#peval

DOOM SNAKE CULT “Love, Sorrow, Doom”, LP 1992 (The great only album of ‘Blackened’ Doom/Death cult from Las Vegas, Nevada, featuring Ace Still from the legendary GOATLORD)

“In the late 1980s, Doom Snake Cult appeared like a hallucinatory vision in the same Nevada desert that almost simultaneously spawned the likes of their psychotropic substance-consuming brethren, Goatlord. Although it is commonly believed that Doom Snake Cult began as a post-Goatlord project, the truth is that DSC was actually a separate entity that existed alongside Goatlord throughout its existence. In fact, Doom Snake Cult recorded its first and only full-length album, “Love, Sorrow, Doom,” in 1990, one year prior to Goatlord’s recording of “Reflections of the Solstice.” Obvious parallels and direct connections between the two bands exist, not only because of their common location and confessed fondness for psychedelia, but also due to their similar musical output and shared members. Most notably, Ace Still’s immediately recognizable and distinctively harrowing vocals adorn both band’s albums. Additionally, Doom Snake Cult’s guitarist, Nelg, is confirmed to have performed in lieu of Joe Frankulin on Goatlord’s first-ever recorded version of “Sacrifice.” In the same year and manner of release as the North American version of Goatlord’s first album, Doom Snake Cult’s “Love, Sorrow, Doom” album was first unleashed on CD and cassette by JL America in 1992, two years after it had been recorded. Originally, in 1990, the band had signed with Torrid Records (of Exodus “Bonded by Flood” fame) but those plans never came to fruition due to Torrid’s eventual dissolution, and thus JL America became the official label for the release of “LSD.” In addition to Ace Still’s trademark vocal delivery, the album is characterized by a guitar tone that harkens back quite convincingly to that of Hellhammer, which was undoubtedly one of the band’s primary influences. However, what distinguishes DSC from many of those from whom they drew their inspiration was their propensity to dwell in the sub-tempos of Black Doom that force listeners to languish in the darker regions of their consciousness.”