Holy Death Trio - Introducing...

Holy Death Trio’s first album was unleashed a couple of weeks ago. Simply titled Introducing…, it is part of Ripple Music’s special projects overseen by the great Rob “Blasko” Nicholson. Earlier this year, Blasko, well-known bassist and frequent player with Ozzy, Rob Zombie, and Zakk Wylde, to name a few, signed on to join the ranks of the mighty heavy rock label Ripple Music. He’s now in charge of signing new artists and is the executive producer for Holy Death Trio’s debut record. From what I gather, they were one of the first bands signed as part of this collaboration between Blasko and Ripple.

The Austin, Texas trio sure knows how to party and Introducing… serves as good proof of that. Part stoner, part rock n’ roll, with a pinch of blues, this album rocks from beginning to end. No filler. Right down to business without a moment wasted. From the get-go, “White Betty” kicks things off into high gear. A high energy track that sets the tone for the album. Is she Black Betty’s cousin, by any chance? “Bad Vibrations” is next; what a cool song this is! Who needs good vibrations when you can get bad vibrations! I get a Bon Scott vibe from the singer throughout the album. In fact, Holy Death Trio remind me a lot of AC/DC; not so much in their sound, although I can hear it resonate here and there, but more in the type of attitude and balls to the wall approach they have. AC/DC’s Highway to Hell and Back in Black are staple records that you put on to signal the weekend has arrived. They kick ass from top to bottom. Holy Death Trio deliver the same formula and pack a punch from the first riff to the last chord. But I digress. Back to the review: “Bad Vibrations” segues into “Black Wave”, as if it were part 2 of the same song. Great stuff! “Get Down” has a riff that will make you bob your head. Rock n’ roll, baby! Next up, “The Killer” has an opening riff that feels eerily reminiscent of a classic rock song, but I can’t put my finger on what it is. “Fishsticks” follows, and don’t let the title fool you; this song has some bark! One of the highlights of the album with a terrific guitar solo. They saved the best for last (in my humble opinion) with “Witchdoctor”, a very atmospheric psychedelic/doomy track.

Channeling AC/DC’s party energy, fusing echoes of Hendrix and Sabbath, Holy Death Trio has crafted a stunning debut with Introducing… If you like old school rock n’ roll with a stoner twist, look no further. This brisk (maybe a little too brisk at a 33-minute runtime) record will get your weekend started on a strong note.

Holy Death Trio’s Bandcamp page: https://holydeathtrio.bandcamp.com/music

Ripple Music’s Bandcamp page for Holy Death Trio: https://ripplemusic.bandcamp.com/album/introducing

Harbinger of D.O.O.M.'s First Anniversary!

The Harbinger of D.O.O.M. blog turns a year old today! Actually, it was yesterday as I had made the first official post on September 19^th, 2020, but the first real post consisting of two album reviews was on September 20^th, 2020 so I decided to celebrate it today, the 20^th, for this first anniversary. I’ve really enjoyed posting album reviews, a few articles here and there, and doing interviews over the course of the past year. I’ve also received a lot of positive feedback from the community, bands, and labels, as well as lots of album submissions for review, so it’s encouraging.

Speaking of submissions; I’d like to reiterate that I’m a bit picky in the type of music I review. I’m an old fart and I don’t like overly aggressive music. The submission guidelines are on the right of this page and while my tastes are broad in terms of categories (doom/stoner/psych/metal/prog/occult/rock/etc), I absolutely will not review anything that falls under death metal, black metal, or anything with extreme vocals. That kind of music isn’t my cup of tea. At all. I’ve reviewed a few albums from time to time that were borderline on screaming/extreme vocals, but will no longer do so in the future. That being said, I welcome your submissions if they’re not in those specific subgenres of music. If you’re a new band and would like some more exposure, maybe to be interviewed/have a conversation with the Harbinger of D.O.O.M., drop me a line and we’ll see how we can set it up.

I look forward to another year with more reviews/articles/interviews and possibly a much bigger project that I’m daydreaming about for the future of the good old Harbinger. I hope you’ve found some interesting suggestions on what to listen to and have been entertained by the overall content of this blog. Hopefully I’ve helped (and will continue) to shine a spotlight on some lesser-known bands and it has allowed you, the reader/listener, to discover some great music and pick up a few records/albums along the way to support those awesome bands. Onwards and upwards as they say!

Craneium - Unknown Heights

Finland has become a veritable hotbed of talent for doom and stoner bands. A bright example of that is Craneium, a Finnish fuzz-rock quartet whose upcoming third album, Unknown Heights, is the subject of our review today.

It has become increasingly easy for bands to put out professional-sounding albums in this day and age; the means to make/produce a record being so accessible—a label is no longer necessary to release a quality product. On the flip side of that coin, there’s a plethora of new bands popping up year after year in what was already a crowded genre/market for music, that it has become progressively more difficult for bands to craft a sound/brand to stand out from the rest of the pack. Craneium have succeeded with flying colors in that respect, creating a unique sound for themselves, especially with Unknown Heights, which feels like they’ve fully come into their own with this record, their debut with label The Sign Records.

The record kicks off with “A Secret Garden”, which was also the first single off the album. It’s a hell of a catchy desert rock-infused opener, with riffs galore. “Somber Aeons” follows; reflective, melodic, spacey at times, with beautiful use of keys (organ?) to add layers to this gem of a song. “Weight to Carry”, a heavier cut, perfectly blends in with the former song, and is the longest track, running at nearly seven and a half minutes. The fourth track, or first of Side 2, depending on how you’re listening to it, is the second single, “Shine Again”. With wonderful vocal harmonies and splendid songwriting, it makes this one the most accessible song on the album and a definite highlight. “The Devil Drives”, the penultimate song, is my personal favorite. Short, punchy, it’s got some hella cool bass, and is just an altogether really fun song about what playing in an indie band for years feels like. Seriously though, that bassline slays and there’s a great guitar solo too! It will be the third single off the album. Things come to an end with the title track, “Unknown Heights”. It caps things off on a strong note, with a terrific psychedelic vibe and hints of prog rock for an all-around stellar closer for this 36-minute sonic trek.

I’ve listened to Unknown Heights over half a dozen times so far and I keep hearing new subtleties with every new listen. I liked it from the get-go, but now it has grown into one of my favorite albums of the year. It’s certainly their most accomplished record yet. If you’re not familiar with Craneium, then you should definitely remedy that and head over to YouTube to listen to their first two singles (links below). You can pre-order/pick up a copy of Unknown Heights when it will be released on October 15^th.

Craneium’s Bandcamp page: https://craneiumband.bandcamp.com/album/unknown-heights

Video for “A Secret Garden” on YouTube

Video for “Shine Again” on YouTube 

Iron Maiden - Senjutsu

Iron Maiden is a band that needs no introduction by now. Nonetheless, I’m going to give you a bit of context on how I got into them. I first discovered Iron Maiden through their “Can I Play with Madness” video on MuchMusic (Canada’s equivalent of MTV) at the tender age of 13 in the spring of 1988. I bought the Seventh Son of a Seventh Son album on tape with my allowance and from that point on, I was hooked. For the record, my favourite Maiden album is 1986’s Somewhere in Time. I’ve seen them three times in concert, twice with Bruce Dickinson on lead vocals and once with Blaze Bayley on vocals (an underrated singer in my opinion).

Senjutsu, which loosely translated means “tactics and strategy”, is Maiden’s 17^th studio album, following 2015’s Book of Souls, which was also a double-album. I wasn’t a big fan of the latter, and to me, Senjutsu brings back a reinvigorated version of the band I grew up idolizing. It continues the evolution of a band that has nothing left to prove, but delivers the goods aplenty, giving us less arena anthems but more progressive-leaning songs, which to this aging rock fan, is right up my alley. I won’t go into too much detail about critiquing each song, instead I’ll give more of the feeling I get from each track. I must point out that this is only one of two albums I bought on CD this year (the other being KISS’s excellent Off the Soundboard live album earlier this summer). Digital MP3 albums have been the way to go for me for quite some time (I don’t do Spotify; I prefer to own my music rather than stream it). Nor do I own a record player and I pretty much stopped buying CDs around 2015. I only purchase CDs when it’s a band I adore and/or for special album releases. Senjutsu more than qualifies in that respect.

The album was released on Friday, September 3^rd, and I received it on my doorstep on Saturday, September 4^th at 4:30 PM. Since it clocks in at close to an hour and 22 minutes long, I’ve only had time to listen to it twice, but I think it’s enough to give you my impressions of it. I listened to it once on the speakers of my sound system, and once more with headphones to fully appreciate all the musical nuances the album has to offer. Something must be said about the very cool packaging the album comes in. There are various versions of it, all pretty awesome, whether you pick it up on CD, vinyl or get the ultra-deluxe set. I must admit that I miss artist Derek Riggs’ gorgeous album covers from the ‘80s though; he brought Eddie to life like no one else can.

The first cut of Disc 1, the title track, opens things quite heavily, with pounding drums and all, and is an amazing song. It’s followed up by what was the second single off the album, “Stratego”, a track that features the band’s trademark galloping guitars and bass sound. It’s one of the very best songs on the album. Next up is the first single, “The Writing on the Wall”, with its blues-tinged guitars; a song I’ve grown to love over multiple listens. Number 4 is more of a prog-sounding song titled “Lost in a Lost World”, and happens to be one of the highlights of the album in my opinion. Track 5 is “Days of Future Past”, the shortest song on the album, with a 4:04 running time, and it’s another gem of a song. Disc 1 closes with “The Time Machine”, one of my favourites, with a great riff, reminiscent of something off of Seventh Son of a Seventh Son. Disc 2 begins with “Darkest Hour”, a slower, darker song that is nothing short of fantastic. Then we delve into the last three tracks, a trilogy of Steve Harris-penned epic songs. I’m a big fan of long, epic-length songs a la “Rime of the Ancient Mariner”, and to me this set of songs is phenomenal. They all feature lengthy instrumental parts with terrific guitar solos and pounding basslines. The first of those three being “Death of the Celts”, reminiscent of “The Clansman”. It’s followed by the centerpiece and longest cut of the album, running at 12:39, the standout of the three, per this listener’s ears: “The Parchment”. Things come to an end on a bit of a gloomy note with “Hell on Earth”, which I find to be a perfect closer for this masterful album. 

Iron Maiden have been at it for 45 years and show no sign of slowing down. This entry in their catalogue is certainly mellower than a lot of their albums, but it suits them perfectly. Dickinson’s voice is in fine form and so is the rest of the sextet. I believe this is their best album since 2000’s Brave New World. It shows why this band is still relevant today and its output is just as diverse and strong as back when they were in their prime. A thread of melancholy runs throughout the album, making it fit rather well in these melancholic times we live in. I give it my highest possible recommendation, whether you’re a Maiden fan or not. It’s easily one of the best albums of 2021.

Iron Maiden’s Official Senjutsu page: https://666.ironmaiden.com/collections/senjutsu 

A Conversation with IKITAN

It's time for another conversation to shine the spotlight on a new and up-and-coming band. Today we shoot the breeze with Italian post-rock/stoner/progressive trio, IKITAN, consisting of Luca “Nash” Nasciuti on guitars, Frik Et on bass, and Enrico Meloni on drums and cowbell.

Harbinger of D.O.O.M.: Thank you for taking the time to chat with me. How are you guys doing? I’ve been curious about the name of the band: IKITAN. It’s a catchy, one-word name described on your Bandcamp page as the God of the sound of the stones (the angry figure seen on the Twenty-Twenty album’s artwork). Is it based on a mythological god or legend of some kind or is it something you invented? What’s the story behind it?

IKITAN: IKITAN was chosen by Luca, our guitarist, who was fascinated by its meaning, found on the Italian Wikipedia page of the “Aztec gods”. According to whoever wrote that page, IKITAN is the god of the sound of the stones. It fits perfectly the idea he and Frik Et had in mind for our music, and the moment we got together and started playing it made so much sense. There’s also a nice little pun there: stones and stoner, of course, as we love stoner rock. And also stoned, although we don’t smoke!

So we’ve been playing for months with this whole IKITAN concept in mind, we prepared the album cover (thanks Luca Marcenaro!) and everything… Some days before the actual release date, we found out this was not true! Or at least not verified. We even wrote to a university professor who is the go-to expert in pre-Colombian cultures, only to find out that IKITAN is nowhere to be found! The power of unverified Wikipedia sources… But who cares: we love the concept, it’s an inspiration for us, and we’ll stick to it!

Harbinger of D.O.O.M.: The band was formed in 2019. Did you guys know each other beforehand? How did you come together?

IKITAN: IKITAN was born in September 2019 when Luca replied to an adv Enrico posted on a local musicians’ Facebook group, and the band started jamming one week after.

It must be noted that Luca and Frik Et have been friends for ages and have played together for over 10 years years and so they were looking for a new drummer for their new adventure.

Fun fact: the three of us played at a local gig back in 2010: Luca and Fri Et were already in the same band then, and Enrico, playing in another band, bought a demo from them (which he still proudly owns).

Harbinger of D.O.O.M.: Twenty-Twenty, the studio album and its live counterpart, is an intense, epic instrumental which flows so naturally, as if it were improvised in one take, yet is well constructed and elaborate. Was it your intention to perform a twenty minute instrumental from the get-go or did it evolve from a shorter piece at first? What was the process that led to the end result?

IKITAN: Our debut EP is titled “Twenty-Twenty” and it was released on 20th November 2020. This album was conceived as a longer song which includes different parts, or “Chapters”, as we like to call them, that are somehow linked among them. We can’t call it a “suite” because some of the formal elements are probably missing, but the idea somehow comes from the post-rock and prog worlds, which are a great influence for us.

By the end of spring of 2020, we had enough material to put together three different songs and, considering the overall situation caused by COVID, we said: “It’s our chance to put the word ‘end’ to this first part of the story of the band, nobody knows what’s gonna happen next, so we want to set this moment in stone” or, well… on a CD.

These three songs were somehow linked among them and at one point we also started thinking about just releasing the album as one only song and debut with a one-track EP. It was all very random and things clicked one after the other quite surprisingly.

Even though the ideas and riffs were all born during jam sessions, the end result is very much planned, meaning that we spent a few weeks working on these three songs only, making sure they had meaningful connections, the whole thing was interesting to listen to (you know, not so many repetitions of the same thing and the likes) and we could add a few extra special sounds and effects here and there.

Recording everything that we play in our rehearsal room certainly helps: we go back to what we’ve jammed the previous times, refining and listening to stuff constantly, and once we’re happy with something, we develop it fully until it becomes a song… or parts of a song LOL.

Eventually, the song lasts 20 minutes and 20 seconds. The album is titled “Twenty-Twenty”. It was released on Friday 20th November 2020. A lot of 20s!

To make our project even more special and our efforts truly worthwhile, we released the CD as a limited-edition digipack with a free poster and a sticker. The artwork was curated by Luca Marcenaro who did an awesome job.

Also, we’re very happy about the final result sound-wise: our guitarist Luca Nash is also a sound engineer and a music producer in his “real” life, the whole album (except for the drums, recorded at Mattia Cominotto’s Greenfog Studio in Genoa, one of the most renowned in Italy when it comes to rock music) was recorded at his private studio so we could do things at our pace and in a stress-free environment.

Harbinger of D.O.O.M.: You’re working on your first full-length album. Will it be an entirely instrumental album? What can we expect from you and when are you planning on unleashing it to the world?

IKITAN: Yes, the album will be instrumental but we don’t have a set date yet. It’s very likely that the new songs won’t be as gigantic as 20-minute “suites” anymore, we’re working towards something more direct and riffalicious but in pure IKITAN style. We still like not to stick to a particular genre and not setting any boundaries, so there will be some surprises.

The album will include something like 8-10 songs and these are bits and pieces of all the rehearsals (even bits that were left out of Twenty-Twenty) we’ve been recording since day 1, when we met to jam for the first time together.

Right now we’re still jamming and also developing some parts of older jams into full songs. We’ve been recording every single note we’ve improvised and now we’re letting the songs and improvisations guide us towards the next IKITAN album. Stay tuned!

Harbinger of D.O.O.M.: Your majestic session at Forte Geremia last June was your first live gig as IKITAN. Have you guys played live elsewhere in other bands before that or as IKITAN since then?

Luca: Forte Geremia was indeed the first time we played live together outside the rehearsal room! Since we met, we had no opportunities to play live due to the Covid pandemic. Before IKITAN, Frik Et and I had played together in other bands but we played a slightly different style of music. We have played together since 2007 I guess.

Frik: As already said, Geremia, was the first gig we did as IKITAN. A challenging experience for the weather conditions (mainly due to strong wind and low temperatures!), but a very exciting one as well. I’ve known Luca for ages and as he said we’ve played together in the last years before forming IKITAN too.

Enrico: My first gig was at the age of 12, when with my cousin (it’s always an elder cousin’s fault!) and two friends went on stage between other bands and played two songs by Elio e Le Storie Tese without having ever rehearsed them before! We just knew them, went on stage, and nailed (?) them. This attitude is still with me, as improvisation and spontaneity are one of IKITAN’s trademarks.

After that, I’ve played with other metal, rock and funk bands both in Sardinia and in Genoa, as well as a short adventure with London-based hard rock band Dirty Mary, when we played venues such as The Big Red and The Alley Cat (both RIP). I love being on stage and I can’t wait to perform with IKITAN!

Harbinger of D.O.O.M.: Thank you for answering my questions and I wish IKITAN a long life. I’m eagerly looking forward to hearing your upcoming album!

Photographs by Gezabel Perotti

IKITAN's Official Website

IKITAN on Bandcamp

IKITAN on Facebook

IKITAN on Twitter

IKITAN on Spotify

IKITAN on YouTube

IKITAN on Instagram

10,000 Years - II

Concept albums seem to be all the rage these days and I’m enjoying this trend quite a bit as I’m a big fan of them. Swedish sludge metal/doom/stoner rock band 10,000 Years has taken the concept album to the next level and are making a series of concept albums following a specific storyline. The trio unleashes their first full-length album, II, a continuation of their first self-titled EP which was released in July of 2020.

A little bit of a disclaimer to begin. Those familiar with this blog know that I don’t listen to, nor do I review anything with harsh/extreme vocals. Maybe it’s just because I’m growing into a softie in my old age (or just becoming a grumpy old fart) or that this sort of music just isn’t my cup of tea, but I was on the fence at first about reviewing this album. By no means does it go the route of extreme metal or non-stop growling/yelling, although the vocals do tend to be less traditional and there is a bit of screaming going on throughout, but not enough to make me pass up this album. And neither should you because 10,000 Years’ new record is a damn fine album that should be widely heard.

It’s the continuing story from the previous EP of an exploration vessel which goes by the name of “Albatross” and its mission to explore nearby galaxies. The musical journey tells of the ship’s first foray into space and what happens when the crew accidentally travels through a wormhole, ending up in a neighboring dimension populated by ancient gods and giant beings, ruled by the Green King. The new album picks up exactly where the EP ended. How cool is that? I won’t go into details about the storyline for II as I’ll let the listeners discover it for themselves as they sample the album. After a blistering 30-second opening instrumental, we are taken to the “Gargantuan Forest”, a slower track full of psychedelic atmosphere. Here you’ll get what I mean by the screaming aspect of the vocals. And you know what? I can’t imagine this song being sung any other way! It fits perfectly as it chugs along. “Spinosaurus” follows and picks up the pace, with strong thrash metal tendencies. “The Mooseriders” is one of my favorites, firing on all cylinders and displaying the band’s musical chops. “Angel Eyes” isn’t a ballad as one might wonder judging by its title; it’s another good cut, expanding on the band’s brand of sludge/doom/thrash metal. “March of the Ancient Queen” is a powerful song serving as a shift in the story. Track number 7, “Prehuman Walls”, is the sludgiest of the bunch and one I really dig. It leads us straight into the final song, the pièce de résistance and the strongest track of the album, in my humble opinion (definitely my favorite). “Dark Side of the Earth” starts off slow and climaxes into melodic fury, sounding epic at times, as it should, as the story comes to a close … for now. I’m sure we’ll get to hear more about the Albatross’ adventures on the next album (III perhaps?).

10,000 Years have crafted a massive, crushing album with II. The music is powerful and nothing short of remarkable. The best way I can describe this album in a nutshell is that it’s a cross between stoner icons Sleep and thrash metal legends Slayer. If you don’t mind less traditional vocals every now and then or if thrash metal/harsher sounding metal is your thing, then you’re bound to have a hell of a good time with this record.

10,000 Years’s Bandcamp page: https://10000years.bandcamp.com/

Bandcamp Friday

Bandcamp Friday is back! The beloved day where Bandcamp waives its revenue share and all the money goes directly to the artists/labels is upon us again! No doubt you’ve got a few albums/songs on your list to pick up, but if you’re looking for some inexpensive suggestions to support as many artists as possible, here are five quick ones for you from your friendly Harbinger of D.O.O.M.

First off, VAZUM, a deathgaze/alternative duo who released a stellar album a few weeks ago have a brand new “name your price” single out titled “Votive” off of their upcoming October remix album. You can pick it up here. I had a lengthy conversation with them which you can read here. Seriously, this band isn’t getting the attention it deserves; they are amazing and you should definitely lend them your ears!

Second, I’ve been in the mood for instrumentals lately and a band I just found out about this morning, IKITAN, released a stunning 20-minute live instrumental simply titled Twenty Twenty Live at Forte Geremia back in June. You can grab it as a “name your price” EP on Bandcamp and if you want to witness how the magic was done, head over to YouTube for a front row seat of the performance.

Third, while we’re on the theme of instrumentals, a one-man band who’s been garnering a lot of attention in the past couple of months, Mothman and the Thunderbirds, released an EP with instrumental versions of his debut full length, Into the Hollow, which I reviewed on the blog a while back. These tracks breathe new life into those songs and are a great addition to your music library for just a buck on Bandcamp!

Fourth, another instrumental album that must be mentioned is the mighty Ripple Music’s re-release of pioneering stoner rock band Yawning Man’s classic debut album, Rock Formations. If you’re into desert rock, space rock, and surf music, then this is a match made in heaven! If you haven’t heard this 16-year old album yet, then now is as good a time as any to discover it. It sounds as fresh as the day it was first released. You can grab a copy of it on Bandcamp, hot off the presses.

And fifth, if you’d like something more along the lines of prog rock with actual lyrics, what is in my humble opinion an album-of-the-year contender, you can get Sleep Moscow’s sophomore album, Of the Sun, that was released last week and which I reviewed a couple of days ago here. You can also pick up that gem over at Bandcamp.

I hope you enjoy this #BandcampFriday and that your loot will satisfy your music cravings. I know the bands and artists will be grateful for your support on this fun and special day. Till next time, happy listening!

Sleep Moscow - Of the Sun

Sleep Moscow, unlike what the band name suggests, do not hail from Russia; they are a Swedish alternative/prog rock band. Their sophomore album, Of the Sun, has just been released on Majestic Mountain Records and it’s a thing of beauty. It is at once spellbinding and serene, a concept album about a cosmonaut leaving a dying earth and everything behind for something bigger.

Retro is quite the ideal word to describe this mood-driven, 39-minute, 9-song musical journey into outer space. From the opening instrumental track, “Home”, segueing into the instantly memorable “Light Will Meet Us”, the music here dazzles. Echoes of Pink Floyd, ghosts of late ‘70s/early ‘80s modular synthesizers are in full display and bring a magical genuineness to the proceedings. The third track, “Gift of Life”, gives the impression that we are immersed in a comfortable bubble without a care in the world. The piano-centric title track follows with delicate splendor. Singer Arvid Hällagård’s ethereal vocals effortlessly take us far away from this plane of existence throughout the album. He’s accompanied by a plethora of dreamy strings, soothing piano, and gentle electronic noises. The above-mentioned strings are at the forefront in the superbly heartbreaking instrumental “Memories“. Next up, “Far Beyond Gone”, is quite possibly my favorite song in an album of favorites. It is ageless and feels like you’ve always known this song, like an old childhood friend. “Alone” is a gorgeous, restrained song with a guest female vocalist for the second half of the song. The last two songs, “Facing the Clouds” and “You Are Over”, constitute a perfect one-two punch to end this remarkable expedition; multi-layered and hypnotic, lingering in your head long after the music stops.

This is another must-have album, folks. With more than half of the year behind us, 2021 has to be one of the strongest years in recent memory for indie doom/stoner/metal/psych/prog music. The Sleep Moscow trio is a force to be reckoned with and have crafted an absolute masterpiece with Of the Sun. This record has immense replay value and I think it’s safe to assume that it will only get better on subsequent spins and is likely to age like the finest of wines.

Sleep Moscow’s Bandcamp page: https://sleepmoscow.bandcamp.com/releases

Black Sabbath in Montreal - 50 Years Ago

Fifty years ago today, Black Sabbath played a gig in my hometown of Montreal, Quebec, Canada for the very first time. The date was Friday, July 16th, 1971 at Place des Nations. I wish I could’ve been there, but I was three years away from being born! The four blokes from Birmingham, England—namely guitarist Tony Iommi, singer Ozzy Osbourne, bassist Geezer Butler, and drummer Bill Ward—would go on to become the godfathers of Doom and Heavy Metal.

As you can see in the above-pictured flyer for the show, tickets were a measly two dollars! What a steal, even back in the day, to see Sabbath perform live at the peak of their game! There’s very little info on the show circulating online, but I was able to track down a few photos and while I couldn’t get my hands on the night’s setlist, I found the next best thing: the setlist for the following gig two nights later at Borough of York Stadium in Toronto, Ontario, Canada. It’s very likely that the songs they played on that night and the order in which they played them was similar or identical to that of the concert in Toronto. The setlist was as follows:

1. N.I.B.
2. War Pigs
3. Sweet Leaf
4. Black Sabbath
5. Iron Man
6. Embryo
7. Children of the Grave
8. Wicked World
9. Orchid
10. Guitar Solo (with Wicked World reprise)
11. Paranoid

     Encore:

12. Fairies Wear Boots

The show was part of the tour to support their upcoming third studio album, Master of Reality, which was to be released five days later, on Tuesday, July 21st, 1971. It has gone on to become one of their most beloved albums—and my personal favourite Sabbath record—with such classics as “Sweet Leaf” and “Children of the Grave”. What a career and an influence that still resonates to this day Black Sabbath has had! They will forever remain one of my top three favourite bands of all-time.

Photos and flyer courtesy of Les Archives de la Ville de Montréal © 1971.

Inner Missing - Deluge

Initially formed in 2008 under the moniker “Odium” and hailing from St. Petersburg in Russia, Doom Metal/Gothic/Darkwave duo Inner Missing have just released their eighth studio album, Deluge, on the Inverse Records label. The album’s gorgeous sleeve is full of mystery and is a great snapshot of what lies inside said album: a dark and beautiful musical journey. The Russian duo consists of Sigmund on vocals and guitars, and Melaer on bass and keyboards.

I didn’t know what to expect on my first spin of Deluge, but by the time I was done, I knew I had stumbled upon something special. I won’t be doing a track by track review since this record plays more like a concept album where the eight songs form a whole that feels like one continuous piece divided into different sections. It’s also the kind of album that I will listen to entirely in one sitting going forward, much like the way I do when I put on Pink Floyd’s Dark Side of the Moon or Wish You Were Here.

The first song, “In the Haze”, really sets up the entire record: a slower-paced, melodic gothic doom metal excursion for the ears. The cover art could be an inspiration to imagine yourself traveling through space aboard a majestic vessel to the sound of piano and guitar-driven melodies, with hints of prog rock cascading throughout the various songs. It’s a poetic and relaxing album, yet at the same time it’s invigorating and full of energy. Deluge was conceived in 2020 at the height of the pandemic and explores themes of uncertainty, dismay, longing, and even hope. The fourth track titled “Locusts” is a proggy instrumental bridging the second half of the album. The sixth cut is the title track, “Deluge”, a song about the weight and burden of memories and remembrance. Number seven, “Elegy”, is a beautifully melancholic piano song with synths. The final track, “Grodek”, is the only non-English song of the album (in German) which surprised me—since the band is Russian, I would’ve expected it to be sung in Russian. If I can trust Google’s German to English translation, it’s about the hard-earned victory of the heroes. Nonetheless, it’s a fitting way to close out the album.

Deluge is a polished album from a seasoned duo of musicians that features harmonious vocals, a continuing wave of guitars and keyboards linking the songs together to shape a gloomy yet quiet atmosphere with infinite replay value. If you’re looking for a different kind of Doom record, something to put on during a drive at night (or on your next trip to space), this 44-minute melodious expedition is bound to quench your desires. Inner Missing have crafted a truly great record that gets my highest recommendation.

Inner Missing’s Bandcamp page: https://innermissing.bandcamp.com/