New Band To Burn One To: DOPEGOAT

Hold thy preconceptions at the door, DOPEGOAT are not as you may think. Most acts associated with ‘Dope’ tend to play swamp heavy sludge with songs based solely around reefer and drinking, but not this Atalanta, Georgia, four-piece who offer something completely different.

Having just released their debut self-titled EP (available for free), the band, made up of Adam Clarke, Sam Bielski, Matthew Klem and William Walker, are dipping their toes into a sonic ocean that not many others are trying at the moment, and it’s a bravery that pays off and has to be admired as the EP delivers waves of thought-provoking musical exchanges.

There’s such a varied mix of styles going on here it’s hard to keep up with the influx of groove metal, jazz, stoner, doom-laden, goth-like grunge, psychedelic tendencies that these four fine young gentlemen throw into the mix, constantly leaving you guessing as to which way the wind will take them next. If you single out the track ‘Troll Hunter’, a 10-minute epic journey showcasing the last 50 years of rock music, with grave deep doom, covered under a mist of stoner riffs, all following on from a finger clicking groovy jazz bass line that at first seems to have no right being there, it showcases everything the band is trying to do. Even when the band are doing something completely different, their influences can flow heavily as seen on ‘North Pond Hermit’ which echoes  Melvins-like madness.

Make sure you check out DOPEGOAT before their debut full-length implodes the band through one giant headfuck.

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Zac's "Quik Drag": Sleestak

Sleestak: Book of Hours 

Sleestak is back! And I must say in a fresh and very experimental way. After dropping the phenomenal Fall of Altrusia in 2011, these Milwaukee natives released a lo-fi collection of space rock ditties, entitled Altrusian Moon in 2012, get yourself over to bandcamp to stream Altrusian Moon if you missed it. Further challenging themselves Sleestak have continued their yearly release with Book of Hours, earlier this year. Further challenging their listeners, Sleestak have taken one step away from their doom and stoner roots to quench the progressive fire blazing in their psyche. With that being said there are still loads distorted RIFF'ing and repetitive grooves. New to the Sleestak arsenal is a very operatic and Phantom of the Opera style ambiance, dark and authentic. Something that I, personally, am missing in Book of Hours is Matt Schmitz's tremendous gritty and vehement vocal delivery. Don't let that keep you away from Book of Hours though. Schmitz's cleans surface with a vibrant Jim Morrison vibe. Sleestak haven't only employed experimental song structures and timing in Book of Hours, they have also departed from their familar lengthy run times for a snappy and poppier form of psychedelic rock, this latest piece runs under the twenty-five minute mark. Be sure to spin my favorite track Lone Wolf, the regular version. This steady blues based track begins with a haunting spoken piece of poetry, which brings to my mind a deranged soul drenched in whiskey entertaining his thoughts of freedom. Lone Wolf takes a sudden turn to experimental region of the netherworld with a smooth transition from blues driven guitar RIFF'ing into an Jethro Tull and Opeth-ian inspired jazz measure. Don't miss it!

Members: 

Dan Bell - Bass 

Marcus Bartell - Drums 

Matt Schmitz - Guitar // Vocals // Keys

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Zac's "Double Dose": KEN Mode / ZAYN

KEN mode: Entrench

I hope I am formally introducing some of you to KEN mode, the three piece annihilation machine from Winnipeg, Manitoba (composed of two brothers and a rotating bass player). Historically known for their fusion of noise rock and hardcore KEN mode bring an intensity and overwhelming sense of chaos to the choppin' block (cleaver included). KEN mode are like Converge and Dillinger Escape Plan's younger sibling... bare chest, gnashing teeth, and prepared to spar for for an alpha spot... and definitely not afraid to try something a little sly in the process (very much like their elder kin). KEN mode formed in 1999 and have since released four full length albums, with the fifth, Entrench, dropping yesterday (Tuesday March 19th) via Season of Mist.

Entrench's opening track Counter Culture Complex kick the album off in a very noisey and punk fashion , but not before a few taps on a drum head and a dizzying cello oscillation suprise the senses. The following tracks, and much of the album, stay true to the hardcore / noise foundation. But don't let these adjectives turn you away from Entrench, listen closely and enjoy the glorious loads of resonance and feedback from KEN's latest bassist Andrew LaCour. These three are creative and their injection of sludge leave an impression of experience and knowledge of their craft. Take my favorite track The Terror Pulse for a spin (click play below), and experience the discordant guitar squel and sacrifical tribal wallop with more of those sweaty bass-lines. Entrench continues to ebb and flow between fast paced chaos and slower sludge... even devling into the depths of doom. This finally brings us to our whimsical and relaxing outro Monomyth, which contrasts immensly from Entrench entirely. Here we are absorbed into an airy atmosphere filled with reeling cellos and gently plucked strings. A finish that allows us to catch our breath and speculate. How does a trio of testoterone with the cojones to name themselves KEN (Kill Everyone Now) mode get off finishing an album like that? I haven't a clue and, quite honestly, I couldn't care in the least. All I know is I'm impressed.

Members:

Andrew LaCour - Bass // Backing-Vocals

Jesse Matthewson - Vocals // Guitar

Shane Matthewson - Drums

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ZAYN: Medeia

Some two years ago, inside the confines of Bjelovar, Croatia four persons banded together in search of an experimental purging. Choosing a name and a path, ZAYN came into existance and began their orchestral journey. Avoiding standard musical architecture, ZAYN's instrumental approach mold post-rock into jazz, doom and desert rock. All this variety will certainly overwhelm listener's senses. The musicians also employ minimal repetition, allowing the songs to grow, writhe and transform. This can be strange for any desert, doom or stoner fan... because we happen to like our repetitive RIFFS! That's okay though ZAYN have other ways of captivating the conscious and it all begins with static strumming and some desert rock intensity. ZAYN's debut album Medeia sets off with album opener In love, In anger, In vain. Medeia is based off an ancient Greek tragedy in which the grandaughter of the sun god is abondoned by her bewitched husband and seeks revenge through the slaying of her children and to fleeing to Athens on a firery chariot only to find herself in another sultry situation. Without further SparkNotes, album opener In love... sums up the emotions of a confused and enraged mother all to well. The music flows and corresponds to the story quite well using fast paced hammer on's and plenty of use of heavy and loud moments contrasting with hushed stillness. Each track seems to find moments of doom and loads of Miles Davis-esque timing, making each living moment of Medeia incalcuable. Check out the hodgepodge of genius in my favorite track Motherismus below and if you think you can handle more get over to bandcamp, because our friend's in ZAYN are offering this evolutionary piece of music for FREE!

Members:

Alen Rožman - Drums

Bojan Gatalica - Guitar

Marko Dragičević - Guitar

Miran Kapelac - Bass

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