There’s no denying Leif Edling’s influential contribution, by way of Black Sabbath, to the past and present doom scene. The man is the ever prolific song writer, and with a “never say die” (wink wink) attitude/work ethic, he forges on with Candlemass to rekindle that bands impressive legacy post Messiah, and now with his own proper solo album. On “Songs of Torment, Songs of Joy”, Leif handles bass, guitar, and all vocal duties. The shining star of this material is really the overall tone and heaviness. Very simplistic music is on display, but the intent and the power is really prevalent, if not overwhelmingly catchy. There’s really nothing stylistically speaking on display here that musically separates this from a modern day Candlemass album, other than some funeral organ sounding keyboards that add a really nice touch to this album. I would have preferred hearing the master Robert Lowe’s (Candlemass, Solitude Aeturnus) vocal stylings on this material, for even though Leif gets the job done, albeit a bit awkwardly, his vocal style is a rather subdued, gruff talking delivery that shifts in and out of key. His lack of vocal character and colorful dynamics tends to wear on me as this plodding album crawls along, but he does get the job done with little offense or foul play. For the head nodding might in the guitars and Leif’s unfaltering knack for writing powerfully memorable power chord dominant riffage, “Songs of Torment, Songs of Joy” is a worthy acquisition for fans of his full time day job. Could this material have set quite comfortably alongside Candlemass’ legacy of material? Yes… with some fine tuning for sure. –Marty

Candlelight Records

Watch this, NOW!

Tell me that’s not awesome.

…Well?

That’s right, you can’t! It’s common knowledge that violent video games, Jack Black, and metal are three of the most awesome things on the planet. Here they have been combined – it’s Jack Black’s Violent Metal Video Game, or Brütal Legend. This game, designed by the legendary Tim Schafer, is going to be epic. Just look at the insane soundtrack.

Yeah, that’s right. The first two songs on the list are the best songs by 3 Inches Of Blood, “Deadly Sinners” and “Destroy The Orcs”. I’m sold already. Take a look at just some of the bands on the list – Black Sabbath, Candlemass, Carcass, Enslaved, Iced Earth, In Flames (and not the new stuff, it’s “Goliaths Disarm Their Davids” from Black-Ash Inheritance), Judas Priest, King Diamond, Mastodon, Megadeth, Motorhead, Ozzy Osbourne, Saxon, Slayer, and of course Tenacious D. This is ridiculously good. When I first saw the list I thought it was fake because it looked to good to be true. But nope, it’s official. Add in the fact that Lemmy, Ozzy, Halford, and Lita Ford will actually make apperances in the game and you’ve got yourself the most metal video game ever.

If you’re like me, then you can’t wait to get your hands on this game and you’ve probably watched all of the Brütal Thoughts videos already. If not, then redeem yourself by watching them now:

2009, and the festival season is drawing to the end. With quite “meh” inducing line ups across the board, Bloodstock Open Air is standing out at the moment as having both an eclectic and strong line-up (Europe-Cradle-Carcass…..wat!?), that should have appealed to metal fans pretty much across the whole board. Maybe some more hardcore type bands wouldn’t have gone amiss, but I guess that would be in opposition to the festivals stance as being a “true” metal festival. Still, there was a huge range of bands here, with plenty going on to ensure that there was never a dull moment. Definitely one of the best line ups this summer.

Bloodstock has continued to grow considerably year upon year, and it’s definitely nothing like the festival it was back in its inception in 2005. However, more people, more size, and bigger bands has bought new trouble and obstacles for the festival. Not only was there an epidemic of theft in the campsites, with many people having reported money being stolen from inside their very tents while they slept, and the possibility of an organized “raid” on the sites by an outside group who were able to scale the security and make it in being raised, but there was also the very concerning event of a band being targeted by some serious projectiles. Bottle throwings are pretty much accepted at festivals now, but this was an everlasting gobstopper, which, despite sounding pretty hilarious as a missile, was actually very heavy, and could have potentially seriously injured someone.

The organizers have their work cut out and some serious security issues to address, before the reputation of the festival takes a serious fall. After all that the festival has gone through, it would be a shame for it to have to suffer this.

Anyway, enough of the gloom, the Headbang team, and many other people we know who were there, had a fantastic time, and so with no further ado, here is the overview of the festival and most importantly, the heavy f***ing metal.

Kicking off the festival for us, Blitzkrieg are the quintessential dad band. Pretty generic everything really, apart from their front man that is. Unfortunately in this case that’s not a good thing, the singer ruined for me what was a perfectly adequate band musically, with his unusual moshing and frankly disturbing kneeslaps I couldn’t help but feel I was watching the very personification of Peter Kay’s Uncle Knobhead up on stage. I swiftly left and got a beer. (5/10)

I’ve seen Insomnium before, so I’m aware they can definitely do much better than this. Maybe it was the sterile sound and poor levelling, maybe the sound guys hadn’t quite calibrated everything; it was still a pretty sub par performance. The Finns just lacked something. One guitar way louder than the other, vocals too high in the mix, pretty untight performance. Lacklustre. (4/10)

Something you can always rely on to get the party started anywhere, is Municipal Waste. The nu-thrashers kick the afternoon something fierce, with pits, crowd surfing, walls of death and all kinds of fun carnage. Token Municipal Waste fans as always make an appearance with beach inflatables to surf the waves upon waves of humans, adding to the flesh landfill. Highlight of the set was Tony Foresta calling for the crowd to break the world record for crowd surfers in one song, resulting in something that looked like the helms deep scene from Lord Of the Rings, with something like 400 odd crowd surfers in one song. (8/10)

Despite being a self-admitted ‘rock band not metal band’ Alternative Carpark rip up the B.O.A unsigned stage. If you haven’t seen these guys yet…you’re missing out! (8/10)

For a first UK show in 20 years you’d expect Sodom to have longer than 45 minutes…but then again this a UK festival…The band however overlook this small detail and show us what we’ve missed. Considering that a large amount of the audience were either still in nappies or swimming around as little sperm the last time Sodom set foot on UK soil. A common ‘patch favorite’ the band leave us all wanting more and hoping they don’t wait another two decades. Opening with “Napalm in the Morning” to rapturous applause, the band thrashed though what felt like a very well thought out and inclusive set. Even bass failure couldn’t stop them, Tom Angelripper switching mid song at the beginning of the set, to another bass with the same pictured ridiculous wide strap. While Municipal Waste may have had youth and energy, Sodom have experience and wisdom (whatever that means in thrash metal), and frankly better written songs to choose from. Felt special man! (9/10)

The Sophie Lancaster stage played host to the smallest number of acts but also some of the best performances. Young brit metallers Malefice are fully on top of their game, within 30 seconds of opener ‘The Midas Effect’ the tent is already packed to the brim. Roll on October… (8/10)
Arch Enemy surprised me with their performance this year, having seen them play a mediocre set in 2007 I was questioning whether I should bother wasting my carcass energy watching them, I was glad I did though. They put on a belting performance, with frontwoman Angela Gossow holding the audience in the palm of her hand (I heard the fat spotty guy next to me whisper ‘I’d do her’ to his similarly greasy friend-I though ‘you’d probably do Michael Ammott if he was covered in whipped cream tubsy’), but that’s another story. All in all a belting performance, and for me put Carcass into the shade a little.(10/10)

As a long time Carcass fan, they could probably take to the stage and play a set of Proclaimers covers and I’d still give them a 10 and say it’s the best I’ve seen them in the last couple of years. They were definitely as good as all the other shows they played since reforming, albeit with a more gory slideshow this time, which made me giggle with glee. Deformed penises, autopsies, and gore aplenty. Jeff Walker and his token cynicism makes for a brilliant frontman, and seems pretty down to earth for someone who spent the best part of a decade stealing medical references from text books and writing about bodily functions that seem nasty even when you have no idea what the hell they’re describing. All the classics were there, “Rotten to the Gore”, “Corporeal Jigsore Quandary”, “Reek of Putrefaction” et al, and as always, Ken Owen made an appearance to play a drum solo. Its nice to see that the solo gets better each time I see them, showing progress in his recovery from the 1999 brain haemorrhage he suffered. He even played a blast beat, which was probably about on par with the quality of drums on an early Morbid Angel demo. After the set they projected a film of a female body being cut open to classical music. (10/10)

Seeming like a self-admitting Anvil tribute act (they all wore Anvil shirts for one) Wolf are enjoyable but well just enjoyable really. There’s not much more to say. (6/10)

The Haunted were a lovely wake up call on a bright and breezy Saturday afternoon, after a brew and a bacon butty we wandered down to catch a very aggressive set which left all the crowd with their previous nights hangovers forgotten and there forthcoming drunkenness eagerly anticipated. The only downer for me was that some knobhead stood next to me had made it his business to personally inform all 10,000 BOA festival goers that he owned the same guitar head as the two guitarists from the Haunted. It wouldn’t have been so bad were it not that it was HB’s own Eyelicker! (8/10)

It may sound conceited to say that Entombed are unappreciated..but its true. Literally hundreds of band’s owe their existence to the likes of these guys and the music they created in the latter end of the 80’s. (8/10)

Candlemass even if they are ‘slow dad metal’ are superb. Seamlessly mixing old with new the doom metal veterans make even a beautiful day sound gloomy and melancholic. (8/10)

On the way back to the tent, I was walking past the unsigned stage and heard some sick drumming. Being one to always try new things, I popped in to witness Sanctorum. They play a kind of extreme thrash metal, with wicked technicality. Every member of the band held his own incredibly well, most notably the bassist with his 7 string behemoth of an instrument. A thoroughly enjoyable set, check them out! (7/10)

With a reputation for hit and miss live performances its difficult to know what to expect from German thrash overlords Kreator however we must have caught Mike and co on a good day. Tearing through ‘Hordes Of Chaos’, ‘Pleasure To Kill’ and ‘Flag Of Hate’ its thrash metal heaven. (9/10)

I’d been waiting to see Apocalyptica for a long time. Having fully got over the ‘novelty act’ these Finnish cellists put a performance that makes you think they’re headlining. Mixing covers (‘Refuse/ Resist’, ‘Whever I May Roam’ the list goes on) with some stunning original material it’s a honour to watch. Set highlights? The ‘One’ solo played note for note on cello and the band’s own adaption of ‘Hall Of The Mountain King’. (10/10)

I’ve played with Severed Heaven before, so had to check them out. Glad to see that the girls can still kick it with their brand of gothic death metal, full of subtle melodies and harmonies. I think there may have even been a couple of sly breakdowns in there too. Last band of the day on the stage, and they played like they were headlining! (8/10)

The Rotted’s position as a favored “cult” band, in the English extreme metal scene seems to be proven by the huge crowd that packs into the humble Sophie Lancaster stage. From the beginning they slay the place with insanely fast blastbeats and Ben McCrow’s harsh, almost punk like vocals. The band are as animated as the crowd, and doesn’t let anyone rest for a second. Beginning with “Nothin’ but a Nosebleed”, possibly the best song ever for smashing into a crowd, and throwing in a Gorerotted classic “Only Tools and Corpses”, everyone leaves having had several shades of shit beat out of them, and with huge smiles. (10/10)

The apprehension for Cradle Of Filth was…tense…to say the least. Largely shunned by the wider “scene”, as being too mainstream/not Kvlt enough or whatever myriad of reasons they have, I was hoping that the set would play out without incidence. Unfortunately, this was not so, as you’ve probably heard by now, some knobead took out one of their guitarists with an everlasting gobstopper, another victory for metalhead bigotry and puritania. In the 40 or so minutes before this cutting their set short however, they put on a surprisingly solid set. I’ve heard that they are terrible live, so found what I did see quite a pleasant surprise. Alright levelling, Dani’s vocals sounded pretty good, and some tight drumming. Just a big shame about the crowd of knobeads! Even before the gobstopper there were plenty of bottles, but the band played on and didn’t seem rankled in the slightest. “If you’re going to throw bottles, at least make sure they’re full” Could have been a really good set. (5/10)

After a surprisingly good nights sleep in the back of my van I was up eagerly anticipating seeing Sabaton for the first time since Wacken 08, ( a performance incidentally, of which I remember very little), despite the one guy who was severely packed into his Sabaton ‘costume’ I still enjoyed being in the crowd for a band that is one of the few power metal bands I enjoy. And boy did they put on a great show, for me half hour was a disgrace and the fact that their signing session went on for well over 45 minutes after it was scheduled to stop galvanises my view. They played all the classics and some of their best off the brilliant ‘Art of War’ and whilst I loved the show it was soured a bit when I found out that they were to be touring the UK beneath Dragonforce later in the year, aside from that shutout they were brilliant. (10/10)

Equilibrium received a very warm welcome for their first ever UK show, with plenty of fans turning out to show the Germans some love. This isn’t a massive surprise, considering the Bloodstock demograph’s love of folk metal, but they milked it well to play an awesome show. (8/10)

It’s true that Turisas can certainly work a crowd like putty but with what seems like a self-inflicted ‘encore’ you’re left with a sour taste that the band have gotten too big for their (fur skin) boots. (7/10)

With a somewhat flat sound and a slightly apathetic audience Anterior struggle, fantastic on record, their eclectic mix of influences doesn’t quite cut it with the B.O.A crowd. (6/10)

The last band I gave a balls about was Amon Amarth who put on a typically solid tight performance which had the whole crowd bouncing, to be frank I’ve seen these lads more times than I’ve changed my socks, (at the last count it was five) and they do seem to improve with every wash, as it were. Very enjoyable and well received and singer Johan Hegg somehow manages to look quite hard considering he is a fat bloke in a tight black tanktop. (9/10)

It was a shame that there was practically no one in the Sophie Lancaster stage to witness Darkness Dynamite, a practically unknown over here French band who play a kind of rocky deathcore, that refuses to be pigeonholed. The band however didn’t seem to really care about the lack of people though, and played a great energetic set, for the few who were there to lap up as their own little secret. Detuned, tight and heavy, this band deserves to be bigger than this, French metal is grossly under represented! (9/10)

Quite why black metal legends Satyricon are playing now isn’t clear, but that doesn’t matter, what does matter is that Saytr and Frost are back with a new band, a new(ish) album, and a crowd who’ve certainly missed them. A mere hour set doesn’t do them justice. (9/10)

Many eyebrows were raised (and have remained so) at the billing of Europe as festival headliners. Nevertheless the band use their 90 minutes well and by the time it gets round to playing that song (yes you know the one I mean) the crowd go wild. As a LED lightboard declares that its ‘About f**king time!’ we retire to our tents with the sound of classic rock still ringing in our ears. (8/10)

As well as the music, there were plenty of other great things on display. Comedians, a set by the infamous “fuel girls”, who we last saw breathing fire at Motorhead’s Wacken set, a motorbike being driven round the inside of a metal ball courtesy of monster energy drinks, as well as a pleasant enough chippie, a shisha café, and everyone’s favorite brew stop, Mr Tea.

Despite being ‘bigger than ever’ this year Bloodstock is still relatively small for the band’s it attracts and it never ceases to amaze that you can turn up and buy tickets on the door…still its everyone who didn’t go’s loss! Throughout the weekend band’s declared B.O.A to be a ‘true f**king metal festival, non of that fashion bulls**t’ *cough*Download*cough*. the metal faithful remain true. So thanks it is to the press guys, the crew, the bands and course…the one and only…hero of the weekend…MR TEA!

James Hodgeson, Eyelicker and Mr Bogle

Thanks also to John Wilson and Alicia Rovira-Parker

Special thanks as well to Adam Sagir of the Noise Cartel, for hitting us up with the press passes, and the opportunities to hang out with members of The Rotted, Municipal Waste and The Haunted, as well as the interview with Equilibrium!

Swedish doom metal pioneers Candlemass return with a refined sense of confidence with their latest offering, the eight-track DEATH MAGIC DOOM. Comfortably settling into yet another round of changes (most notably on the vocals), Leif Edling and company showcase that they are still able to conjure feelings of dread and despair straight from the Black Sabbath playbook (“Hammer of Doom”) with grace and respect but not without interspersing their own bells and whistles (as well as some kick ass solos) into the mix. This veteran unit maintains mid-paced mauling tempos for the most part, yet at times opt for the upbeat with success (“Dead Angel”) while the powerful tandem of killer vocals and memorable riffs propel tracks like “House of 1000 Voices” into the upper echelon of the slow, deep, and hard. Candlemass snaps back into fine form on their latest affair, exhibiting an unforeseen energy that boldly pushes their brand of doom metal into exhilarating new worlds. www.nuclearblastusa.com -Mike SOS

Candlemass is Robert Lowe (Vocals), Mats “Mappe” Björkman (Rhythm Guitar), Lars Johansson (Lead Guitars), Leif Edling (Bass), & Jan Lindh (Drums).

Track Listing:

1. “If I Ever Die”
2. “Hammer of Doom”
3. “Bleeding Baroness”
4. “Demon of the Deep”
5. “House of 1000 Voices”
6. “Dead Angel”
7. “Clouds of Dementia”
8. “My Funeral Dreams”

GOR Recommendation: Heaven & Hell – The Devil You Know

Ano: 2009
Genero: Doom Metal
Origem: Suecia

Integrantes atuais

• Mats Mappe Björkman – guitarra
• Lars Johansson – guitarra
• Leif Edling – baixo
• Jan Lindh – bateria
• Robert Lowe – vocal

Track List:

01.: If I Ever Die (04:54)
02.: Hammer of Doom (06:16)
03.: The Bleeding Baroness (07:19)
04.: Demon of the Deep (05:21)
05.: House of 1000 Voices (07:49)
06.: Dead Angel (04:05)
07.: Clouds of Dementia (05:38)
08.: My Funeral Dreams (06:09)

Mais sobre a banda……

Candlemass é uma banda sueca de doom metal formada na década de 1980 por Leif Edling (baixo), seu líder e autor das músicas. A banda é originária de Estocolmo.

Depois que Leif Edling dissolveu a banda Nemesis, ele começou sua própria banda com o nome de Candlemass (Candelabro). O primeiro álbum foi Epicus Doomicus Metallicus, produzido em 1986 e agora considerado a obra-prima no cenário do Doom metal. Os integrantes da banda na época de Epicus Doomicus Metallicus eram:

• Leif Edling: baixo
• Matz Ekström: bateria
• Mats Mappe Björkman: guitarra
• Johann Langquist: vocal
• Klas Bergwall: guitarra

A produção seguinte foi Nightfall (1987), considerado por alguns como um dos melhores álbuns até hoje de Doom metal. A formação da banda agora tinha mudado: os novos membros eram Messiah Marcolin (vocal), Lars Johansson (guitarra) e Jan Lindh (bateria). Esta formação é considerada a mais importante e a mais bem sucedida da história da banda. Os dois álbuns seguintes foram Ancient Dreams (1988) e Tales of Creation (1989). Em 1990, um álbum ao vivo foi produzido. Logo após, uma disputa entre os integrantes do grupo resultou na decisão de Messiah Marcolin de deixar a banda.

Após a saída de Marcolin, Candlemass chamou o vocalista Tomas Vikström e gravou Chapter VI (1992). Candlemass então se desfez, em parte porque o álbum não conseguiu o sucesso esperado e em parte porque Leif Edling tinha formado um outro projeto com o nome de Abstrakt Algebra. Como o Abstrakt Algebra não deu certo, Leif recrutou novos integrantes para o Candlemass e gravou o álbum Dactylis Glomerata, que era uma combinação de canções para um novo CD do Abstakt Algebra e algum material novo. Alguns anos mais tarde inspirado no Black Sabbath – o álbum From the 13th Sun foi produzido.

Em 2002, os integrantes do clássico Candlemass decidiram voltar a se reunir. Eles fizeram apresentações ao vivo que foram elogiadas pelo público e produziram outro álbum ao vivo. Outros álbuns produzidos com o retorno da banda foram versões remasterizadas de Epicus… e Nightfall, Ancient Dreams and Tales of Creation. Um DVD intitulado Documents of Doom também foi lançado. A banda estava trabalhando em um novo álbum, com algumas novas canções já gravadas e a procura de uma gravadora, quando mais uma vez divergências entre seus integrantes aconteceram, resultando novamente na dissolução do Candlemass. Enquanto isso, Leif Edling iniciou um novo projeto, Krux, com o antigo vocalista do Abstrakt Algebra, Mats Leven e mais dois integrantes do Entombed.

Em novembro de 2004, a banda anunciou que iria voltar pela segunda vez a se reunir. Eles haviam gravado um novo álbum, chamado simplesmente Candlemass, com a clássica formação. Ele foi lançado em maio de 2005. Este CD esteve entre os vinte mais tocados de 2005. Eles receberam o Grammy sueco em 2005.

Em 2006 o grupo anunciou que um novo álbum está para ser produzido e que a gravação estará pronta até o meio do ano, com a data de lançamento para 2007. Após muita incerteza quanto a participação de Messiah nesse novo projeto, foi anunciado em setembro de 2006 que ele seria o vocalista deste novo álbum. Mas não foi. O álbum de 2007 intitulado King Of The Grey Islands, foi gravado em maio do ano passado, Messiah saiu em abril e ainda em outubro eles esperavam que ele terminaria o mesmo, mas não foi possível. Eles ouviram mais de oitenta vocalistas, foi uma grande procura, segundo Leif Edling foram trinta da Suêcia e em torno de cinqüenta da Europa e Estados Unidos, procuram durante três meses antes de entrarem em contato com Robert Lowe.

Eles já conheciam o trabalho de Robert e disseram que sempre gostaram da voz dele desde os primeiros álbuns em sua banda “Solitude Aeternus”, banda que ele integra mesmo como vocalista do Candlemass; ‘Gostamos do fato de ele ter uma voz clássica de Heavy Metal, mas também colocar muita emoção em seu estilo de cantar”, disse Lief.

Antigos integrantes

• Johann Langquist – vocal (vocalista em Epicus Doomicus Metallicus)
• Matz Ekström – bateria (em Epicus Doomicus Metallicus)
• Tomas Vikström – vocal (em Chapter VI)
• Bjorn Flödkvist – vocal (em the Dactylis/13th era)
• Jejo Perkovic – bateria (em the Dactylis/13th era)
• Mats Ståhl – guitarra (em From The 13th Sun)
• Carl Westholm – teclado (em Dactylis Glomerata)
• Michael Amott – guitarra (em Dactylis Glomerata)
• Ian Haugland – bateria (em duas canções de Dactylis Glomerata)
• Klas Bergwall – guitarra (em Epicus Doomicus Metallicus)
• Mike Wead – guitarra
• Ulf Edelund – guitarra (uma canção em Dactylis Glomerata)
• Patrik Instedt – guitarra (três canções em Dactylis Glomerata)
• Messiah Marcolin – vocal (em Nightfall, Ancient Dreams, Tales Of Creation, Live, Doomed For Live – Reunion 2002, Candlemass)

Discografia

 Álbuns de estúdio

• Epicus Doomicus Metallicus – 1986
• Nightfall – 1987
• Ancient Dreams – 1988
• Tales of Creation – 1989
• Chapter VI – 1992
• Dactylis Glomerata – 1998
• From the 13th Sun – 1999
• Candlemass – 2005
• King of the Grey Islands – 2007
• Death Magic Doom-2009

Álbuns ao vivo

• Live – 1990
• Doomed for Live – Reunion 2002 – 2003 (CD duplo)

 Compilação

• As It Is, As It Was – 1994

EPs

• Sjunger Sigge Fürst – 1993

 Singles

• “Solitude” – 1987
• “Samarithan” – 1988
• “At the Gallows End” – 1988
• “Under the Oak” – 1989
• “Assasssin of the Light” – 2005
• “Black Dwarf” (2007)

Vídeos

• Documents of Doom – 2002 (DVD)
• The Curse of Candlemass – 2005 (DVD)
• Candlemass 20 Year Anniversary – 2007 (DVD)

 Outros

• Diamonds Of Doom – 2003 (LP)
• Essential Doom – 2004

Ligações externas

• Site Oficial (em inglês)
• Candlemass no Rockdetector (em inglês)
• Candlemass na Encyclopaedia Metallum
• Candlemass no sítio MusicBrainz

Sunday…yey and *sigh* in the same time.  Was almost impossible to sleep the ngiht before so all I wanted since the first hour was a nice bed and a long shower. But the festival was too cool to wish away from it. Anyway, wI woke up and happily noticed a cloudy sky. Finally no more boiling (I was to be so wrong, the clouds were gone in 2-3 hours ). Frenkie told us that at night he was hearing some beeps and some sounds made by a camera zoom. Poor man. My video camera was somehow on…I brought it wiht me to fil the crowd in the camping on Sunday morning. Well, I managed to film but with the small camera that doesn’t have sound recording. It is a difference between people on friday and on sunday – checkout the crowd videos on youtube.

So, Frenkie brought the car closer to the cmaping, we took our stuff in and off to the festival. UFO opened the day with their old fashioned heavy metal that seemed pretty appealing to the relatively small number of present people. And perhaps more than half of them with a hangover (or more). I have no idea why I went to see Warbringer in the Maruqee 1 tent…but I got to hear some very high pitched guitar riffs on some very fast drumming and I think the singer was saying ‘Fuck’ every 2nd word (it’s not like most of the other bands used this word a lot, but they had the most of it). On my way to sit down and wait for Lamb of God I pased by Marquee 2 and heard bits of Diablo Boulevard. Another band to certainly check out as their rhythm and vocal seemed very pleasant to me. Again, something rocknrollish.

Then mmm, Lamb of God. Frenkie pointed out that they had like 32 speakers on the stage or so, but obviously they don’t use them all. Yet, the sound was incredibly powerful. Your stomach was vibrating with their bass. Considering their crazy groovy songs, it was expected to see huge moshpits again. And was one of the first bands that allows the crowd to sing and they stop ALL instruments. Most bands have either the drums, or a backing vocals or so. Also the vocalist was very talkactive which I actually like at shows and he interacted a lot with the crowd making them spin around or so, and he even took a little shower on stage.  His harsh voice remained as powerful for the entire performance and I can still hear the crowd’s screams when they played walk with me in hell. They also played other of the favorites such as Walk with me in hell, Ruin, Ruin, Redneck, Black Label.

Back to tent 1 to checkout Scar Symmetry…and interesting mix of power metal like with growling, as they had two vocalists with two different vocal skills and ranges which flow ok on the death metal rhythms. Trivium started after on the main stage and their double bass seemed impressive, same the energy of the singer or the guitarists who kept running from one end to the other of the stage. Yet, I was inside the press area, almost unable to move anylonger. Frenkie went to see Eths inside the smallest tent – a growling female fronted band – and he told me that it was packed and there were folks with Trivium tshirts at the entrance, DURING Trivium’s performance on the main stage. I am sorry I missed them. Candlemass in Marquee 1…the guy looks as awful as he did in Oslo, but the show was even worse since they didn’t have the scene settings and his ‘dark’ movements made no sense. I moved along quickly to check out Suicidal Tendencies. Again, no regrets on that decision. Some damn good thrash metal they played. I mean, I haven’t heard much of this genre and haven’t been too attracted by it, but seeing bands like this one live sort of changed my mind. God, give me enough time to listen to so much good new music. Again, it was another band who didn’t bother at all with any stage show. All they had was their music and the insanity of the crowd.

Chickenfoot…now that’s watching legends live.  When you have vocalist Sammy Hagar (ex-Van Halen and Montrose), bassist Michael Anthony (ex-Van Halen), guitarist Joe Satriani and drummer Chad Smith (Red Hot Chili Peppers) on the stage, all you can do is sit down and be amazed. It was like their 7th show together after they had just released an album. But you couldn’t see it’s a new band, due the experience of the members. They were again, so natural and delivered an incredible show (even if the music is not the catchiest I ever heard. I can hardly remember it, but each of the guys did a good job) and I hope that many of the young crowd is gonna end up checking out their old pefomances. The singer made a joke on the guy who was watering the crowd, saying he hopes there’s tequilla or at least vodka, since water would kill those people. Then he also asked to be sprayed.

On again to another powerful show from Devil driver. Think it had the most crowdsurfers, but the music was totally insane and the drumming was impossible. I enjoyed how the guitarist kept changing the ‘front’ plan of the stage so everyone of them got to ’show off’.  And as if I didn’t have enough loud music, I moved along to see Sacred Reich. Holy shit, the organizers were brave to put them in a tent. They played their asses off, they had one of the loudest crowd I heard and I think they were screaming outside as well. Again, old school thrash metal that convinces me to  listen to it some more.

A break from crazy music to hear Disturbed on the main stage. Another uninteresting vocalist and another band I would have happily considered in a smaller tent and replace it with Sacred Reich or Anthrax for example. But before I went to see Anthrax (I was happy I knew the name :p ) I stopped by Epica. Aye, cool chick on  vocals but I heard to songs of theirs and I only knew there were two songs because there was a break at some point and she spoke a little. Ok music but seemed too repetitive. So we moved to Anthrax’ tent. Again, it was packed. It was crazy in there with everyone headbanging, crowdsurfing (over and over again) or jumping up and down. Or moshpiting but those I didn’t really see too well. I heard they have a new vocalist but in my opinion he did a hell of a job. He electrified everyone. And he seemed as if he was plugged in since he had the same amount of energy at all parts of his performance.

Nightwish time. I admit I like some of their old songs, some I actually love. I don’t like Tarja, but I admire her voice. I heard very little of the new kid (hardly a girl or a woman) and I knw she had a totally off voice. But god, when she started to … produce sounds, I felt the need to cover my ears. For Christ sake, I know they didn’t want a Tarja copy, but then don’t ask a kid to sing Tarja’s songs. She can’t do high notes or if she does they’re too strident. The long melodic notes are turned into a lower piteched ‘aaaaa’s that are very unpleasant. The songs are totally rearranged and actually Marco has to play the stronger parts (that belonged to Tarja). And she is ugly, she is fake…oh well, it’s their choice of a vocalist. It was an extreme turn off for everyone I spoke to and we were happy when it ended. They had some nice fireworks and fires during the show, but uncool as it wasn’t completly dark. Actually, considering it was one of the headliners, I didn’t really see the crowd too interested. There was plenty of room in front. Manson had more people gathered for his performance.

7 Days to the Wolves
Dead to the World
The Siren
Amaranth
Romanticide
Wishmaster
Ghost Love Score
Nemo
Sahara
Dead Boy’s Poem
Escapist
Dark Chest of Wonders
Wish I Had An Angel

We moved our asses to the tent where Children of Bodom was playing.  They had some keyboard problems and the keyboardist was pissed at the beginning of the show as he kept calling the technician. But the show was cool, again too bad they were in a tent. Not the best band I know but the crowd was again coming in huge numbers and really enjoying the music. I heard people complaining about the setlist, as they didn’t include all the expected hits:

Bodom Beach Terror
Hate Me!
Living Dead Beat
In Your Face
Blooddrunk
Children of Decadence / Bed of Razors
Hellhounds On My Trail
Angels Don’t Kill
Downfall

Last band came on the main stage. Or last man or whatever. Manson. Marylin…I was looking forward to see his show, to see how weird or crazy it can get. But after seeing plenty of people imitating his looks in the crowd (I was feeling to desire to stop them and tell them they’re ugly) I already had enough. His show started with a huuuuuge curtain blocking the view on the stage and you could see the smoke coming from behind. Eventually they lifted it and everything was red due the smoke and lights. So actually I recall seeing a red show with some incredible ugly people on stage…Musicaly it was Manson, dunno, sound was good but really not my cup of tea. We left even before half of his show and by the time it ended we were in Eindhoven and soon zzzleeeping. And I woke up with a flu..and, oh well, the rest is unrelated to festival so there’s time for more posts.

Cheerio and I hope to go to Graspop again!

Aqui les dejo cuatro reseñas de discos muy distintos, por un lado el poder power metalero de Primal Fear, pasando por el heavy denso y caotico de Candlemass, llegando al sabor rockanrolero de Clutch para terminar con el armagedon black metalico de Beherit, cuatro sabores que muestran lo variada que es esta musica que tanto amamos y que espero sirva para que feedback para que se los bajen y obviamente me recomienden las cosas cheveres que han escuchado, recuerden que no soy critico de discos, soy un fan escuchando musica, espero sus comments….

Primal Fear – 16.6 (Before the devil knows you´re dead) (2009)

Largo nombre para este nuevo disco de los alemanes Primal Fear, banda liderizada desde su creación en 1998 por el cantante Ralph Scheepers (Ex-Gamma Ray) y el bajista Matt Sinner (Sinner), acompañados de  Magnus Karlsson y Henry Wolter en las guitarras y Randy Black en los tambores, estos panas han sacado un disco inmenso donde el power metal, algo de prog, thrash y mucha energia heavy han moldeado un grupo de canciones que brillan por su belleza, poder y habilidad para hacerte mover la cabeza con fuerza.

16.6  son trece temas veloces y contundentes, donde el trabajo de las guitarras se presenta como parte fundamental de la musica, tanto desde le punto de vista de las ritmicas como por los solos suicidas que Karlsson y Wolter son capaces de desarrollar, desde la primera canción llamada “Ridin the eagle” te das cuenta que este no es un disco cualquiera, primero una intro que te recuerda a unos Helloween de finales del os ochentas para luego pasar a una guitarra ritmica que pareciera mas de thrash metal que de power, todo esto para fundirse en una canción atronadora y veloz, una delicia para los directos.

Pero “16.6″ no solo se destaca por el trabajo de las seis cuerdas, la siempre simpatica y de mucho caracter voz de Scheepers es la co-estrella de esta placa, este tipo es un mago de las cuerdas vocales, pues en un solo segundo puede cambiar de ser el vocal mas agresivo del metal a ser un cantante melodico de primera linea, si no me crees escucha primero la agresión musical llamada  “Six times dead” y de inmediato pasa a la preciosista “Hands of time” un medio tiempo que acerca a la banda a los senderos del hard rock, mención especial para los coros llevados a cabo por el resto de la banda, un apoyo vital para el sonido final de este disco, extraordinario cuando una banda es capaz de poner en un solo disco dos temas tan distintos, excelente.

Curioso que yo un aburrido total del power metal esté aqui recomendandoles este album, pero les aseguro que la recomendación no es en vano, el problema no es el power metal, el rollo son las bandas que se repiten hasta el cansancio, no es que “Primal” no usen viejas formulas, obviamente las usan pero la calidad con que trabajan y la intensidad de los temas que componen, hacen que uno deje de pensar en generos y disfrute los mas importante, la musica, altamente recomendado, otro que va a la lista de los mejores del año.

http://www.primalfear.de/

Clutch – Strange Cousins From The West (2009)

Escucho Clutch desde aquel “Transnational speedway league…” de 1993, recuerdo que en aquel momento el video del tema “A shogun named Marcus” me voló los tapones, la energia, el concepto y la visión de aquella musica me cautivaron, no era metal, no era punk, no era rock and roll, ni funk, era una mezcla insana de todo aquello, lo que hacia que la musica resultante tuviera un extraño sabor a sonido de los setentas con esteroides metalicos.

Desde aquel momento han pasado nueve discos y la banda se mantiene como el primer dia, independiente, creativa y por sobre todas las cosas productiva, este 7 de julio precisamente verá la luz el intento numero nueve “Strange cousins from the west”, un compendio de 11 temas donde el rock protagoniza una historia eclectica de canciones ritmicas, guitarreras con mucha actitud, donde el cantante Neil Fallon pone la nota distintiva con su caracterisitica voz con tintes negroides al mas clasico estilo soul.

Ademas de Fallon la banda esta compuesta por Tim Sult en las guitarras, Jean Paul Gaster en la bateria, Dan Maines en el bajo y Mitch Schauer en el organo y las teclas. La gente suele encerrar a este combo en el baul del stoner cosa que considero injusta, pues estamos ante una banda que es ante todo variedad, cosa que demuestran muy bien en este nuevo disco “Strange cousins” donde las canciones son una mezcla magica de rock sureño, esencia setentera y actitud metalica, basta escuchar temas como “Motherless child”,  “Minotaur” o  “Freakonomics” para darse cuenta de lo que hablo, musica vibrante y electrica a mas no poder.

Altamente recomendable este disco y cualquiera de la banda, si quieres escuchar un buen grupo de rock organico, esta es la banda a escoger.

Candlemass – Death, magic, doom (2009)

No escuchaba Candlemass desde hace años, sabia que se habian reunido, pero como en estos dias todos se reunen no les habia prestado atención, no disfrutaba de un disco completo de esta gente desde el clasico  Tales of creation de 1989, el cual conocí gracias a una excelente copilación de Enigma Records llamada “Metallic overdrive”.

Candlemass son hijos prodigos de Black Sabbath, de estos tomaron la densidad de su musica, desarrollando riffs arrastrados, profundos, de esos que te hacen pensar en la banda sonora del mismisimo inferno, su sonido es lo que deberia ser el heavy metal moderno aunque a veces en pasajes no dejes de pensar “esta vaina ya la tocó Sabbath”, pero mas alla de los paralelismos estamos ante una banda inmensa que lleva mas de veinte años en la carretera, con uno que otro hiato, pero apostando siempre al metal.

Death, magic, doom, salió a las tiendas el dia 5 de mayo de 2009 via Nuclearblast America, son nueve canciones repartidas en casi 52 minutos de puro metal sin costuras, aqui no hay descanso para coros limpios, ni melodias bellas, esto es heavy directo y sin taima, canciones cortantes y deseperadas, riffs negros como al noche oscura, todo un compendio de las infame metal corrosivo, heavy metal como le dice la gente.

Si quieren una idea de que va este album nada mas vacilense la tonada llamada “Hammer of doom”, un corte que te recuerda de inmediato el tema “Black Sabbath” de los de Birmingham, lentitud, una voz casi en limpio, sostenidos distorsionados, guitarras que suenan como hojillas ensangrentadas y un cambio de velocidad que te sigue recordando a la gente de Ozzy pero que por alguna extraña razon no rechazas, pues no es una copia, es la reinterpretación de su musica por unos grandes, Candlemass.

No les digo mas, si les va el doom mas cercano al heavy metal este es un disco vital para su colección, para amantes de la musica dura sin medias tintas, uno de los mejores discos que ha parido este 2009.

http://www.candlemass.se/

Beherit – Engram (2009)

Como muchos saben el black metal no es mi fuerte, lo veo como un genero desgastado y repetitivo, donde solo los grandes muestran trabajos interesantes mientras una buena cantidad de bandas no pasan de ser clones baratos de esos “grandes”, algo muy similar a lo que ocurre en el power metal, erosión por uso y abuso.

En mi eterna busqueda de originalidad y creación en el metal por alla en  los noventas descubrí a Beherit agrupación que hacia algo muy distinto a lo que la manada venia haciendo, era como una mezcla de electronica extrema con metal, cuerdas sintetizadas, drum machines y mucha experimentación, definitivamente una visión muy interesante de lo que podria ser la musica extrema, su disco Electric doom synthesis de 1995 es una muestra clara de lo que les hablo, ambientación, elementos vanguardistas e innovación, basado en mi experiencia con ese album no dudé ni un momento en descargar el primer ataque de esta gente en mucho tiempo, Engram.

Desgraciadamente debo decir que este trabajo me decepcionó, la agrupación ha hecho un disco organico, centrado en lo que se podria llamar el “black metal tradicional” dejando atras los elementos electronicos, perdiendo lo que a mi particularmente mas me gustaba, su originalidad.

Ojo, no estamos ante un disco malo, son 7 temas de black metal rabioso con toques ambientales que se agradecen, pero la sustancia por la cual me gustó la banda desde su inicios ya no está, ademas de que el sonido de este disco no es bueno, hay momentos en que no puedes diferenciar los instrumentos en una tormenta sonica que desagrada, algo pasó en el estudio pues el resultado final quedó con un sabor a primitivo, basico, para fans acerrimos del black, los demas les recomiendo dejarlo pasar, de todas maneras escuchenlo y haganse su propia impresion.

Rock City Open Air

20 – 23 august. comuna Borcea (Feteşti)

Acesta vrea să fie cel mai mare festival în aer liber din Romania,

care ar fi durat 4 zile şi ar fi adunat aproape 200 de trupe pe scenă.

Din motive obiective care au depăşit răbdarea şi aşteptările organizatorilor, Festivalul se amână. Vă ţinem la curent.

• Metal Masters anunţă programul pe zile al festivalului.
• Numeroase alte trupe vor susţine concerte între 10.00 – 15.00
• Foarte probabil, programul va suferi modificări: dar nu programul headlinerilor.

Joi 20 August

• Ancient Rites
• Hanzel und Gretyl
• Hollenthon
• Macbeth
• Primal Fear
• Sinner
• Sirenia

Vineri 21 August

• Belphegor
• Blood Red Throne
• Mayhem
  
• Onslaught
• Overkill
• Skyclad
• Solitude Aeturnus
• Vendetta

Sâmbătă 22 August

• Amon Amarth
• Asphyx
• Brainstorm
• Dew Scented
• Einherjer
• Immortal
• Lake Of Tears
• Trail of Tears

Duminică,  23 August

• Agathodaimon
• Blaze Bailey
• Candlemass
• Edguy
• Lacrimas Profundere
• Paul Di Anno + Trooper
• Stormlord
• Theatres Des Vampires

Abonamente

• 300 lei (1 mai – 31 iulie), 350 lei (1 – 19 august) şi 400 lei la intrare

În acest preţ aveţi şi spaţiu de campare, acces la duşuri şi toalete ecologice.

Foto: Linnéa Olsson - SvD Nöje Festivalblogg

Sweden Rock Festival är i full gång och helt plötsligt känns det som om riksmedia, framför allt SVT, har fattat att det är liiite mer än bara ett gäng övervintrade medelålders män som dumpar fru och barn för en helg av öl och musik. Snarare är det så att hela barnfamiljer åker dit. I nyhetsinslag både i dag och, tidigare under veckan, rapporteras det från Sweden Rock Festival där man inte längre visar upp halvkorkade festivalbesökare som skriker CANDLEMASS mer tittarna som mottagare. Nej, det snackas om en växande scen och själv tänker jag “sedär, ni har fattat det nu”. För det här är ju inget som har hänt nu, det har ju pågått under flera år. Nämnda festival växer, precis som Metaltown, Peace And Love (som bokar fler och fler hårdrocksband för varje år), West Coast Riot och nykomlingar som Rockweekend och helt nya Sonisphere. Dessutom finns det massor av mindre festivaler runt om i landet som också drar fulla hus.

Även ordinarie konserter säljer ut snabbt, nu menar jag inte de stora drakarna som AC/DC, METALLICA och IRON MAIDEN, utan de som drar allt från 500 till ett par tusen besökare. Det som dock förvånar något är att Sonisphere inte är utsålt när man har METALLICA som dragplåster. Personligen misstänker jag att de konserterna säljer slut för att stekare, trendkåta och annat löst folk vill ha nått att stila med. Sedan har vi ju de bekväma som inte vill ligga i tält utan kunna åka hem när musiken tystnat. Som om inte det vore nog så har inte skivförsäljningen sjunkit lika mycket som för andra musikgager. Men det är ju allmänt känt att hårdrockare är väldigt hängivna och håller fast vid sina favoritband.

Det som förvånar mig lite är att ingen snackar om hur mycket värde det ligger i denna marknad. Jag uppskattar att bara biljettförsäljningen för SRF omsätter, i runda slängar, 70 000 000 kr. Lägg på kostnad för resa, mat & dryck (ej alkohol), i vissa fall logi och lite diverse så snacka vi lätt ett par hundra miljoner som rullar i samband med festivalen. Nu är ju inte alla festivaler lika stora som SRF, men ponera att 10 festivaler har 10 000 besökare som spenderar 2000 kr för biljett, käk & dryck, logi och diverse så landar vi på 200 miljoner kronor. Alla som har varit på festival vet att man spenderar lätt mer stålar än så ni fattar ju vilket värde det finns i denna marknad. Därför tycker jag det är konstigt att ingen snackar mer om det. Fast å andra sidan sett så finns det ju en risk i att en massa klåpare försöker tjäna pengar på en scen de inte förstår eller har ett genuint intresse för.

I slut ändan handlar det dock om musiken och vad sägs om banden som lirar i Sverige under sommaren.

HEAVEN & HELL
ZZ TOP
TWISTED SISTER
CANDLEMASS
GRAND MAGUS
METALLICA
MASTODON
MACHINE HEAD
FAITH NO MORE
SOCIAL DISTORTION
SLIPKNOT
MARILYN MANSON
NAPALM DEATH
SATYRICON
THE WILDHEARTS
W.A.S.P.
PARADISE LOST
THE BRONX
RAISE AGAINST
SICK OF IT ALL
AGNOSTIC FRONT

Bara för att nämna några…

Vi syns på piren!
//H

Let’s get this straight. I’m a Candlemass fan. I’m a fan of doom metal as well. Not a huge fan, but a fan nonetheless. I’m also a Solitude Aeturnus fan. I simply adored Robert Lowe’s soaring vocals on that stuff. When I had first heard about him joining Candlemass I was pretty excited. Then I bought King of the Grey Islands and totally got let down, mainly by the vocals.

I love all the Candlemass albums with Messiah Marcolin. In general there’s not a stinker in the bunch and his “comeback” album a few years back was nothing short of a great. I even liked the Chapter VI album with Thomas Vikström…A LOT! I really thought Lowe would be a good fit with this guys. I’m wrong. Unfortunately it has taken me buying the last 2 Candlemass CDs to prove it to myself.

His voice sounds tired and uninspired. To be honest, he sounds a lot like Dio on the latest Heaven and Hell album. Some might call that a good thing, but it’s not so good for me. I understand that many of the higher-ranged metal singers of yesteryear can no longer do it, and I can respect and recognize that. But with a band like Candlemass it’s pretty much expected…from me at least.

Lowe sound great on Solitude’s Alone album, still not like the early vocals he did with them but better than he sounds with Candlemass.

*shrug*

I dunno. I’ve listened to Death Magic Doom a few times now and I just can get into it. I think I’m going to go listen to Nightfall now.

Det är egentligen en dålig idé från början. Mitt nya projekt. Projekt: Nostalgi! Skivspelaren på bilden är av samma modell som jag runt 1983-84 spelade MÖTLEY CRÜEs Too Fast For Love och Shout At The Devil på. En gammal hederlig Luxor 4221:a från mitten av 70-talet, det här var en av Luxor Radios budgetmodeller och kostade i runda slängar 3000kr (enligt en källa på nätet). En 2:a i mina gamla kvarter i Alinge kostade strax under 2000kr 1975 och idag kostar en Rega P1 runt 2500. Ni förstår ju vilken nivå vi ligger på här.

Dock ifrågasätter jag min egen pris spekulation, känns lite orimligt att min farsa ger mig en skivspelare som 7 år tidigare var dyrare en månadshyra för vår 3:a. Efter en mer noggrann efterforskning uppges efterföljande modell, Luxor 9381, ha kostat 700kr. Enligt HiFi-handboken låg priset för en Luxor 9381 på runt tusenlappen. Det låter ju också som en mer rimlig prisklass för farsan som då var en riktig metallarbetare!

Planen ligger dock fast! Jag ska se till att den här stiliga pjäsen kommer välljuda inom kort. I dagsläget fattas drivrem, pickupplatta, pickup och nål. Bara de grejorna går på från 600 kr upp till 1500 beroende på vilken pickup jag väljer. En billig gul som kommer vara direkt oestetiskt eller en, som om renoveringen inte blir bra funkar lika bra på någon annan spelare, lite dyrare Shure eller Nagaoka..? Vi får se, beställning kommer ske när skatteåterbäringen har kommit så fortsättning följer…

Två dumma misstag

Hur mycket har jag betalat då? 50 spänn, så det kvittar mig om jag får ordning på det eller ej. I alla fall i dagsläget när jag inte har slängt ut dryga tusenlappen på reservdelar. Dessutom har jag hittat en auktion på Tradera där samma modell gick för 245kr, tillsynes välvårdad och i bra skick, dessutom fanns den här i Stenungsund. Synd!
För att spä på hur synd det är om mig ytterligare, och blottlägga min dumhet, så måste jag berätta om en Sansui 350A stärkare som jag hittade på Returvaruhuset i onsdags. Visste inte vad det var för stärkare och märke, men jag viste att man (jag) skulle kunna göra ett fynd! Istället för att paxa skiten och hämta min flickvän plockar jag ut stärkaren ur hyllan, det är att riktigt kabeltrassel och jag misstänker att ingen hade tittat på den efter den ställdes dit, jag tittar länge på den och antecknar namn och modell. Sedan skyndar jag i väg för att plocka upp AntiCristel. Efter en befogad utskällning, en sökning på nätet och ett skamset telefonsamtal fick jag ur mig vad det var som hade förhalat mig. (Nä, det var absolut inte mitt eget fel.) Efter en snabb överläggning beslutades det att jag kunde lägga 200kr på stärkaren. Till min STORA besvikelse är dock stärkan redan såld och jag grämer mig nått enorm över mitt misstag. Dessutom sabbade jag min flickväns dag också.

Trösten

Så Luxor spelaren får ses som lite tröst, det räckte dock inte utan jag var tvungen att bre på med en platta också. Det är den ni ser på bilden. Senaste CANDLEMASS mackan Death Magic Doom slank ner i en skivkasse från Bengans.
Såg förresten Jesper Strömblad sittandes i en soffa på Bengans Café, han såg ut väldigt fräsch ut tillskillnad för ett tag sedan då det meddelades att han tog en paus från IN FLAMES för att ta tag i sitt alkoholberoende.
Dessutom såg det ut som Tomas Lindberg gjorde sin första dag på hyfsat nyöppnade Rockhouse Records.

Kontentan

Se för fan till att lyssna ordentligt på din partner när denne ska göra något på ett visst utsatt klockslag så du vet vad du ska göra!
Hittar då vad som i magen känns som ett fynd. Köp!
Undvik nostalgi som kostar skjortan! Om du inte har en eftersläpande trettioårskris att ta hand om.
Köp fler skivor! Det mår själen bra av.

Beat the rhythm with their bones!
//H

NP: Soundgarden – She Likes Surprises (Superunknown, 1994)

Para comenzar se encuentra una breve descripcion del doom aqui.

Despues de esto, es facil notar que consolidar la esencia pura del doom es muy dificil por lo que nos remontaremos a una discusion que ha separado a doomsters por mucho tiempo. ¿quien es el padre del doom?.

En 1986, la banda de origen sueco, Candlemass lanza la opera prima “Epicus Doomicus metallicus” y por fin se empieza a hablar del doom metal, sin embargo mucho antes de esto la banda mas importante, no solo para el doom, sino para en resto de los subgeneros del heavy metal, Black Sabbath con su álbum del mismo nombre y su segundo álbum Paranoid de donde algunos sugieran nace el nombre del estilo. En Hand of Doom, Black Sabbath, Electric Funeral y Iron Man ya se percibe lo que posteriormente sería parte del subgénero: riffs graves, armonía oscura y repetitiva, ritmos lentos y pesados, distorsiones opresivas, que inmediatamente trasladan a ambientes oscuros y depresivos.

La influencia de Sabbath, ha sido tal que no solo influencio al doom, sino a multiples subgeneros, por lo que se considera el verdadero padre y origen del doom metal, tomando a Candlemass solo como los que impusieron el nombre a dicho subgenero caracterizado por los puntos anteriores.