Ah, Electric Wizard. If you don’t know them by now, you will never, never, never know them. No you won’t. Well, scratch that; maybe you will. After all, the legendary doom outfit has just put out their ninth (!) full length record and, although it seems unimaginable that there could be metal heads unfamiliar with the band’s discography and sound, it’s incumbent to remember that not everybody is as old as dirt like yours truly. In fact, it’s been over twenty years since the band first started releasing music so it stands to reason that there are plenty of readers who weren’t even born when Dopethrone dropped and left its massive resin stain on the world of stoner doom and sludge. While that certainly makes me feel old, it also presents an exciting opportunity for younger listeners. THIS IS NOT A DRILL: if you have never listened to Electric Wizard’s seminal album Dopethrone, you are required to take an hour today and give it a spin. Arguably as important as any album in the genre, Dopethrone cemented the sound of filthy, distorted, bass-heavy stoner doom and paved the way for hundreds of bands and albums that followed in its smoky, bongwater-soaked path.
Ten years later, Colors holds up, and is widely considered the act’s best album and a modern progressive metal classic. Colors is one of our all-time favorite records around these parts, so there was no question that this tour couldn’t be missed. We were able to catch the trek, which also featured Toothgrinder, Polyphia, and The Contortionist, at its penultimate sold-out show at The Neighborhood Theater in Charlotte, North Carolina, and it was as glorious and powerful as expected.
Whether they’re shooting multiple venues in a night, or meticulously crafting live show reviews; our photographers can be very busy at times. Because of this, we’ve collectively decided to break up our photo content into two different kinds. Posts titled PHOTOS will feature an in-depth review of a show, providing a personal insight into all the subtle nuances of a show along with a small selection of images to accompany the photographer’s thoughts. Whereas posts titled GALLERY will convey the energy and events of a show through a visual narrative, featuring collections of images that speak for themselves without the help of an accompanying write-up. Without further adieu, here is our first Gallery post of the final two shows from Trap Them, with Call of the Void, by resident NY photographer, Mark Valentino!
It would seem that, when it comes to discussing it as a music genre, a lot of different people have just as many if not even more varying criteria as to what exactly constitutes synthwave. For some it’s all about retaining that sound from the 1980’s, while to others it’s all about the synths be they hardware or software, but at the heart of it all is one simple fact: it’s inherently electronic in origin. That said, synthwave tends to not only at times sound like other electronic music genres but melds well with them too at other times as a result. Perhaps there’s been no better example of this than the ways in which chiptunes have influenced synthwave, and vice versa, although to really crank them up it never hurts to add a little metal into the mix. This trinity of sound has therefore produced what has become known as electro death and one of its emerging torchbearers is Big Lich.