent of violent darkness and immense doom. Bound by
no rules and apathetic to any preconceived notions as to what is considered
“music” or “art,” Draagyn manifests a supreme
intensity and fearless brilliance which knows no limits.
Draagyn will release additional music in the near future, as it sees fit.
UK Doomsters ESOTERIC have unveiled the cover artwork and track
list of their new album ‘A Pyrrhic Existence’. The record is set for worldwide
release on November 8, via Season of Mist. The long-awaited follow up to 2011’s
‘Paragon of Dissonance’ was recorded earlier this year at vocalist/guitarist
Greg Chandler’s Priory Recording Studios in Birmingham.
Regarding the
new record, the band comments: “‘A Pyrrhic Existence’ is an album that deals
with some of the darkest sides of the human psyche and the harsh realities of
existence. The concepts of the lyrics deal with death, suffering, tragedy, lies
and the breakdown of the human psyche. The title is a reference as to how
existence can be perceived as something that inflicts so much devastation on the
survivor, that it becomes tantamount to defeat. The music is a progression from
previous albums, and is of an extremely psychedelic and experimental nature. It
can be likened to a vicarious journey through the twisted passages of the broken
mind.”
The artwork and tracklist of ‘A
Pyrrhic Existence’ can be found below. The cover artwork was created by Lisa
Schubert.
ESOTERIC live 07 Dec 19 Madrid (ES)
Madrid is the Dark Festival
For nearly thirty years ESOTERIC have
been pushing the limits of sonic intensity. From the mind-bending darkness of
their 90’s double albums ‘Epistemological Despondency’ and ‘The Pernicious
Enigma’, to the expansive epics found on their recent opuses ‘The Maniacal Vale’
and ‘Paragon of Dissonance’, they have never compromised their initial aim – to
unleash aural mayhem on unsuspecting listeners. Late 2019 sees the release of
their most accomplished work to date, ‘A Pyrrhic Existence’.
Begun in
the post-industrial decay of Birmingham in 1992, the band initially took
influence from personal excursions into inner space, contemporary death metal,
and their own warped take on 70’s progressive and psychedelic music. The early
years saw them perform live infrequently, often to perplexed (and sometimes
hostile) audiences. The prevailing ethos in the underground, and indeed heavy
music in general in the early 90’s was one of speed. Along with a few of their
contemporaries scattered across the globe, ESOTERIC eschewed
this in favour of slow building intensity, extended and multi-layered
compositions, and free form noise breaks. A foreboding and pervasive sense of
unease permeated the early recordings – this was truly dark music. Throughout
the 90’s the band remained very much in the underground, perfecting their craft,
unmoved by trends or the expectations of the fickle masses.
Albums such
as ‘The Pernicious Enigma’ and ‘Metamorphogenesis’ saw them develop and refine
their sound, evolving naturally, never appearing contrived. Problems finding
dedicated members meant decreased activity in the late 90’s – finding a suitable
drummer proved particularly difficult.
2003 saw the band rejuvenated.
With the line-up complete for the first time in years, and signing to Season of
Mist for the release of their fourth album ‘Subconscious Dissolution into to
Continuum’, they performed their first live shows since 1997. The growing
interest in the style of music ESOTERIC had been peddling
without compromise since 1992 meant more opportunities to perform on stage,
something the band has relished. ESOTERIC has developed into a
formidable and respected live act, playing tours and festivals throughout Europe
and beyond, sharing stages with bands and artists including AHAB, ALCEST,
SWALLOW THE SUN, MAYHEM, EMPOREROR and festivals such as Brutal Assault, SWR
Barroselas, Hell’s Pleasure, Damnation Festival, Madrid is The Dark, and many
more.
Released in 2008, ‘The Maniacal Vale’ proved to be the bands most
ambitious and successful album to date, simultaneously honouring the chaos of
the earlier releases whilst expanding into territory that at first glance may
seem at odds with the bands ethos, yet has always lurked within their
compositions – namely, a sense a melody and grandeur. Having been hinted at on
previous albums, this side of the band was fully realized. This was followed in
2011 by ‘Paragon of Dissonance’, an album equal to its predecessor in
compositional scope and ambition.
2019 will see the release of the bands
seventh opus, ‘A Pyrrhic Existence’, 98 minutes of new material that once again
expands on the bands sound, yet retains elements of all their preceding works.
It is a culmination of 27 years of uncompromising dedication to their craft –
detailed and layered compositions and a high level of musicianship, foreboding
production, and equal measures of utter darkness and melodic diversity. The
current line up consists of Gordon Bicknell (Guitar since 1992), Mark Bodossian
(Bass since 2003), Greg Chandler (Guitar and vocals since 1992), Joe Fletcher
(Drums since 2007), and Jim Nolan (Guitar since
2009).
Today, Ordo MCM sets September 27th as the North American release date for Bretus‘ highly anticipated fourth album, Aion Tetra, on CD and vinyl LP formats.
Formed in the year 2000, Bretus are cult figures in the Italian doom metal scene. Much like their loose ‘n’ lumbering music’s heaviness, the quartet are patient in their creations and are never in a rush, prizing quality over quantity. As such, their first public recording, Demo 2008, didn’t arrive until eight years after their formation. Ever since, they’ve stuck to this slow ‘n’ steady schedule, with a heavy whiff of stoner rock underlying their granite-thick doom metal foundation – altogether, a heady canvas for them to ruminate on supernatural horror and other Lovecraftian themes.
Alas, although it’s only been a couple years since their last full-length, the critically acclaimed …from the Twilight Zone, TOTAL DOOM arrives with Bretus‘ fourth album, Aion Tetra. Sweaty, swaggering, and more than a bit bluesy, Aion Tetra is sound of Bretus hitting a fever pitch of creativity. Almost effortlessly, the band unload one molten crusher after another, with each opening up to reveal new, deeper corridors to their signature sound. Within, despite the obvious world-eating weight, every one of the nine songs mesmerizes with spacey, spacious intent, dazzling the imagination with an array of otherworldly textures and territories. Of those territories, perhaps a cursory rundown of Aion Tetra’s attendant song titles suggest exactly where Bretus are going: “The City of Frost,” “The Third Mystic Eye,” “Deep Space Voodoo,” “Cosmic Crow,” and especially “Fields of Mars,” to name just a few.
Italian doom is some of the finest in the world. Whether already a convert or a first-time acolyte, Aion Tetra asserts Bretus‘ position among the best of the best.
Hear for yourself with the new tracks “Cosmic Crow” and “The City of Frost” here:
Cover and tracklisting as follows:
Tracklisting for
Bretus’ Aion Tetra 1. The Third
Mystic Eye 2. Priests of Chaos 3. Prisoner of the Night 4. Aion
Tetra 5. Deep Space Voodoo 6. The Mark of Evil 7. Fields of Mars 8.
Cosmic Crow 9. The City of Frost
The godfathers of American doom metal SAINT VITUS are now streaming the third new track, taken from their forthcoming album ‘Saint Vitus’. The new record is set for worldwide release on May 17, 2019.
“Useless” is streaming here:
SAINT VITUS are in the middle of their
previously announced European tour. A full list of confirmed shows can be found
below. The band is supported by DOPELORD on the road.
SAINT VITUS tour +Dopelord 19 Apr 19 Glasgow (UK) Audio 20 Apr 19 London (UK) The Underworld 21 Apr 19 Paris (FR) Petit Bain 23 Apr 19 Nantes (FR) Le Ferrailleur 24 Apr 19 Toulouse (FR) Le Rex 25 Apr 19 Barcelona (ES) Boveda 26 Apr 19 Madrid (ES) Copernico 27 Apr 19 Barroselas (PT) Swr Metalfest 28 Apr 19 Bilbao (ES) Kafé Antzokia 30 Apr 19 Fribourg (CH) Fri-Son* 01 May 19 Milan (IT) Circolo Magnolia 02 May 19 Zürich (CH) Dynamo* 03 May 19 Karlsruhe (DE) Dudefest 04 May 19 Leipzig (DE) Utc Connewitz * No Dopelord
Cover artwork and album details of the new offering can be found below.
Track-list 1. Remains
(6:23) 2. A Prelude to… (3:20) 3. Bloodshed (3:04) 4.
12 Years In The Tomb
(5:24) 5. Wormhole (5:22) 6. Hour Glass
(5:23) 7. City Park (4:01) 8. Last Breath
(6:38) 9. Useless (1:32) Total:
41:07
The already legendary story of SAINT VITUS began in the year 1978, when guitarist Dave Chandler, together with Armando Acosta on drums and bass player Mark Adams, started rehearsing. After trying out two other singers, the band finally settled for vocalist Scott Reagers under the designation TYRANT. In August 1979 the quartet played their first show and in 1980 their name was finally changed to SAINT VITUS. Reportedly this move was inspired by the BLACK SABBATH song “St. Vitus’ Dance”, taken from the “Volume 4” album (1972).
The eponymous debut album “Saint Vitus” had been released in the same year and was quickly followed by the second full-length “Hallow’s Victim” (1985) and an EP entitled “The Walking Dead” (1985). With Thrash Metal on a furious rise, the ultra-heavy sound of SAINT VITUS was mainly enjoyed by connoisseurs of Doom and a dedicated underground following. This might have been one of the reasons for Scott Reagers to part from the band in 1986. His unexpected move turned out to be hardly a problem for the band as they recruited Scott “Wino” Weinrich from THE OBSESSED, who is considered as the ultimate voice of SAINT VITUS by a clear majority of their adherents.
When Scott Reagers left, Dave Chandler had already written most of “Born Too Late” (1986). This album gained the Americans growing attention in the Metal underground especially overseas. The anthemic title track is considered be one of the great Doom hymns by many fans.
The EP “Thirsty and Miserable” (1987) followed, which featured a BLACK FLAG cover version of the same name, but “Mournful Cries” (1988) was still going to be the last album for SST Records. All this hard work during the previous years started to pay off. With their aptly named fifth full-length “V” (1989) now released on the famous German Doom label Hellhound Records and the live recording “Live” coming out a year later, interest started to grow considerably, although at first in continental Europe, but soon after in England as well. Just as the horizon was brightening for the Godfathers of Doom, Wino decided to leave SAINT VITUS and reform THE OBSESSED in 1990, which turned out to be a serious blow.
Wino was first replaced by Christian Lindersson from Swedish musical and spiritual brothers COUNT RAVEN. With him at the microphone SAINT VITUS recorded “C.O.D.” (1992), which was produced by Don Dokken and gained high critical acclaim. Despite the warm welcome received, the band remained largely inactive after this release.
Two years later, SAINT VITUS reunited with their original singer Scott Reagers. This led to the again much applauded album “Die Healing” (1995). It might have been the right time for the group to reap the harvest of all the amazing songs that they had sown, but due to severe health problems of Scott Reagers their European tour had to be prematurely ended and that seemed to be the end of the SAINT VITUS story for a long time, much to the dismay of their loyal and by then many followers.
At the time nobody could have foreseen that April 29th, 2009 in Stuttgart, Germany would mark Armando Acosta’s final performance with SAINT VITUS. After this last show in Europe the band returned to the States as planned. There Amando’s multiple serious health issues were continuing to take their toll on him, and with great sadness on November 25th, 2010 SAINT VITUS received the painful news that their longtime friend and band mate had passed away.
When SAINT VITUS played their massive show at Hellfest in France, the crowd witnessed a new member on the drum stool. Henry Vasquez, who had already joined Dave Chandler on his project DEBRIS INC. made his debut there and remained with the band from that day on.
In 2012, SAINT VITUS signed to Season of Mist, who proudly released “Lillie: F-65” in April. Seventeen years after their previous album and nine years after their reunion, SAINT VITUS were returning with a masterpiece that cemented their status as true icons of Doom. “Lillie: F-65” includes the trademark song writing style so beloved by SAINT VITUS fans: there is the cataclysmic and unmistakable guitar sound of co-founder Dave Chandler full of reverbs, feedbacks, flanger and apocalyptic distortion leading to amazing and magical solos. “Lillie: F-65” is furthermore graced with the deeply resonant vocals of Scott “Wino” Weinrich who had rejoined the fold to record an album with the band for the first time since the glorious “V” (1989) and whom many consider to be the classic SAINT VITUS vocalist.
From the very first guitar chords, that unmistakable frying, sizzling, and wailing signature sound of Dave Chandler, any adherent of classic doom metal will immediately know: this is SAINT VITUS. The godfathers of American Doom Metal will soon embark on an extensive European tour in celebration of their 40th band anniversary. At first glance a bold statement such as “godfathers of American Doom Metal” might appear to be weighing as heavy as this band sounds. Nonetheless this is simply the truth in this case. www.facebook.com/saintvitusofficial
Line-up Dave Chandler: guitar Henry Vasquez: drums Scott Reagers: vocals Pat Bruders: bass
Today, Dunkelheit Produktionen sets July 25th as the international release date for Shades of Deep Water‘s highly anticipated second album, Death’s Threshold, on CD and vinyl LP format.
A cult fixture in the funeral doom scene, Shades of Deep Water began its exploration of the abyss in 2006. The sole creation of one J.H., the band’s ascent/descent has been as steady as his music is slow. From 2007 to 2009, three demos were released in succession and then the Constant Pressure EP in 2012, all before the debut album, Waterways, in 2013. Aptly titled, Waterways suggested the aquatic, abyssal themes Shades of Deep Water would henceforth explore. From there, J.H. hit a creative streak, with two more EPs following as well as two compilations, such was the demand for his music among ultra-doom aficionados.
Now, at long last, arrives Shades of Deep Water‘s magnum opus, Death’s Threshold. Likewise aptly titled, Death’s Threshold is a veritable exploration (and celebration) of his native Finland’s rich history in funeral doom and doom-death. Comprising four utterly epic, stretched-across-the-abyss tracks in a vast-yet-focused 41 minutes, here do Shades of Deep Water drown the listener in physically/spiritually crushing atmosphere, dragging that listener down/down/DOWN under, far below the depths and never to return; the effect is hauntingly hypnotic, and almost comfortingly so. But, as this is strictly (and unapologetically) within the funeral doom pantheon, rest assured that there is no light, no hope, wherever the album roams.
Where will you chose to roam? Allow Shades of Deep Water to take you to Death’s Threshold. Take the first step there with the new track “Death’s Threshold – Part 1” here:
Cover art, by Sv Bell, and tracklisting are as follows:
Tracklisting for Shades of Deep Water’s Death’s
Threshold 1. Death’s
Threshold – Part 1 [8:53] 2. Death’s Threshold – Part 2 [11:15] 3. Death’s
Threshold – Part 3 [8:53] 4. Death’s Threshold – Part 4
[12:01]
The godfathers of American doom
metal SAINT VITUS are now releasing the first brand new track
and album details of their forthcoming album ‘Saint Vitus’ which will be
released on May 17, 2019.
The new track ’12 Years in the Tomb’ is now
streaming
SAINT VITUS previously announced new European live dates for April and May 2019. A full list of confirmed shows for the ’40 F’N Years’ trek can be found below. The band will be supported by DOPELORD.
+Dopelord 03 Apr 19 Gothenburg (SE) Sticky Fingers 04 Apr 19 Stockholm (SE) Debaser Strand 06 Apr 19 Jyväskylä (FI) Lutakko 07 Apr 19 Helsinki (FI) On The Rocks 09 Apr 19 Oslo (NO) Bla 10 Apr 19 Copenhagen (DK) Pumpehuset 11 Apr 19 Berlin (DE) So36 12 Apr 19 Hamburg (DE) Headcrash 13 Apr 19 Bomal-Sur-Ourthe (BE) Durbuy Rock Festival 14 Apr 19 Dortmund (DE) Junkyard 15 Apr 19 Cologne (DE) Luxor 17 Apr 19 Birmingham (UK) Mama Roux 18 Apr 19 Leeds (UK) Brudenell 19 Apr 19 Glasgow (UK) Audio 20 Apr 19 London (UK) The Underworld 21 Apr 19 Paris (FR) Petit Bain 23 Apr 19 Nantes (FR) Le Ferrailleur 24 Apr 19 Toulouse (FR) Le Rex 25 Apr 19 Barcelona (ES) Boveda 26 Apr 19 Madrid (ES) Copernico 27 Apr 19 Barroselas (PT) Swr Metalfest 28 Apr 19 Bilbao (ES) Kafé Antzokia 30 Apr 19 Fribourg (CH) Fri-Son* 01 May 19 Milan (IT) Circolo Magnolia 02 May 19 Zürich (CH) Dynamo* 03 May 19 Karlsruhe (DE) Dudefest 04 May 19 Leipzig (DE) Utc Connewitz * No Dopelord
Cover artwork and album details of the new offering can be found below.
Track-list 1. Remains
(6:23) 2. A Prelude to… (3:20) 3. Bloodshed
(3:04) 4. 12 Years In The Tomb
(5:24) 5. Wormhole (5:22) 6. Hour Glass
(5:23) 7. City Park (4:01) 8. Last Breath
(6:38) 9. Useless (1:32) Total:
41:07
The already legendary story of SAINT VITUS began in the year 1978, when guitarist Dave Chandler, together with Armando Acosta on drums and bass player Mark Adams, started rehearsing. After trying out two other singers, the band finally settled for vocalist Scott Reagers under the designation TYRANT. In August 1979 the quartet played their first show and in 1980 their name was finally changed to SAINT VITUS. Reportedly this move was inspired by the BLACK SABBATH song “St. Vitus’ Dance”, taken from the “Volume 4” album (1972).
The eponymous debut album “Saint Vitus” had been released in the same year and was quickly followed by the second full-length “Hallow’s Victim” (1985) and an EP entitled “The Walking Dead” (1985). With Thrash Metal on a furious rise, the ultra-heavy sound of SAINT VITUS was mainly enjoyed by connoisseurs of Doom and a dedicated underground following. This might have been one of the reasons for Scott Reagers to part from the band in 1986. His unexpected move turned out to be hardly a problem for the band as they recruited Scott “Wino” Weinrich from THE OBSESSED, who is considered as the ultimate voice of SAINT VITUS by a clear majority of their adherents.
When Scott Reagers left, Dave Chandler had already written most of “Born Too Late” (1986). This album gained the Americans growing attention in the Metal underground especially overseas. The anthemic title track is considered be one of the great Doom hymns by many fans.
The EP “Thirsty and Miserable” (1987) followed, which featured a BLACK FLAG cover version of the same name, but “Mournful Cries” (1988) was still going to be the last album for SST Records. All this hard work during the previous years started to pay off. With their aptly named fifth full-length “V” (1989) now released on the famous German Doom label Hellhound Records and the live recording “Live” coming out a year later, interest started to grow considerably, although at first in continental Europe, but soon after in England as well. Just as the horizon was brightening for the Godfathers of Doom, Wino decided to leave SAINT VITUS and reform THE OBSESSED in 1990, which turned out to be a serious blow.
Wino was first replaced by Christian Lindersson from Swedish musical and spiritual brothers COUNT RAVEN. With him at the microphone SAINT VITUS recorded “C.O.D.” (1992), which was produced by Don Dokken and gained high critical acclaim. Despite the warm welcome received, the band remained largely inactive after this release.
Two years later, SAINT VITUS reunited with their original singer Scott Reagers. This led to the again much applauded album “Die Healing” (1995). It might have been the right time for the group to reap the harvest of all the amazing songs that they had sown, but due to severe health problems of Scott Reagers their European tour had to be prematurely ended and that seemed to be the end of the SAINT VITUS story for a long time, much to the dismay of their loyal and by then many followers.
At the time nobody could have foreseen that April 29th, 2009 in Stuttgart, Germany would mark Armando Acosta’s final performance with SAINT VITUS. After this last show in Europe the band returned to the States as planned. There Amando’s multiple serious health issues were continuing to take their toll on him, and with great sadness on November 25th, 2010 SAINT VITUS received the painful news that their longtime friend and band mate had passed away.
When SAINT VITUS played their massive show at Hellfest in France, the crowd witnessed a new member on the drum stool. Henry Vasquez, who had already joined Dave Chandler on his project DEBRIS INC. made his debut there and remained with the band from that day on.
In 2012, SAINT VITUS signed to Season of Mist, who proudly released “Lillie: F-65” in April. Seventeen years after their previous album and nine years after their reunion, SAINT VITUS were returning with a masterpiece that cemented their status as true icons of Doom. “Lillie: F-65” includes the trademark song writing style so beloved by SAINT VITUS fans: there is the cataclysmic and unmistakable guitar sound of co-founder Dave Chandler full of reverbs, feedbacks, flanger and apocalyptic distortion leading to amazing and magical solos. “Lillie: F-65” is furthermore graced with the deeply resonant vocals of Scott “Wino” Weinrich who had rejoined the fold to record an album with the band for the first time since the glorious “V” (1989) and whom many consider to be the classic SAINT VITUS vocalist.
From the very first guitar chords, that unmistakable frying, sizzling, and wailing signature sound of Dave Chandler, any adherent of classic doom metal will immediately know: this is SAINT VITUS. The godfathers of American Doom Metal will soon embark on an extensive European tour in celebration of their 40th band anniversary. At first glance a bold statement such as “godfathers of American Doom Metal” might appear to be weighing as heavy as this band sounds. Nonetheless this is simply the truth in this case. www.facebook.com/saintvitusofficial
Line-up Dave Chandler: guitar Henry Vasquez: drums Scott Reagers: vocals Pat Bruders: bass
