#d&s interviews

Doomed & Stoned is pumped about long-time doom 'n' heavy metal band CASTLE headlining the first night of The Electric Highway Festival this weekend in Calgary, April 4th and 5th. I exchanged words with longtime guitarist Mat Davis, one of the founding members who has been with the band since 2009 to talk about Castle's infectious sound and why live shows always rule!

Evil Remains by Castle

Castle has been rocking it since 2009 and I’ve had a chance to film you a couple times, I always appreciate the riffs and energy you bring to the stage. What are some of the distinctives of the Castle sound?

Hi Billy, thanks, that's hard to pin down but one thing we always try is to bring you on a trip with the song and over the course of an album. Live, we try to bring a lot of energy and as a three piece we're working to fill up the room with a big sound.

How has the Castle sound evolved since you released the first of your six studio albums in 2011?

We're still a riff-driven, classic metal band but there's an immediacy and directness that comes through more now with the writing and playing and that's something we'll continue to hone and get closer to the source.

You just got back from touring overseas with your new album ‘Evil Remains.’ How was that experience?

The Europe tour was amazing, lots of memorable shows and the response from the crowds was great. We're heading back in June to play a few festivals and club shows and we'll be changing up the set list... adding another new song and some older ones too, so very much looking forward to that.

You’ve been performing for pretty damned long. Do you think people's interest in attending live shows has rebounded since COVID?

Yeah I think so! We held off for longer than most bands, we figured it would be a shitshow for a while but I think judging by our recent shows it seems good as far as booking shows and people coming out again, which is awesome.

What excites you about being a headliner for the Electric Highway Festival this year?

We're stoked for one, there's a lot of great bands playing and it's a cool venue, we played there on tour with The Sword back in 2013 I think. It will be great to do our full set and hopefully people have a great time and go nuts.

I find there’s an incredible energy that comes from music festivals. For those on the fence, why should they get their ass off the couch and rock out with y’all?

Well, as mentioned there's lots of great bands and shows like this don't happen every weekend. Plus from what I've heard this is the last Electric Highway Fest so it would be wise not to miss it!

CASTLE "Evil Remains" North America

04/04 Calgary, AB - Electric Highway Fest @ Dickens 16/04 Sacramento, CA - Cafe Colonial 17/04 Los Angeles, CA - Knucklehead 18/04 San Francisco, CA - Kilowatt 19/04 Mt Shasta, CA - Vet's Club 20/04 Portland, OR - High Water Mark 21/04 Seattle, WA - El Corazon 30/04 Toronto, ON - The Garrison 01/05 Detroit, MI - Smalls 02/05 Chicago, IL - Legions Of Metal Fest @ Reggies 03/05 Madison, WI - Gamma Ray Bar 04/05 Pittsburgh, PA - Poetry Lounge 05/05 Brooklyn, NY - The Woodshop 06/05 Boston, MA - Middle East Club 07/05 Montreal, PQ - La Sala Rossa 08/05 London, ON - Palasad 09/05 Hamilton, ON - Doors Pub 10/05 Ottawa, ON - Dominion Tavern

CASTLE "Evil Remains" Europe 2025

29/05 Muskelrock Fest @ Tyrolen, SE 30/05 Hamburg, DE - Bambi Galore 31/05 Desertland Fest @ Pumptrack, Berlin DE 01/06 Prague, CZ - Modra Vopice 02/06 Göppingen, DE - Zille 03/06 Düsseldorf, DE - Pitcher 04/06 Rotterdam, NL - V11 05/06 Heerlen, NL - Nieuwe Nor 06/06 GockelScream Fest - near Dresden DE 07/06 Battle Cry Fest @ Turock, Essen DE

Electric Highway Festival 2025

The Electric Highway Festival takes place on April 4 & 5 at Dickens (1000 9 Ave SW) in Calgary, Alberta. Here's the full line-up:

Friday, April 4, 2025

Castle (San Francisco/Vancouver)

Buffalo Bud Buster (Calgary)

Blacksmith and Brewer (Vancouver)

CHÛNK (Vancouver)

Hydracat (Edmonton)

The Astral Prophets (Calgary)

BUNS (Calgary)

Doors 5pm – Show 6pm

Saturday, April 5, 2025

Bison (Vancouver)

La Chinga (Vancouver)

Fever Dog (Southern California)

The Getmines (Vancouver)

88 Mile Trip (Vancouver)

Lover (Calgary)

GEOFF (Calgary)

Doors 5pm – Show 6pm.

Advance 2-day passes are available for $75. Advance single-day tickets are $40 for Friday and $45 for Saturday.

Festival passes and single-day tickets are available at www.theelectrichighway.ca/festivalstore/.

Stay up to speed with the festival with updates right here.

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~By Doob Solo~

With a basis in stoner doom's trademark tones, textures, and tempos, Stone Disciple's assorted influences amalgamate into bittersweet compositions with memorable melodies that might linger in your ears long after the music has ended.

The self-styled "doom rock" act from Denver embodies the best parts of the underground ethos. Originally assembled in a basement practice room, duo Jared Martinez (guitars, lead vocals) and AJ Rothermel (drums, vocals) are propelled by a strong DIY ethic and healthy ambition to elevate their act to progressively higher levels of sonic expression.

Today, Doomed and Stoned shares our interview with Stone Disciple and the debut of their new acoustic track, "Alone." The reprised single offers the listener a smooth and nuanced trip with resonant vocal harmonies and a touch of Americana nostalgia. (Track debut begins at 32:08)

Follow Stone Disciple on Bandcamp for music and merch, and stay up to date with gigs and more via Instagram.

Stoner Thrash by STONE DISCIPLE

The Wanderer by STONE DISCIPLE

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By DoobSolo

What’s heavy, fuzzy, and charging straight at you with the energy of an unchained berserker? It’s psychedelic doom four-piece ACID MAMMOTH from Athens, Greece!

While blatantly (and admittedly) rooted in Black Sabbath and psychedelic culture, Acid Mammoth has had a unique and recognizable sound since their inception in the mid 2010’s, set apart by hypnotic witchy vocals, ear-bending leads, and beastly fuzzy riffs and rhythms that pound like a prehistoric megafauna caravan.

In this interview, ride along with guitarist/vocalist Chris Babalis and D&S’ Doob Solo on an enlightening tour through the primal origins, promising future, and colossal heart of the band.

You can check out Acid Mammoth’s discography and upcoming live dates at the Heavy Psych Sounds website.

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~Doomed & Stoned Interviews~

By Doob Solo

HIGH REEPER lead guitarist Shane Trimble meets with D&S contributor Doob Solo for an in-depth, lively interview with a bit of sarcasm, a few laughs between friends, and some unexpected show-and-tell.

Take a full one-hour ride from the 1970s to present-day to get the lowdown on High Reeper's earliest origins and on their new album Renewed by Death, including revelations about the band’s name, album artwork, and primary inspirations for their new songs.

In our favorite section of this interview, things get poetic when Doob spills her raw opinion of Renewed by Death while Shane listens and backs her on a vintage instrument. Curious? Watch and find out how it manifested!

High Reeper's fresh album Renewed by Death emerges October 4th on Heavy Psych Sounds Records.

SOME BUZZ

High Reeper is a heavy metal band from Delaware/Philadelphia. Shortly after forming in 2016, they were signed to Heavy Psych Sounds Records and have since released two full-length albums and one split EP. They supported their first two releases with almost 90 dates over three tours in Europe alone, including stops at HPS Fests Rome and Innsbruck, Desertfest Berlin and Antwerp, headlining their venue at Desertfest London, Esbjerg Fuzztival and many other killer shows abroad and in the US.

Originally with a sound deeply rooted in modern stoner metal while still giving a nod to classic heavy metal records, High Reeper’s sound has continued to evolve with each LP and through lineup changes. The result of which helped produce their upcoming 2024 full-length length which is a 35-minute assault of brand new metal that finds the band looking clearly forward while at the same time exploring their influences from the ''80s and early 90s.

Their third studio album 'Renewed By Death' (2024) will see the day in the fall on Heavy Psych Sounds. It was produced, recorded, mixed and mastered by Shane Trimble at the band’s brand new studio Sletner Sound, in Wilmington Delaware with Justin Di Pinto also engineering. The cover was done by Solomacello.

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Longtime scene musician and producer TONY REED meets with debut Doomed & Stoned contributor Doob Solo for an interview that meanders through Reed’s prolific career.

Have a seat with these two heavy rock heads as they talk about minimalist mods and retro recording techniques, gear, lyricism, and Tony’s favorite ways to connect with you, the audience.

We hope you enjoy this deeper look into his musical life with Mos Generator, Hot Spring Water, Stone Axe, Big Scenic Nowhere, and more, with a few Pentagram teasers thrown in.

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~By Billy Goate~

Artwork by Anni Bouchner

'Elektrik Ram' (2023), the latest spin by RUFF MAJIK, is a quintessential rock 'n' roll album. The motley collection of tracks has an Adams Family feel, grabbing your attention straight away with the snaggle-toothed "Hillbilly Fight Song." A rude, jangly welcome to the world of rehab and mental health, when COVID-19 stalked the world, keeping us fearfully isolated in our desolate rooms, going out of our everloving minds.

On his path to freedom from the clutches of chemical addiction, Johni Holiday encountered a host of strange, alluring, and belligerent characters. The songs act as "sketches of the many faces he saw inside the white walls of the hospital." No surprise, then, that the first one is brash and in your face. "Shut your mouth, you'll catch a fly," a most disagreeable fellow warns, insisting that you "sit down before you bleed." His vocals, cast in the tradition of Axl Rose (Guns N' Roses) and Dan McCafferty (Nazareth), snivel and snarl with the portrait of a man you better not cross.

"She's Still A Goth" is an effective, up-tempo ride through the night. In my recent interview with Johni Holiday (which follows below), I asked him if this was a person he met in his recovery. He said it was emblematic of his wife, who has been a continual support and encouragement during the long, slow road to wellness.

"Mourning Wood" slows the pace for a doleful, introspective mood. Things pick right back up, though, with the footloose "Rave to the Grave,". The Monster Mash vibe really pops alive, thanks to spooky touches from an '80s-style synth. I was ready for a beach party after this one. Ooo-weeee-ooo-ooooo.

The great thing about Ruff Majik is just how they joyfully borrow from different rock and metal traditions, stick 'em in a blender, and make due with the pieces, like a Salvador Dalí canvas. "Delirium Tremors" is such an example, a wide-ranging cartoonish soundscape that teeters on the edge of sanity (as we'd expect from someone going through actual DTs).

"Cement Brain" brings us back into the warm, swampy southern-stoner territory that Ruff Majik is known for, here utilizing a trip-hop beat that is so welcoming to the ears. The keyboard accents work quite well, but it's those gorgeous twin guitar harmonies that really get to me, especially following this impassioned plea: Please don't let me go back again. Don't let me fall off the fucking wagon.

Title track "Elektrik Ram" has one of those take the money and run kind of rhythms, not unlike "Dread Breath" from 'Tårn' (2019) -- one of my top Ruff Majik tracks. While the band provides an underlying sense of agitation, the lyrics are drenched in despair and regret:

I used to be a blue eyed boy I used to be so full of joy Now I'm a cog in the machine A random access memory Just a counterfeit of me And I've got nothing to give

A number of the tracks are prefaced by the sardonic wit of horror actor Vincent Price. This works especially well in the case of "Queen of the Gorgons," which plays out like an ultimate tribute to those classic monster movies. It's a great song, too -- one of the standouts of the album, joining "She's Still A Goth" (both inspired by Johni's wife and Ruff Majik album artist Anni Bouchner). Let's pause to respect that two of the record's most successful tracks were inspired by love.

"A Song About Drugs (with a Clever Title)" is a weird, quirky, lopsided march that one might expect to hear in some dimly lit cantina in a galaxy far, far away. The shortest of the 11 tracks, I'd love to hear Ruff Majik do more in this vein. Meanwhile, "Shangrilah Inc" is a soulful, slow blues number where Johni's grimacing vocals really show us what they can do. Lyrically, the song may be a dig at the commercial industry that's grown up around Mental Health.

The last track, "Chemically Humanized" is the longest and most remarkable track on the record, thoughtfully choreographed from beginning to end. There are some interesting literary references in the lyrics, as well. I tried to steal the Devil's note -- a reference to the dreaded tritone, once feared to drive people mad. I even borrowed David's chord, by contrast, draws upon the story of David in the Bible, whose harp playing was legendary for driving away King Saul's evil spirits. Our protagonist laments that none of these things -- not even a seance and crystal ball -- could relieve his tormented state. "I wish I was dead," he confesses, "I'm a ghost after all."

Quirky and enigmatic, Elektrik Ram showcases Ruff Majik at an exciting stage of creativity. Because of its thematic nature, the album begs to be considered not on the first track or even the singles, but as a collection united by an overarching theme.

Ruff Majik's new album is out now in digital and vinyl formats via Mongrel Records (get it here). Stick it on a playlist with Queens of the Stone Age, The Heavy Eyes, and The Tazers.

Give ear...

Elektrik Ram by Ruff Majik

Interview with Johni Holiday from Ruff Majik

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~By Silvi Pearl~

Her appearance on our screens and stages flickers like a shining star. Her look -- both mystical & captivating. Her voice -- hypnotic & angelic. Her poetry -- emotional and sorrowful.

I hereby dedicate these lines to FRAYLE, a band hailing from Cleveland, Ohio. The enchanting artist and singer of this band is Gwyn Strang. She gave me her valuable time over the summer, answering some of my questions and feeding my curiosity.

As a supporter of a stronger female posture in the underground, Frayle were always known to me, but the first time I came into contact with their music was when I held the superb sampler Women of Doom in my hand. This charismatic woman (along with Chelsea Wolfe, Emma Ruth Rundle, and company) should definitely not be missing in the ranks of the top artists in these times.

Frayle - "Bright Eyes" (music video)

But what is it exactly that attracts me and certainly many others, so magically to Gwen?

Her appearance may seem grotesque, even confusing, at first sight. You feel the need to watch on and listen more. As a designer, she adeptly knows how to combine her creations with her music.

Since Frayle's inception, the band's creativity has really bubbled. The formation came about when guitarist Sean Bilovecky (formerly of now-defunct Man's Ruin recording artist Disengage) was gifted with some music-software by his partner and singer Gwyn.

To the doomy sound of his guitar, Gwyn sang perfectly and naturally, and the two decided without further ado to form Frayle. That was 2018. Shortly after their formation, they shot themselves into the dark hearts of fans everywhere with the debut of ‘The White Witch’ (2018). What a blazing fire this creates. None of them expected this!

Now the time has finally come. The wait is over, because the second album 'Skin & Sorrow' (2022), which we all have been waiting for eagerly, is released today.

Frayle - "Skin & Sorrow" (music video)

We are looking forward to ten poignant tracks, with Skin & Sorrow released this weekend through the joint efforts of Lay Bare Recordings and Aqualamb Records. Frayl remain stylistically true to their firstborn EP. Bittersweet, gloomy, and heavy are the riffs, enhanced by Gywn's angelic voice.

However, what always hits me to the core with almost every track is the eerily heavy and gloomy lyrics. They take you by storm and you finally feel understood! Any fate, any low blow, and any still so dark hour is united with a sound that somehow encases both morbidity and lust for life. And what can I say? Sometimes "I need something darker than black." Frayle stands for alternative, witchy, Goth style doom and heavy rock.

Skin & Sorrow by Frayle

Additionally, I would like to point out yet another artist. Nobody less than LARA from Subterranean Prints drew and created illustrations fitting to the new album. You can check out the design they did for Frayle here and check out the band's panorama of designs here.

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~By Tom Hanno~

You know an album is gonna be kick ass when Dan Lorenzo is helming guitar duties, it's just a matter of fact at this point. However, when you add in drummer Johnny Kelly of Type O Negative, Danzig, A Pale Horse Named Death, Seventh Void, Kill Devil Hill, and many more, then you know that there's about to be perfect drumming behind Dan's wealth of guitar riffs. Enter PATRIARCHS IN BLACK, whose first album, Reach for the Scars, will be out July 1st.

I've been exchanging emails with Dan for quite some time now, and he's one of the most prolific artists out there right now. He was in Hades back in the day, followed by Non-Fiction, and has worked with Jason McMaster (Dangerous Toys) in Cassius King, Nathan Opposition (Ancient VVidom) in Vessel of Light, and Bobby Blitz Elsworth (Overkill) in The Cursed. However, Patriarchs in Black doesn't rely on just one great vocalist like the four bands that I just mentioned, instead Dan and Johnny reached out to several vocalists to help them complete the vocal aspects of these songs, and they picked some of the best guys imaginable.

The singers include Karl Agell (who sang on my favorite C.O.C album, Blind), John Kosco from Dropbox, Dewey Bragg from Kill Devil Hill, Rob Traynor of Black Water Rising, and Dan Nastasi from Dan L's Non-Fiction days. Each of these guys bring in something different and unique, which helps make these songs all the better.

"I'm the Dog" features Karl Agell on vocals, and in my opinion it is the best song on the album. Karl sang on the only Corrosion of Conformity album that I truly enjoyed from start to finish, so his involvement with Patriarchs in Black makes me very happy; and he sounds amazing on this track; there's just something about his voice that hits me perfectly.

The verse riff is slightly staccato, and its sharp attack is felt as much as it is heard. I love the riffs Dan writes, they're always doomy, Black Sabbath inspired heaviness. Johnny also crushed it on the drums, but that's not surprising at this point in his career, he's adept at playing exactly what the songs call for in any project that he's involved in.

"Sing for the Devil" is up next, and features the vocal talents of John Kosco. The nice thing about John's approach here is that it reminds me of Pantera a little bit, more on the subdued, almost spoken type of stuff that Pantera used perfectly, but he also does much more than that on this song.

Again, the music here is excellent, showing Dan using a groove filled riff that oozes with a doom feel mixed with an almost southern metal twist; Dan also plays the bass track on this song.

Another standout is "Built of Misery", which is another of the songs that Karl sings on, and is the peak of his contributions on Reach for the Scars; he just sounds so damned good here.

The music is full of groove, and utilized a serious southern metal swagger to help accomplish that. I think that my favorite riff is when that single note main riff turns into more of a power chord structure, that little change adds tons of power to the original part.

Releases July 1st (get it here).

Interview with Dan Lorenzo of Patriarchs in Black

The obvious first question is how did you and Johnny get together to create this project? Bobby "Blitz" Ellsworth (Overkill) had a little to do with that, correct?

Let’s not give my good friend Bobby Blitz too much credit! ( laughs) I’ve been a fan of Johnny’s for many years. I thought it was cool that he would even acknowledge me honestly. In the summer I try to play a lot of basketball. Then in the late fall I start picking up my guitar more regularly. I wrote the music for...maybe ten or eleven songs for the next Cassius King record with Jason McMaster and Jimmy Schulman. Ron Lipnicki is our drummer. I kept writing and writing and as we were moving along, Ron was kind of busy with some cover bands and work and I have the attention span of a nine year old boy. ( laughs) I have to keep moving. So, I was thinking of reaching out to Johnny to see if he would be willing to play drums. I mentioned it to Blitz and Blitz texted me, “Johnny is the perfect drummer for your riffs”. I sent Johnny a few songs and he agreed to record them. Now I had to think of a name for our project.

The band name is befitting of all the talent that's spread across the album, how did you settle on Patriarchs in Black?

As soon as Johnny tracked maybe one song I thought of the name. It just came to me. I use Jimmy Schulman as my confidant. Jimmy said, “That’s a great name.” I ran it by Johnny and it was settled; Patriarchs In Black.

I always ask artists how they create their music, especially with Covid throwing wrenches in all things over the last few years. I know you write a ton of riffs on your own, but did Johnny contribute to the music beyond playing the drums? And did you work together in person, or do the file sharing thing in order to record this album?

I’ve recorded seven albums in the last five years. And since the first Vessel Of Light EP which Nathan Opposition and I recorded together in the same room I recorded it this way. I go to JROD Productions in New York and I record my parts alone. So, basically I hand a finished, arranged song with all my guitars to Ron Lipnicki or in this case Johnny Kelly. After Johnny records his drums we send that to a singer and bassist.

All of the vocalists did amazing work on Reach for the Scars, Karl Agell is my favorite of the bunch, but each of them are exceptionally talented singers. What criteria was used when choosing which guy was better suited for each song?

A guy named Patrick Whitaker put me in touch with Karl. Karl actually jumped up onstage with my old band Non-Fiction in 1992 or 1993 in Raleigh to sing Sweet Leaf and then I didn’t see Karl again until the New England Stoner and Doom Festival four years ago. Johnny and I gave Karl what would become "Demon Of Regret," and while we waited for Karl to track his vocals Johnny and I both had the same idea simultaneously; Why don’t we ask friends of ours, different singers and bassists to play on Reach For The Scars. Johnny got Dewey Bragg and I reached out to the other singers. No real criteria other than they had to have done something before. Meaning, we weren’t looking to “discover” anyone.

Demon of Regret by Patriarchs In Black

I think that "I'm the Dog" is my favorite song, it's insanely memorable to me, and Karl sounds so good on it. What track would you pick as being representative of what Patriarchs in Black are?

That’s my favorite too, probably, but I’m REALLY happy with all of them.

Did you have control over which tracks were singles, or is that a label call? This is something I've often wondered throughout my years of mainlining music like it was heroin lol.

We pick the singles.

You close out the album with a killer cover of Led Zeppelin's Kashmir, and you guys give it new life; especially for a song that I feel has been beaten to death by radio for years. Why did you choose this cover, Jimmy Gnecco to sing it, and what made you feel that it would be a great way to end the record?

Let me think...I guess because I’ve always wanted to have Jimmy sing a song with me. Johnny loves Led Zeppelin and it’s not a song the band routinely covers. Eric J. Morgan was buds with Johnny and he and Jimmy knew each other previously, so it was perfect.

Are there any thoughts on playing any shows, or is this a studio project only?

Karl and I are dying to do shows...but Johnny is playing most weekends with Quiet Riot and everybody in the project lives all over the US. It would be tough, but we are trying to figure something out.

You're an extremely prolific songwriter, and I assume that you're already plotting out your next album. Would that be an accurate assumption? And if so, what band is up next?

I wrote the music for the 2nd Cassius King and I already have a few songs for what I hope will be the next Patriarchs In Black album.

I'd like to thank Dan for taking the time to answer these questions, and I also want to suggest that you all go check out Vessel of Light, Cassius King, Hades, Non-Fiction, and this upcoming Patriarchs in Black album. All of the bands are incredible, and Dan writes some very cool, doomy, Black Sabbath influenced riffs … which is never a bad thing.

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