Spirit Caravan — Jug Fulla Sun [1999]

Wino Weinreich is one of the most under appreciated and inventive guitarists you've never taken the time to hear out. When he wasn't busy with reviving The Obsessed (who will have their own place on this blog, sometime), or moving on to more political tunes (the first Hidden Hand record), he was cranking out riff after classic motherfucking riff on this debut from Spirit Caravan, the short-lived side project from Wino before he announced his arrival in Place of Skulls and the aforementioned. While he was always a fan favorite for the doom scene, he elevates himself to livingfuckinglegend within the first half of this album. I hate to sound stale by working in those overused adjectives that I did in the first sentence, here, but the guys ability to churn out head-banging, catchy leads is unrivaled and you'll know it right up front, with "hate on you can look real pretty," the albums first lyric of archetypal biker-rock. This, along with some of the shorter pieces here, rank among the man's best (and most FUN (which doesn't see enough love in metal)) song writing. The preceding break, with its 'primal' half-time drumming cannot help but form itself into a Vitus song of old when you hear it. Some may say this is treading old ground, but others would say you're not a doom fan. Song like "Courage" and "Fang" have such simple guitar melodies its a wonder that they work on the high level that they do; that is, live up to the stature of slower, less melodic pieces that he's known for (Born Too Late). But the wonder has a direct answer in Winos guitar tone, a thing that gets no love in this digitally-produced age of pussies. Listening to "Powertime" for the first time makes this seem obvious; a simple, Iommi-influenced riff that brings into being what may be Wino's most shining three minutes in his entire career, both vocally and otherwise. The following, and title, track only ups the ante, by simultaneously paying homage to Sleep (with its instrumental anticipation) while keeping things on the clean end for the first half of the song, before really smacking you around with its almost pop chorus. The only complaint, and it's very minor, is that the album wears a bit thin toward the end, especially with such a large amount of marijuana haze and whiskey-stained-vox within the first six tracks. Whatever... Every track has at least one completely menacing guitar riff, and Wino has never sounded so good. This is a classic album of newer-age doom from a guy whose entire career has revolved around a single, but undeniable, perfecting sound -- this is the culmination of that very tone.

Genre: Doom/Stoner
Label: Tolatta Records
Origin: Leather-lovin' Cali
Bitrate: 256k
Gonna ride in the cloud-swept sky

Electric Wizard - s/t [1995]

No new posts in a bit, so here's something extra special to me that doesn't get the props it deserves. The debut Electric Wizard.

So many people like to stick up for Dopethrone, but for me, this is their best release. Hard-hitting, very typical 4/4 rhythms and catchy, swords-and-sorcery lyrics are all a good doom album make. In fact, this is one of my FAVORITE doom release of all time, and none of it really does anything Black Sabbath hadn't done decades before, but that's one of the reasons I love it. Take the first three tracks for example. "Mourning Prayer" especially, with its delayed jump into the verse; you can feel your pulse skip on that one. And the nice instrumental "Mountains on Mars" psyching things up for a bit. And the nearly instant classic "Devil's Bride". So much fucking crunch in these riffs. Basically, if you've never heard this, you're missing out. Sometimes it's nice to just sit back and enjoy a fun song with conventional structure and forget all about 20 minute epics.

Genre: Doom
Label: Rise Above
Country: England
Bitrate: ~192k
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Eternal Elysium - Spiritualized D [2000]

This is a masterpiece. Being both a Japanophile and huge doom nut, I'm fucking surprised I didn't know about this band's greatness until just recently. They are my new favorite band because of this record. I have their whole recorded output but nothing really comes close to what this album does. It blends psychedelic melodies with fuzzed out, doom-laden riffs and emotive, strong vox. "Floating Downer", "Splended Selfish Woman" and "What a Diff'rence a Day Makes" are instant classics if any contemporary doom is. The album's absolute best moment is on the short "Trick or Steal" where, at the one minute mark, the smoke lifts for a moment and takes a backseat to a lovely psyched-out melody with a huge, beefy bassline, reminiscent of the more well known Japanese psych masters. This is great! You must have this.

Genre: Doom/Psych
Label: Meteor City
Country: Japan
Bitrate: 320k
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disembowelment - Transcendence Into the Peripheral [1994]

Here's a famous Relapse release most everyone is familiar with by now with its 3xLP/2xCD re-release a few years back. Just to reiterate, this is essential listening for anyone into doom, funeral doom, black metal and grind. Just listen to the first 40 seconds or so and you should know immediately what the fuck is up. Further listening reveals long dirges, bits of ambiance and shattering blastbeats, sometimes all within the same track (the first two tracks being an example). That moment at 8:15 on "The Tree of Life and Death" has to be one of my favorite moments in metal. I could talk forever about why this album is amazing but its all been said before, probably by people who can say better than I. For a band that never had but a handful of recordings and never played one show, it's staggering. It's essential.

Genre: Funeral Doom/Grind
Label: Relapse
Country: Australia
Bitrate: 192k
Length: 59:37
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Rye Wolves - Oceans of Delicate Rain [2008]

I sure as fuck haven't heard much but a few singles from label Aurora Borealis, but after this dicksucking-balljuicing ride from Rye Wolves I might just have to pay more attention. This is strung out, dirty, tuned-down heavy metal with progressive and doom leanings and vocals in the range of EyeHateGod or some shit. The triggers on the drums are really nice and that snare drum is really reminiscent of Quicksand, though thats probably a horrible comparison. A lot of screaming and Melvins references are found within. The opening track is really great with its intro build and release. There's also a funky little bass/drum break I really like, which presents itself with clean guitar arpeggiating and this can be heard elsewhere on the album too. The two ending tracks are a little too long for their own good. Or are they? Judging an album by its cover is fun, and sometimes reveals a bit into what you're gonna hear. This is an example.

Genre: Doom/Prog/Post Rock/Psych(?)
Lable: Aurora Borealis
Country: USofA
Bitrate: ~320k
Length: 58:30
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