Me he oído dos veces seguidas este discazo de #Bongripper ? Si soy

https://bongripper.bandcamp.com/album/miserable

#doommetal #bandcamp #extrememetal #instrumental

Zum Schluss für heute, eine Band die mich musikalisch inspiriert hat. Hate Ashbury hat mich umgehauen und dann kam das.

Bongripper - empty 2x LP Silver in clear with splatter.

#vinyl #vinylfriday #bongripper

@annaloffing Hypnotic, relaxed or monotonous stuff works best for me. #Techno, such as #KangdingRay, #Rrose or anything else from the #StroboscopicArtefacts Monad series. When I am tired, it has to be faster, like #Nervasystem. For more relaxed days I listen to #Amapiano like #KabzaDeSmall or #KelvinMomo while working.
On other days I turn to #DoomMetal, faves are #Slomatics, #Bongripper or #Ufomammut.

#music

Goblinsmoker – The King’s Eternal Throne Review

By Angry Metal Guy

By: Nameless_n00b_602

Concept albums inherently have higher aspirations than the average release and therefore necessitate an elevated standard of critique. Not only must the music delight, but everything on the album—lyrics, instruments, tone, track placement, pace—must support a well-developed central narrative. Enter Goblinsmoker. This Durham, UK, duo tells the legend of the exiled Toad King, who inhales the fumes of his willingly self-immolating subjects for…reasons. The first two installments of this trilogy, Toad King and A Throne in Haze, a World Ablaze, recount the establishment of the goblin army and subsequent annihilation of the ruling toad kingdom. Goblinsmoker now concludes the story with The King’s Eternal Throne. Breathe in and join the king’s court.

The King’s Eternal Throne is an album of two halves. From “Shamanic Rites” through the midpoint of “Burn Him,” Goblinsmoker hauls you face-first through Conan’s prehistoric tar pits. Vocals are sparse, and riffs drag their knuckles and rattle teeth. Vitriolic like Thou or Come to Grief, multi-instrumentalist and vocalist Adam Kennedy rasps that not all is well in the kingdom (“Shamanic Rites”). The Shaman, having manipulated the Toad King to achieve his goal of toadal destruction, now seeks to eliminate the pawn. Drummer Michael Guthrie embodies the Shaman’s contempt for the Toad King with lurching, powerful kit work, and Kennedy, deftly wielding strings and vocals, manifests both the cold, insurrectionist plotting of “Shamanic Rites” and the searing violence of “Burn Him.” On the latter, Guthrie viciously punctuates his bandmate’s vocal attacks with snares and cymbals, fanning the flames of goblin fervor. Meanwhile, Kennedy’s guitar and bass march inexorably toward the pyre, dragging the King like a caveman drags dead game.

Then the Toad King burns, and everything changes. Backs straighten, eyes look skyward, and at the 6:00 mark of “Burn Him,” Goblinsmoker evolves from Bongripper to Truckfighters. As flames consume the Toad King, an upbeat lead and energetic fill give way to the greatest bass hook I have ever heard.1 The Shaman calls, his goblins respond, and they dance rapturously in this hazy Valley of the Sun. Where the Toad King once ruled only as a panacea for misanthropy, the Shaman reigns exultant, evinced by prime musical synergy. A suitably psychedelic bass solo chronicles the Shaman’s first taste of power as he takes “The King’s Eternal Throne” and inhales the sacred smoke. Kennedy’s funky axe work dispels the darkness of the Toad King’s rule, cruising through the Goblin Forest to spread the good news. Guthrie drives these tidings, bumping and grooving with the boom-bap sensibility of golden age hip hop. This combination creates a sound at once nostalgic, swaggering, and as infinite as the new goblin kingdom.

My qualms feel like nitpicks in the face of a tale so well told. Clocking in at 30 minutes, The King’s Eternal Throne is short, especially for a doom record. Even with three tracks exceeding eight minutes, it’s easily digestible and doesn’t overstay its welcome, but it could still benefit from some trimming. Fade-ins and fadeouts can linger, which is expected for the genre and isn’t too bothersome on a casual listen, but repeated spins find me impatient for the next chapter to begin. Closer “Toad King (Forest Synth Offering)” is a rework of the eponymous track from Goblinsmoker’s debut, and while it’s good dungeon forest synth, it has no narrative value. It’s a decent enough palate cleanser after inhaling the fumes of so many burning bodies, but it ultimately weakens the impact of the should-be closer “The King’s Eternal Throne.”2

Writing a successful concept album—and the conclusion of a concept trilogy—is no easy feat, but Kennedy and Guthrie are up to the task. From the brooding riffage of “Shamanic Rites” to the triumphant groove of the title track, Goblinsmoker handles storytelling, tonal shifts, and musical evolutions with aplomb. The only things keeping this album from a coveted 4.03 are minor but tough to ignore. Luckily, those quibbles can be resolved with little more than a hacksaw and some glue. I’m not sure where their path leads from here, but with The King’s Eternal Throne, Goblinsmoker puts to rest the legend of the Toad King and any doubts they could tell it.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: APF Records
Websites: Bandcamp | Instagram | Facebook
Releases Worldwide: July 25th, 2025

#2025 #35 #AThroneInHazeAWorldAblaze #Bongripper #ComeToGrief #Conan #DoomMetal #Goblinsmoker #Jul25 #Review #Reviews #Stoner #StonerDoom #TheKingSEternalThrone #Thou #Truckfighters

Entheomorphosis – Pyhä Kuilu Review

By Dear Hollow

If I’ve learned anything from Dark Buddha Rising, it’s that drone metal goes hand-in-hand with spiritual awakening. The blinding light of transcendence and the shadows of the occult are parts of the same jagged landscape of existence, and the abyss rules beneath, embodying both creation and destruction. Gentle and ruthless in equal measure, drone metal’s tides of mountainous riffs and thunderous tones offer the secrets of the universe and the nonexistence that perpetually threatens every fiber. Dark Buddha Rising exemplified this in its Buddhism-influenced aesthetic tied to hypnotic and ritualist drone, pulsing percussion, and a flurry of vocal attacks to conjure and invoke a dark trance. With their ongoing hiatus, Entheomorphosis takes up the mantle.

Appropriately, Entheomorphosis is the spiritual successor of Dark Buddha Rising, taking its namesake after its 2009 album of the same name, its primary architect being former guitarist/vocalist Vesa Ajomo. A quartet, other members include Mr. Peter Hayden/PH/Enphin alum Lauri Kivelä (also of Alitila) on bass and JP Koivisto (also of Vallihauta) on guitar, as well as Lassi Männikkö of Gangrened and Ludalloy behind the kit. While Dark Buddha Rising offered a surprisingly nimble and balanced approach to drone in energetic percussion and obscure vocal approaches, Entheomorphosis embraces the sprawl and a more predictable vocal dimension, alongside a much more erratic percussion presence. Debut Pyhä Kuilu (“holy abyss” in Finnish) embraces the spiritual awakening of shedding old skin with shuddering tone abuse and glacial crawls in its favor, even if it pales in comparison to its mother act.

Entheomorphosis does a great job of compacting drone metal’s most trademark features in a tidy thirty-five-minute runtime, thanks to concise songwriting. It features four tracks, with the bookends comprising the main movements (“Alkiema,” “Iätön”). These are the transcended Arhats in a drone metal fan’s nirvana: droning riffs, tortured vocals, and breathless patience. Conjuring the Sabbath-worshipping likes more of Earth than Sunn O))) in its slightly orange and hazy tone (perhaps Bongripper), it drawls on while Ajomo’s vocals take the stage in tortured shouts and Männikkö’s slightly off-kilter rhythms add a dimension of intrigue to the proceeds. Contrary to Dark Buddha Rising’s winning formula of drums carrying the drone, Entheomorphosis finds the drums carrying on a manic ritualistic energy almost despite the droning riffs, reminding me of early Sumac’s work. This clash is a bit jarring but intriguing, as longer passages avoid stagnation thanks to these odd collisions. The moods invoked are vast, settling upon anticipation’s startling brightness (“Alkiema”) and dread’s heavy weight (“Iätön”).

Getting away from the traditional drone template, the meat of Pyhä Kuilu offers respite in unexpected ways for Entheomorphosis. From the minimalist creeping of blackened shrieks atop chaotic drumming, thunderous bass, and synthesizer (“Sikinä”) to a crystalline and pulsing synth foray (“Huntu”), the centerpieces recall a more liturgical and shamanistic Primitive Man in its unforgiving noise and injection of chaos among the more regal movements of straightforward drone. They nonetheless beg the question as to why two comparatively brief respites are tied together as such when they are just different enough to be confusing and just similar enough to sound the same. The vocals are likewise a bit of a conundrum with Entheomorphosis, especially in comparison to its parent project. Dark Buddha Rising benefited from the choir of insanity of its three voices, but Ajomo’s nasally shouts seem to clash with the surrounding bleak obscurity, working most effectively with the blackened shrieks in “Sikinä.” The vocals are not the main focus, but they do distract at best, derail at worst, when they appear.

Entheomorphosis soars in being a worthy spiritual successor to Dark Buddha Rising, even if its pedigree cannot hold up. It’s a dark drone sound that you’ve come to know and love, but simultaneously more accessible and more experimental. Pyhä Kuilu feels more liturgical and less hypnotic, and its chemistry between drums and riff is endlessly intriguing. It may not achieve transcendence of its actors’ other projects, but for fans of drone, Entheomorphosis is a tour de force of holiness and devastation. While a nice bit of escapism, I’m banking on a more complete spiritual awakening next time.

Rating: 3.0/5.0
DR: | Format Reviewed: 320 kb/s mp3
Label: Svart Records
Websites: entheomorphosis.bandcamp.com | entheomorphosis.com
Releases Worldwide: May 23rd, 2025

#2025 #30 #Alitila #AvantGardeMetal #Bongripper #DarkBuddhaRising #DoomMetal #DroneMetal #Earth #Enphin #Entheomorphosis #FinnishMetal #Gangrened #Ludalloy #May25 #MrPeterHayden #PH #PrimitiveMan #PyhäKuilu #Review #Reviews #Sumac #SunnO_ #SvartRecords #Vallihauta

🖤 ROUND I - Phase 1 - match 18/50

Which one is the best doom metal album?

🤘 Bongripper, Satan Worshipping Doom, (2010)
or
🤘 Sunn O))), Black One, (2005)

➡️See pinned post on profile for the tournament rules

 Please 𝗕𝗢𝗢𝗦𝗧

🎧 YOU ARE STRONGLY ENCOURAGED TO GIVES EACH ALBUM A FRESH LISTEN BEFORE VOTING

#KingusMusicTournaments #MusicTournament #Doom #DoomMetal #KMTPoll #Music #Bongripper #SunnO

Conan – Violence Dimension Review

By Alekhines Gun

Alongside money, sex, and the number 42, “To crush your enemies, see them driven before you, and hear the lamentation of their women” remains the peak answer to the meaning of life. Such melodic woe, such malodorous despair is the anthem to many a succulent succumbing of the Other, the Lesser Than, and the Detested. Conan traffic in an unusually encouraging slab of doom; namely, rather than horror descending upon the listener, you are that horror, and woe betide all who come to oppose you and your curiously hawk-shaped weapons. Here to be the accompaniment to your next assault on all those whose name you scorn and singing the songs of your own personal terrorization of those beneath your notice, sixth LP Violence Dimension has arrived. Does it name a frame of mind? A place you exile your conquests? The wing of the dungeon the n00bs are kept in? Grab your noblest of steeds and polish your battle axe, we have a pillaging to get to.

While most subgenres survive based on the might of the RHIFF, doom survives as much on its tone as its composition. Violence Dimension offers that tone in spades, with a plod like the flinging of pure tar splatter into your eardrums and a woofer rattle thicker than a wooly mammoths mating thrusts. From the kickoff rumblings of “Frozen Edges of the Wound” to the opening quake of terror lifting the curtain on “Foeman’s Flesh”, Conan offer up a sound which sidesteps fuzzed out stoner tropes into something much more akin to banging impossibly large rocks together. The grindy, sub-one-minute “Warpsword” blasts with a sandpaper buzz to reduce your saber teeth to stumps in seconds. The vocals of Jon Davis echo across the neighboring mountain, bringing tidings of destruction meshed with rarely seen motivational lyrical refrains (“Total Bicep”) while riding grooves stacked atop grooves across the whole package.

Subjugating the Tyrannosaurus tone is one spear-chucking assault after another. “Desolation Hexx” comes out swinging an Ankylosaurus tail straight for the feeble brain cavity, only to keep wailing on you with extreme prejudice as drummer Johnny King switches his flows to take the repetition from merely brutal to prehistoric savagery. “Total Hex” rides riffs with balls bigger than Messa’s Belfry and closes out on a better Electric Wizard riff-and-fuzz-solo than that outfit has penned in several albums. Even the mostly instrumental title track manages to channel the sinister atmospheres of modern Bongripper into Conan’s own sense of identity and flow, with bass solos, ever-shifting drum fills, and one relentless chug after another violating the listener.

So with so much weighty blood and Brontosaurus poo being flung about, what’s the catch? Violence Dimension suffers excessively from “The Windhand paradox”. Every single song here features top-shelf, grade A, Triceratops steak medium rare riffage ready to create new caves to dwell in with their own might; these riffs are promptly run right past the stone age and well into the modern age, into regrettable monotony. Other than the possible exception of the title track (which itself starts to run out of steam the last couple of minutes), many of the songs don’t deserve the length they’re given. The shorter songs are absolute volcano cratering ragers, and every long song has many a melody of menace to welcome your enemies’ wives into your harem. But those moments don’t deserve to be repeated as often as they do, and what would make for a delightful 4 minute song gets pushed into a nine-to-ten-minute song with gleeful abandon. Closer “Ocean of Boiling Skin” is the worst offender, ending on a glorious clubbing of a groove and then ooga-booga’ing for a solid five extra minutes, until all the initial impact is long forgotten.

This is maddening because when Violence Dimension is on, it is on. Make no mistake, this is still a quality album and doom aficionados will find much to love here, but I’m rooting for more. Conan write unique, relatively uplifting, energetic doom, and I want more of it. I also want them to write riffs worthy of the song lengths they dole out, or commit to an album of shorter songs just to see what happens. For the moment, make sure your axes are sharpened and find your favorite loincloth, for Violence Dimension is here to ensure you have a fitting soundtrack to send your enemies to the great beyond in style.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 303 kbps mp3
Label: Heavy Psych Sounds Records
Websites: Album Bandcamp | Official Facebook Page
Releases Worldwide: April 25th, 2025

#2025 #30 #Apr25 #Bongripper #Conan #DoomMetal #ElectricWizard #HeavyPsychSoundsRecords #Messa #Review #Reviews #UKMetal #violenceDimension #Windhand