“Everything’s good, everything’s fine” so sang Ian Gillan in 1971. And everything’s still good if North Carolinian, dark riffing, blue collar, horror novel rockers Demon Eye are anything to go by. Taking their name from that Deep Purple song, Paul Walz (bass), Bill Eagen (drums), Larry Burlison (guitars) and Erik Sugg (guitars, vocals) play laid-back, bluesy hard rock with more than a nod to their forebears, putting them alongside Orchid and Danava in today’s contemporary scene.

“I was playing with a high energy, MC5 inspired band called the Dragstrip Syndicate. After that I played with some similar styled bands, always tending to borrow from ‘60s Detroit rock or heavy psych groups like Blue Cheer,” explains Erik of how Demon Eye came to be. “When I first met Larry and Bill they were playing with Richard Bacchus from the old New York City rock band, D-generation. Demon Eye was born after the four of us got together to play in a ‘70s rock cover band called Corvette Summer. After about a year of playing tunes by groups like Budgie, UFO and Humble Pie we started writing our own music.

“There are many things that attract me to this music,” he continues of why … Read More

Magic Circle possess the kind of unpolished charm and fathomless sincerity that most traditional doom bands would chop the sleeves off their favourite Solitude Aeturnus hoodie for. Their love for Pagan Altar and NWOBHM’s heavier moments runs deep, and the Massachusetts four-piece have released a self-titled debut album that worships Trouble, gives Pallbearer a run for their weed money, and is essentially everything that Hour Of 13 could have been if they’d managed to get their shit together. Not bad for a bunch of Boston hardcore dudes. Er, wait – what?

“We all got into playing music through hardcore and punk bands because it’s accessible and there’s historically been a big scene for it in Massachusetts,” guitarist Chris Corry explains. His other bands Mind Eraser and Death Evocation (amongst numerous others) seem like the polar opposite of Magic Circle’s masterfully melodic songwriting, and yet, it’s crystal clear that the riffs he writes comes straight from the heart. “Having known everyone in the band at least 10 years, this is a group of people who’ve always listened to a lot of old heavy metal and album oriented rock. We’ve listened to bands like Sabbath and Rainbow and Trouble for a long time, and … Read More

With albums from Atlantean Kodex, Argus and Age Of Taurus riding high in our albums of the year lists, and of course the final ever album from the true masters, Cathedral, it seems that traditional doom, steeped in the roots of heavy metal, is, once again, genre du jour, and now Esslingen’s Mountain Throne are joining the ranks with their debut album ‘Stormcoven’ on Cyclone Empire. Forming in 2009 guitarist A tells Iron Fist that he, “always wanted to have a band playing this ancient kind of metal” and had been writing songs in that vein for years. Drummer J joins A in the doom band Mirror Of Deception, while cracking singer F and bassist S are in the power metal band From Beyond, so the cachet is hot for this German four-piece. When asked what attracted them to the traditional doom genre, A says firmly, “It’s the choice of champions really, isn´t it? There is a sense of a tradition… knowing where things came from and how they developed. Real heavy metal and classic hard and heavy rock are incredibly soulful. In real metal you definitely have that spirit. For me, this magic is epitomised in the songs of … Read More

Virginia biker doom punks SATAN’S SATYRS have been one of the standout bands of 2013, espousing the same traditional values and old school spirit as Iron Fist. So, it was no surprise that our boss Will Palmer signed them up for his new label BAD OMEN. With a new album ready to go in early 2014, DAVE SHERWOOD talked to CLAYTHANAS about the creation of a new breed of wild beast

Some of you are probably thinking “Satan’s Satyrs? What? Who?” And rightly so. Well, continue reading and you’ll know more about them than those already in the know. With their second studio album soon to be unleashed by Bad Omen records in early 2014, Satan’s Satyrs are still an unknown force within the heavy metal community. However they go beyond heavy metal, beyond doom, beyond punk. All the elements that in fact create their monster sound. The bringer of evil, Claythanas (or Clayton to his friends), describes the band as “almost like a spectacle.” And this is not far from the reality of things. Fixated on the heavy side of ‘60s and ‘70s rock music and the darker side of NWOBHM, Satan’s Satyrs bring to the table a prestigious element … Read More

For a band with a reputation for a colossal sounding live show, the first thing about Shooting Guns’ second psychedelic doom opus ‘Brotherhood Of The Ram’ that grabs you isn’t its heaviness, but the pure grime and grit that emanates from its vinyl grooves. Then again, bucking trends seems to fit this instrumental quintet well: their self-released debut ‘Born To Deal In Magic: 1952-1976’ was nominated for the Polaris Music Prize (Canada’s equivalent of the Mercury), and ‘Brotherhood’ sold out its first pressing instantly.

“The tracks dictated volume and filth,” explains guitarist Chris Laramee. “When I got the test pressing home, I thought there was something wrong with my stereo. I’d also dropped it in the road before I got it home. The mastered version was dirtier than the final mixes, which is always a pleasant surprise. The material at hand deserved a rough slap and we gave it as big a shot as possible.”

Based in Saskatoon, Saskatchewan, in the middle of the Great Plains and far removed from any like-minded scene, Shooting Guns’ isolation, along with an obsession with doom, psychedelic rock, krautrock and space rock, has yielded a unique hybrid sound, which Laramee is quick to point out is … Read More

The lyrics to the 12-minute epic track ‘Goddess Of Doom’ could very well be the Nicene Creed of doom metal, Christina Ricci love aside. In the plodding song, Finnish titans Reverend Bizarre chant 33 impeccable band names – the ones that moisten underpants, of course – concluding with the obliging, “We kneel at your altar, we bless thy holy names. You gave Doom to men, we try to do the same.”

Historically, doom has always been this unpretentious; it’d be dismissible if it weren’t so damn earnest and intentionally tongue-in-cheek. Band members celebrate their forefathers and mothers without hesitation, revelling in the mournful cries of their elders and contemporaries, and join forces to spread the despondent credo. In that sense, Vancouver doom act Funeral Circle is a typical doom band. Let the checklist commence: their name was borrowed from track three of the 2004 demo of Australian quartet The Wizar’d. They’ve covered the fist-pump-inducing classics, both obscure and well known – a song by Montreal’s Lord Ryür (‘Pact With A Sinner’) and Witchfinder General (‘Burning A Sinner’). They’re frequently name-dropped by premier German export Atlantean Kodex due to a longstanding friendship, and released a split in 2011 with ex-Bizarre project Lord Vicar. … Read More

Something has been stirring in the waters of the Mersey over the last few years. The Old Ones have clearly awoken in the Liverpool Scene with the likes of Black Magician and Conan exporting excellent Northern darkness to the rest of the country. Joining them is Crypt Lurker, an extremely promising young death/doom band who offer sinister riffs and atmosphere of claustrophobic, terrifying brilliance. Front Man J.C.H explains the bands approach and unique sound:

“Our brand of doom metal is one that I find difficult to put my finger on, despite it’s inherent simplicity. This perhaps arises from a disparate set of influences from across our line-up. Nonetheless, things could certainly be described as crawling, monotonous and claustrophobic, I’d like to think.”

Having just released their debut EP, ‘Baneful Magic Death Worship And Necromancy Rites Archaic’ on underground label Ulthar, the band take their occult concept seriously and there is real thought and praxis behind the project; “The name Crypt Lurker was intended as being a subtle reference to the process of seeking liminal spaces, places like the crossroads, a sea cave or a crypt, which mark the threshold between realms; similar to the significance of sitting upon a burial mound and … Read More

On September 11th, 2011 a beast called Ghold was born. Well technically it was called The Judas Ghoat, but even that name came later. Two aspiring guitarists got together and started playing, writing and recording music. They wrote with more people in mind, but in the long-run, they would be only two – and there would be no guitar in what was to come. Imagine all the dark, dank, dragging low-end horror of Godflesh, but propelled by the interplay between drummer Paul Antony’s pounding and bassist Alex Wilson’s strumming, and even more by their unison vocals.

“We just started writing music without any intention of playing shows,” Paul affirms, before Alex clarifies: “Well we started writing four and five-piece music, so we were fucked from the start.”

If Ghold go on as long as they deserve, ‘Fucked From the Start’ should be the title of a retrospective compilation – or perhaps a reissue of their first two releases, the ‘Ghold’ three-track demo and ‘Judas Ghoat’, a 40-minute mindfuck unleashed on cassette. “The first one was recorded in a toilet, the second in a shed,” says Alex.

‘Judas Ghoat’ was ready to record in mid-2012, “it just took ’til October to get the recording … Read More

Scott ‘Wino’ Weinrich and SAINT VITUS… ubiquitous, right? Wrong! According to Iron Fist’s resident doom archivist OLIVIER ‘ZOLTAR’ BADIN the sole album with CHRITUS LINDERSON and the final album from original singer SCOTT REAGERS deserve a place in the hallowed halls of metal just as much as ‘Born Too Late’…

There’s a black hole in Saint Vitus’ story. No, not the early days when spat on by punks and metalheads alike in the mid-’80s at low-key shows in shitty clubs, where they still delivered the goods and released all-time classics like ‘Saint Vitus’ or ‘Born Too Late’. Nor during that 12 years silence when their legend kept growing, despite the band’s lack of activity. We’re actually talking here about the first half of the ’90s when everybody seemed to be against them, including their core fanbase and even of some their own former members. Sitting in the accusation chair is 1992’s ‘C.O.D.’ and 1995’s ‘Die Healing’: while the first has gained the rare status of being their less-revered album, right next to ‘Mournful Cries’, the second split opinions with the return of their melodramatic original singer Scott Reagers and it’s very-metal production. The fact that the latter would turn out to … Read More

Another band that ranks high in the kvlt stakes, the name Death SS evokes an aura of darkness, of classic metal, of a band whose legendary period is of a time when little was recorded and even less released. I’m sure that mentioning the very name of the band to you, the Fist readership, brings about the sort of reverential talk normally reserved for the most sacred of acts, quickly qualified by a statement along the lines of “well, up until their first demo/single/album” [delete as appropriate].

Even the briefest of internet trawls for reviews of ‘Resurrection’, Death SS’ latest album, generates an opinion that is overwhelmingly negative, most notably from newbies wondering what all the fuss is about and for whom the 2013 incarnation is their fist encounter with Steve Sylvester [born Stefano Silvestri] and his occult-fuelled outfit. Many comparisons are made between the Italians’ latest and Morbid Angel’s ‘Illud Divinum Insanus’, seemingly by virtue of the industrial overtones of both albums providing a common link more than anything else. While it is true to say that ‘Resurrection’ is several miles removed from the likes of ‘Heavy Demons’ in many respects, at the same time it certainly isn’t the car … Read More