Category Archives: Recommended


Unleash Third album RUST out September 29th.

Gothenburg, Sweden trio Monolord share the title track and details on their highly anticipated third album Rust today, Now Streaming.. Monolord is a rare breed: A band both encompassing and transcending genre; a vortex of heavy rock density that consumes all others. Their thunderous, tuneful heft has built a rabid international fanbase in short order since their 2014 debut. But Rust, the band’s third full length, truly exemplifies why some refer to them as the Nirvana of doom.

Monolord’s enveloping, syrupy sludge is a vibe, it’s a state of mind. Not riffs for riffs sake, but a collective buzzing, rattling and rumbling that’s more total environment than collection of songs. Together, guitarist/vocalist Thomas Jäger, drummer Esben Willems and bassist Mika Häkki create a massive, dynamic sound with ultra-low frequencies serving as its fourth member.

“We’ve always been inspired by great band musicians – as opposed to technical solo peacocks,” Willems says. “Because that force of a band really playing together as one single unit is incomparable. At its best, it’s just unstoppable.” And, Monolord is truly unstoppable, on record and on stage. “A heavy groove that contains both bombastic overkill and a lot of dynamics is what we always aim for in Monolord; in playing, in song writing and arranging, in recording,” Willems says.

Album opener “Where Death Meets the Sea” perfectly exemplifies their mastery of dynamics and hooks with a driving, infectious buzzsaw riff that lesser bands would ride off into the sunset, but Monolord uses subtly to spur the song’s skull rattling rhythmic core ever onward. Jäger’s watery vocals glide over ominously building verses that erupt with the song’s insistent refrain. Being such a tight rhythmic unit, it sounds almost like an early ZZ Top record played at half speed. “Dear Lucifer” squeals and hums with slow deliberation as Willems summons Dale Crover pummel with chasm like low-tuned toms and syncopated cymbal crashes. The album’s title track is also its centerpiece, opening with a dramatic, shimmering Hammond organ intro as Jäger sings, “you are the reason that I lied/ You are the reason that I cried/ Please don’t wait until tomorrow/ There’s only pain, hate, grief and sorrow.” Suddenly, the band kicks in with a bellowing line downtuned to B that nosedives down the guitar neck as the drums hammer down for the kill. Elsewhere, tastefully understated guitar harmonies elevate the behemoth churn of “Wormland” and apocalyptic album closer “At Niceae” simmers in a slow build of rumbling guitars and rolling drum triplets.

Monolord formed in 2013, quickly recording their 2xLP debut Empress Rising, which RidingEasy Records released in April 1st, 2014. The second album, Vænir, followed April 28th, 2015. The 2-song Lord of Suffering / Die in Haze EP was issued in late 2016 amid the band’s relentless touring schedule in order to tide fans over until the next full length. Vænir landed on countless Album of the Year lists in 2015, and Rust is poised to open an entirely new range of possibilities for Monolord.

Also on tour!


07.10.17 NL – Nijmegen / Soulcrusher Festival
08.10.17 FR – Paris / Le Glazart
09.10.17 FR – Nantes / La Scene Michelet
10.10.17 FR – Bordeaux / Le Void
11.10.17 ES – Barcelona / Razz 3
12.10.17 ES – San Sebastian / Dabadaba
13.10.17 FR – Lyon / Jack Jack
14.10.17 FR – Audincourt / Le Molodo
15.10.17 BE – Antwerp / Desertfest
16.10.17 DK – Aarhus / Atlas
17.10.17 DE – Hamburg / Bambi Galore
18.10.17 DE – Berlin / Musik & Frieden
20.10.17 DE – Dresden / Morbus Maximus
21.10.17 DE – Munich / Keep It Low Festival
22.10.17 CZ – Brno / Kabinet Muz
23.10.17 AT – Vienna / Das Bach
24.10.17 CH – Olten / Coq D’or
25.10.17 IT – Bologna / Freakout Club
26.10.17 IT – Milan / Bloom
27.10.17 CH – Winterthur / Gaswerk
28.10.17 DE – Siegen / Vortex

Rust will be available on LP, CD and download on September 29th, 2017 via RidingEasy Records. Pre-orders are available at RidingEasy records and Monolord.bandcamp.

Welcome To Monolord official website.

Here you will find music, videos, photos, blogs, up-to-date live dates and much more!

Electric Wizard

Ninth Studio Album, ‘WIZARD BLOODY WIZARD’.

The album will be released on 10th November via: Witchfinder/  Spinefarm Records (PRE-ORDERS LIVE!) ALBUM PREORDER, Fans will receive an instant DOWNLOAD of the new track, here.

Wizard Bloody Wizard’ is the long anticipated new LP from ELECTRIC WIZARD and, man, is it HEAVY!!!! 43 minutes of cranium crushing bludgeon rock, a relentless aural brain rape and, like the band’s beloved vintage horror/exploitation movies, definitely not for those of a nervous disposition.

Finally rising above convention and genre, the band have constructed their own vision of classic Heavy Rock… a sound harking back to the dreaded days when ‘heavy’ meant Grand Funk and Black Sabbath and ‘rock’ meant drugs, groupies and mountains of amplification. This is 21st Century blues, dragged (and drugged) back from the grave…

“Right away we knew this was it… the new direction we should go in,” says Jus Oborn (guitar/vocals). “Real heavy music… really basic heavy rock, blues based but brutal. I think a lot of modern heavy music has disappeared up its own arse… it’s too pretentious and technical. We wanted to get back to that primal sound… over amplified blues… Hendrix, Blue Cheer, Zeppelin. They took that music and then turned it up… so we thought let’s do the blues in our style. Heavy, heavy super fuckin’ blues, total snail-paced funeral boogie for this 21st century hell. I guess it’s meant to be hopeless but it’s also defiant and unbroken.”

Even though the LP promiseshymns to death, drugs, sex and violence’, the overall vibe is a band that is revitalised and ready to kill. The sound is aggressive, stripped back and savage, as if the new line-up has mainlined a new level of attitude and ability…

“Y’know, a lot of bad shit has happened to us, but through it all was the music. We still dig loud heavy music and the album is not really depressed or angry, it’s arrogant and rebellious. I still believe in rock and roll and I still believe in killing it on stage and mentally destroying an audience.”

And the band sounds together, really together. The last 3 years of touring, writing and rehearsing have honed and moulded a new sound that has truly distilled the ELECTRIC WIZARD brew. In 43 brain-damaging minutes the band delivers a varied, challenging and breath-taking LP, from crushing blues stomp through savage Detroit sleaze rock, paranoiac passages of droning drug rock and creepy funereal proto-metal/acidrock. This is heavy shit, baby!!

“We’ve been worn out by the modern scene, it’s all about styles and genre. We just wanna make solid heavy music… no rules. We didn’t set out to record a style or product. We set out to record what we wanted to hear. I want people to know it’s ELECTRIC WIZARD from the first second, but also to know we are gonna take them on a trip. Heavy doesn’t just mean tone and bottom end… I think people have become too obsessed by fx and boutique amps. It’s more about playing style, attitude and song-writing… y’know, a lot of our songs have been interpreted as acoustic numbers by various people and they are still heavy and ominous sounding… you can’t dilute true darkness.”

The LP’s stunning all analogue recording has been produced by Jus Oborn and Liz Buckingham (guitars) in their own ‘Satyr IX Recording Studio’….

“It’s an anti-studio really. We wanted to put as little between the band and the tape as possible. We needed to take stuff away and use less equipment cos I think the raw sound of the band is killer. Studios have progressively made the recording situation more difficult and convoluted. I always think the best recordings are the simplest and most basic ones. So, yeah, we built the studio that we wanted… mics, mixing desk, tape machine… that’s it. No bullshit.”

The LP sleeve and art has also been conceived by the band and echoes, again, their love of the macabre, evil and sleazy. A sick and twisted bad taste eye-assault that aims to titillate, excite and repulse you…

“Sex and violence are our basest instincts. I guess we think that engaging the brain and guts on this most basic, primal level is the fastest way to grab people’s emotions… it’s ‘shock’ tactics, but the world is so fuckin’ brainwashed or bored that they need to be ‘woken up’. The ‘man’ is slowly neutering and killing us with technology and lies… it’s time to fight back.”

“Wizard Bloody Wizard” track listing:

01. See You In Hell
02. Necromania
03. Hear The Sirens Scream
04. The Reaper
05. Wicked Caresses
06. Mourning Of The Magicians


Jus Oborn – guitar / vocals
Liz Buckingham – guitar
Simon Poole – drums
Clayton Burgess – bass

Welcome To Electric Wizard’s official website.

Here you will find music, videos, photos, blogs, up-to-date live dates and much more!

Vision Eternel

Release Pièce No. Trois Music Video

As part of Vision Éternel’s 10-year anniversary celebration, it is with extreme pleasure that we are releasing a brand new music video for “Pièce No. Trois“. It’s been seven and a half years since Vision Éternel last released a music video, for “Season In Absence” in March of 2010. “Pièce No. Trois” is one of seven songs that appears on Vision Éternel’s fifth concept EP “Echoes From Forgotten Hearts“, released through Abridged Pause Recordings on February 14th of 2015. This music video is long overdue after having its fair share of disasters and lost footage over the years.

Here’s the story. In November of 2011, Alexandre Julien conceived the idea of filming a new video. Original plans hinted at the possibility of editing a music video for “Sometimes In Longing Narcosis“, the first song on Vision Éternel’s fourth EP “The Last Great Torch Song“; which was eventually released through Abridged Pause Recordings on March 14th of 2012.

Other ideas considered were a feature-length video spanning the entirety of “The Last Great Torch Song” with all five songs lasting fourteen and a half minutes; or a music video for “The Asphalt Jungle“, a twelve and a half minute song by Alexandre Julien’s other band Soufferance, which was eventually released on the concept LP “Memories Of A City“.

A pre-production photo shoot was set up at the old Dalhousie train station in downtown Montreal on December 4th of 2011. The resulting film noir-influenced photographs by Jeremy Roux were issued as a promotional band photo shoot later that month. Principal photography started on the night of January 10th of 2012 with cinematographer Jeremy Roux. It was a freezing and windy night with temperatures hovering at an almost constant -10°C, omitting the wind factor. Jeremy Roux and Alexandre Julien headed to several of their favourite historical locations in the old quarters of Montreal in an attempt to photograph a comparable opening sequence to Woody Allen’s 1979 film “Manhattan” and Walter Ruttmann’s 1927 film “Berlin: Die Sinfonie Der Großstadt“, with a heavy dose of 1940’s and 1950’s American film noir embedded.

The themes of Vision Éternel’s “The Last Great Torch Song” and Soufferance’s “Memories Of A City” were intertwined in this inspiring project intended as a dedication to Montreal’s forgotten days as a former Anglophone metropolis and one of the major ports flourishing in North America.

A key filming location was the former Dalhousie Station where the pre-production pictures had been snapped a month prior. Additional scenes were filmed nearby, above and under the Notre-Dame overpass and with the former Viger Station in the distance. Another shot was set up in the Saint-Dizier alleyway in the Old Port of Montreal which has old cobblestone paving and was wet from the melting snow and grainy from the salt, sand and rock pebbles used to deal with ice in the winter.

A few scenes were shot on Le Royer Street West, a rather fancy lane that looks more like a pedestrian park than a street, and on Saint-Pierre Street. There was also a landscape of Harbour City. Finally, this handful of astounding buildings were filmed within roughly the same block near the Old Port Walkway;

the Hugh & Alexander Allan Office Building
the John Young Monument
the Montreal Harbour Commissioner Building
the Customs House Building
the Royal Bank of Canada Building
the Elevator No. 1 and Silo No. 5 Structures
the Five Roses Flour Factory Building in the distance
parts of the Old Port railroad tracks, complete with a traveling train in the middle of the night

The first night’s work yielded thirty-six shots amounting to a little over twenty minutes of footage.

The plan was for three to five additional shooting days over the next two months until enough footage was accumulated. A return to Dalhousie Station, Viger Station, the Elevator No. 1 and Silo No. 5 Structures and the Royal Bank of Canada Building were also planned; with several more locations secured including:

Windsor Station
the Sun Life Building
the Mount Royal Observatory and the Saint-Joseph Oratory
Ravenscrag Mansion
Redpath Mansion
Dominion Square
Dorchester Square
the Pied-Du-Courant Prison Building
the Jacques Cartier Bridge Building on Saint-Helene Island
the old mills on Visitation Island at the north shore of Montreal Island

Filming at these locations was postponed many times as Jeremy Roux became increasingly busy raising his family.

On March 14th of 2012, “The Last Great Torch Song” was released and two days later, Alexandre Julien and Jeremy Roux met up once again to film new footage at the Jacques Cartier bridge building. This session was exclusively used for the video introduction to “The Last Great Torch Song“.

On March 26th, less than two weeks after the release of “The Last Great Torch Song“, a hard drive failure caused a major disaster; all of the master audio files, the original artwork files and promotional content files (posters, flyers, etc) for Vision Éternel’s EP “The Last Great Torch Song” and Soufferance’s LP “Memories Of A City” were lost. The photographs taken on December 4th of 2011 at Dalhousie Station, the photographs taken on March 5th of 2011 at Dominion Square, and every bit of video filmed on January 10th of 2012 were also lost. This tragedy was responsible for the cancellation of several promotional and merchandising plans and caused the music video to be shelved permanently.

Some of the promotional band pictures from March 5th and December 4th of 2011 had been shared on social media websites and as a result of this, nine stills survived, though only in poorly compressed quality. The remaining photographs have never been found. Two months after the hard drive crash, on May 21st of 2012, twenty scenes from the January 10th 2012 video shoot were recovered (along with Soufferance’s LP “Memories Of A City“), amounting to a little more than half of the footage filmed. It took two years before the missing sixteen scenes were finally recovered, on March 14th of 2014. With the video footage found, many different plans were proposed but nothing materialized. A year later, after Vision Éternel had released its fifth EP, “Echoes From Forgotten Hearts” on February 14th of 2015, there was talk of editing the footage into a music video for “Pièce No. Sept“, considered as a lead single. But this never came together.

It took until the spring of 2017 for the idea of a video to be brought up again. A long-time fan and follower of Vision Éternel, Hong Kong-based visual artist Vasily Atutov, generously offered to work with the footage. By this time, another song from “Echoes From Forgotten Hearts” had taken over as the lead single, “Pièce No. Trois“, slightly shorter than “Pièce No Sept” but just as driving and engaging. Vasily Atutov directed the music video for “Pièce No. Trois” from July 22nd to July 23rd of 2017 and did a wonderful job, especially considering the limited selection of footage and its history. He has a sense of timing, mood and atmosphere that fits perfectly with Vision Éternel’s style.

Welcome To Vision Eternel’s official website.

Here you will find music, videos, photos, blogs and much more!