HELL has come to your little town


HELL – HELL (Sentient Ruin Laboratories 2017)

I’m not sure if this is a start of a new trilogy or something entirely different, but what I do know is HELL is back with a brand new full length. It’s an absolute monstrous slab of metal.

Much like Dante, listening to this album will take you through the many levels of HELL. The start of this album is very noisy and very sludgy. Opening track “Helmzmen” has some heaviness very akin to Primitive Man. For those of you who are not familiar with heavy act Primitive Man, first and foremost go make yourself familiar, and second of all, they have the weight of jumping into quicksand while wearing concrete shoes. “Helmzmen” captures that sound and feeling exactly. It is a track that lets you understand what slow heavy doom sounds and feels like. It’s a very enjoyable album from the get go, but it isn’t until the middle of the album that it really hits my sweet spot. The triple attack of “Machitikos,” “Wandering soul,” and “Inscriptus.” These songs are home to the best riffs on the album (in my opinion of course), and dare I say they are even kind of catchy? They also hold some of the more black metal moments that HELL does so well. This album holds all kinds of dreadful sounds. The longest track on the album “Victus” showcases a little bit of all of them. This track even has a string section that makes the track extra special.  The new music by HELL is emotional ride that is a very demanding listen that doom lovers will be thankful they spent the time with. It is very aggressive and very solemn. For the best listening experience we recommend you lower your head and just let it take you.

A lot of these songs are available for streaming, but we recommend that you take this album in as a whole from start to finish if at all possible.



Tapes available through Sentient Ruin Laboratories 

Here’s a link to “Matchitikos” 

HELL has come to your little town

Attalla – Glacial Rule


Attalla – Glacial Rule (2017)

A glacier is a slow moving mass of ice. They are massive, dense, and move very slowly under their own weight. If that’s the case then Attalla have chosen the perfect name for their new full-length Glacial Rule.

The opening track is “Butte Des Morts” which is a lake in Wisconsin ,which is where Attalla are from. This translates to “the hill of the dead” it would appear that Attalla have found the best way to be inspired by their surrounding area, and that is by creating songs with massive riffs. “Butte Des Morts” is a fantastic opener. The first riffs are huge. The band has a lot of groove in this track where the drums work perfectly with the riff. It is guaranteed to get some people moving. My first impression of this band is they sound a bit like The Sword’s early work but perhaps a bit slower. The vocals are very stripped down and work great for this band. They have some grit in places and are very polished at other times. The more this album plays the more I like the vocals. The second track, “Ice Harvest” is the longest on the album and features some impressive lead work. Throughout the whole album there are just massive slow moving riffs that work well with the glacial theme. The album is full of groovy moments and shows a band that are on the same page. The band were once again clearly inspired by their homeland with “Devil’s Lake” which is another banger of a track as well as a shorter and faster one on this album. It is the perfect lead into the closing track. Which is the title track “Glacial Rule,” another massive track. These riffs have a “prehistoric might” and are the best on the album. The ones that come before just add to the journey of coming to the end of “Glacial Rule.” This album is a journey through an icy landscape that will be seen and felt. It is welcome to multiple listens. This album should call to fans of doom and massive riffs.


Glacial Rule releases on March 24th check it out on Bandcamp or at the Obelisk 

Check out Attalla on Facebook 

Attalla – Glacial Rule

Figures emerge: Interview with Jeff Owens of Goya

We have talked about Goya on Abusement Park a few times, but this time we invited Jeff Owens vocalist/guitarist of Goya into the inner sanctum for a chat about the new full length Harvester of Bongloads.



How is it going Jeff? Thanks for doing this. Why don’t you just go ahead and tell us a little bit about Goya and how this band got started, as well as why you play this kind of music.

Jeff: It’s going alright. Just trucking along, dealing with the ups and downs life throws my way. I like to refer to Goya as a 3-piece metal band, though we tend to get pigeonholed as stoner metal or doom metal, which is fair, since we fit into those genres for the most part. I started Goya back in 2011 after a revelation that I had been playing in other people’s bands my whole life, and had never really done what I wanted to do. I was in a punk band and an Iron Maiden/Thin Lizzy-esque Nintendo cover band at the time. I enjoyed both of them, but didn’t feel like I was able to fully express myself, so I started writing riffs and lyrics for what would become Goya. I found a couple of guys who were on the same page, and we went from there. As far as why this kind of music, I suppose it’s just what comes naturally to me.

Alright so tell us about this new full length Harvester of Bongloads. Is this the Metallica reference we all think it is? You had a fairly busy year last year with the ep’s, how long have these songs been in the works? I believe you mentioned before that this is a concept album. Do you care to go into any details on that?

Jeff: It is absolutely a Metallica reference. Credit where credit is due, a while back The Atlas Moth put out a record titled “Master Of Blunt Hits”. When I saw that, the title for this album just sort of popped into my head, and I knew it had to be the name of something. For a while, we were calling Omen by that name, but it soon became evident that it had to be the album title. These songs have been worked on in various stages for quite some time. I have early demos of Omen that date back to some time in 2012, and I believe the other tracks began to surface some time in 2015. Germination, Misanthropy, and Disease took concrete form much sooner than Omen. We have been performing the second half of the album for close to a year now. We were honestly still sort of writing Omen when we got into the studio. In fact, I recorded vocals for it, went home that night and rewrote the second verse, and then rerecorded some parts the next day. Harvester of Bongloads is, more or less, the second and third act of a story, with the first act being Rites of Hashage (From 777). The concept of the album may or may not be easily decipherable, but I do have a very clear story in mind that I feel is represented well once you know it. There is this dude who gets strange psychic powers when he smokes weed. He realizes that his powers can potentially have a positive effect on the earth. Coinciding with this revelation, Satanic aliens come down from outer space and give him the power to grow crops that can turn people into his followers. As planned before he had a weed cult, he tries to use these newfound powers to make the world a better place. Very quickly, he realizes that the powers that be and the majority of humankind in general not only make that difficult for him, but flat out don’t want the world to be a different or better place. As a result of this knowledge, he decides to use his army of weed demons to destroy the world, and that’s where the second half of the album comes in. The second half is mostly an expression of his hatred and the destruction caused as a result of it.


I love it! So this is not your first attempt at a concept album?

Jeff: It’s not, no. 777 is not a concept album, despite the opening track tying in with Harvester, but Obelisk definitely is.

The story of Obelisk is not told in a linear fashion, as I felt that made sense with the material. It is a sort of twisted romance, and can be summed up relatively easily, though I’m a little more guarded about all of the details than I am with Harvester. A soul escapes from Hell, and three demons (one greater, two lesser) attempt to retrieve it by possessing the bodies of various murderers throughout history. Somewhere in there, the greater demon returns to Hell for an extended period and leaves the lesser demons to do the work, at which point they say fuck the job, and decide to do whatever they desire. When the greater demon returns, it sees what they have done, and absorbs them into it, ultimately finding the escaped soul and returning to Hell with it. There’s some more to the story, but I prefer to leave the rest to interpretation.

Okay so for Harvester, I have heard people say they think it’s a more stripped down approach, and I myself said it sounded like an extremely cohesive Goya album. What do you think about that and what was the approach to writing and recording this one?

Jeff: One big difference between this album and our first two is the length. When we were making this album, I was adamant that each side be right around 20 minutes. I looked at all of the albums I love from the seventies, and they were very much made for vinyl (particularly Sabbath records), so we followed that model. I really like that approach, and I think it’s the one we will be taking from here on out, though anything can happen, of course. Another difference is that we recorded our first two LPs in our rehearsal space, which was a medium-sized warehouse at the time. This album was recorded in the studio at Switchblade Sound, so things sound a little bit tighter, I think. Other than that, the recording approach was very similar. Joe has been working with us from day one whether it be as a member of the band, or recording us, so he knows what we’re going for. We tracked bass, drums, and one guitar live, then I doubled the guitar and added vocals. I will say that we didn’t add quite as much on top as we did on Obelisk. There are only one or two separate lead tracks on this album, I believe, and the weird noise stuff at the beginning and end of Omen. For the most part, we tried to be pretty faithful to how we play the songs live, which is what we have done in the past. I think the fact that it is a 40-minute album makes things a little more precise and refined, despite the fact that it is only 4 tracks. We were very conscious of how many times we repeated certain riffs, and even the speed at which we played them.

Speaking of recording I noticed you have credit as producer. Do you have a lot of experience with that type of thing? Also I thought your solos on this were outstanding especially the ones in Omen. What’s your approach to soloing?

Jeff: I only really have experience with producing when it comes to Goya records. Again, Joe knows what we’re after, so he and I tend to spend a lot of time working together and figuring out all of the little details of the album.

When I started Goya, a lot of my solos were just sort of by the seat of my pants type stuff. As it’s gone on, I prefer to specifically write out solos. What that process usually looks like is me recording a small section I solo over, and just playing that section on loop for hours, getting parts of the solo down here and there, until it finally all comes together. That gives me a foundation to work on from that time until we hit the studio. Sometimes, I still don’t have things hammered out when I hit the studio. I also will usually pick a single album I love to listen to a ton in the weeks before recording. With this session, it was Black Sabbath s/t, which is I feel is fairly evident in the solos on Omen.

Also speaking of vinyl I believe you’re releasing this one yourself through your label Opoponax Records. What made you start that? You also released the debut Toke album. Are you planning on putting out any other releases from bands that are not Goya?

Jeff: Opoponax was initially started out of necessity. I wanted 777 to be out on vinyl and I didn’t have any connections, so I looked into pressing records and that was that. At the beginning of 2016, I decided to take it a little more seriously and took out a loan and started an LLC. I always wanted to run a record label as a kid, so it’s been great bringing that dream to life. No regrets, so far!  I do have another non-Goya release coming out. Gray Gallows‘ “Underlord” will be out by the summer. Other than that, no current plans for any non-Goya releases. I get a lot of bands messaging and emailing me, of course, but the only bands I put out aside from my own are my friends’ bands, bands I’ve seen live and thought were amazing, or both. Maybe next year I’ll have more money to throw at releases, but at the moment, 2017 is pretty much booked for Opoponax.

One thing I have to ask about is the album art for Harvester of Bongloads. Especially since there is such an obvious tie to art with the band name which I assume is a reference to Francisco Goya and not the food company. I think it looks amazing. How did you end up having Hunter Hancock do it and how close did you work with him on it?

Jeff:  Hunter worked with us back on 777, and he did a killer job on that, so it only made sense to have him do another album cover for us. I’ve been friends with Hunter for a years, and he’s always been a really gifted artist. With this release, I honestly didn’t give him much direction. I just gave him demos and lyrics as they became available, told him the concept, and asked him to do whatever he thought made sense. I’m a huge fan of Aubrey Beardsley, and I think Hunter really channeled some of his style with this artwork, so I couldn’t be happier.

You guys covered Nirvana and Marilyn Manson. How big is 90’s music an influence for you guys?

Jeff: I don’t know whether or not it comes across in the music, but the answer is: huge. Kurt Cobain is the sole reason I was interested in playing guitar. I turned 12 in 1990, so my teenage years were mostly filled with 90s music. Nirvana, Soundgarden, NIN, Alice In Chains, Marilyn Manson, and Pearl Jam were found in my Discman throughout the majority of my high school years, and I still like all of those bands. My tastes have continued to grow and evolve over the couple of decades since high school, but that stuff still resonates very strongly with me.

And for the final question: Goya stars in a sitcom where you live next to grumpy old man who is played by Willem Dafoe. What do you do to drive him crazy? Bonus points if you come up with a title for the show.

Jeff: Plot twist! The grumpy old man Dafoe plays is HIMSELF! We taunt him by acting like various characters he has played, dressing up like Green Goblin or Nosferatu (the deadliest foe!), throwing pumpkin bombs at him and sucking his daughters’ blood. He has catchphrases such as, “You blasted scalawags,” and, “How many times do I have to tell you lousy scamps? Stop eating all of my mayonnaise!” In the last episode, we all take scissors to our genitals and he has to clean up the blood we get all over his carpet. It ends like every episode does: the four of us have a good smile and laugh about our antics together.

The show is called “Dafoe and Dafriends”.

Upcoming Tour dates with Aneurysm



 Harvester of Bongloads drops March 3rd. Pre-order the digital album and Stream new Track “Disease” here

 Pick up some rad merch at Opoponax as well.


Figures emerge: Interview with Jeff Owens of Goya

Fade Away Into Oblivion

harvester.jpgGoya – Harvester of Bongloads (Opoponax Records 2017)

Those familiar with Goya know they are a three piece doom band from Arizona. Those who are not familiar with Goya may not know what to expect out of an album titled Harvester of Bongloads. If this is the first time hearing of Goya you have arrived at the right time because this is their  most complete release to date. The full length is set to drop March 3rd and if you like Stoner/Doom metal you are going to want to be all over this one.

Harvester starts out with a very ambitious 20 minute long song entitled “Omen” that consists of three separate parts. This will set the tone of the album and is great start to the journey. The first listen to this album is full of surprises. The build up in this sets up the coming of the first distorted riffs nicely. It’s best to just sit back and take it all in at this point. This makes up for an incredible first half of an album. The second half of the album is three separate tracks one of which is an instrumental. The flow is not interrupted from track to track and they all work together almost seamlessly. I think these are some of the best guitar solos on any Goya release to date. It almost feels like each one of these tracks gets more and more pissed off than the next. Germination serving a intro to Misanthropy on High. The final climax being Disease which is in my opinion the most aggressive track on the album and is a fantastic bookend to close Harvester when compared to the build up created at the beginning with Omen. This album also appears to tell a story about an individual who is just pissed off at the world, and perhaps tired of being alive. This is very much reflected in the lyrics and mournful vocals.

It seems to me that the three members of Goya were completely on the same page of this release. There is a solid foundation laid. This is doom metal so of course there is a huge focus on the riffs, but there is such a solid foundation made by the drums and the bass. Which all together makes for some incredibly heavy moments. These moments are so heavy and slow they may need an electric cart to get around a grocery store and I mean that in the best ways.  The thing I have also noticed on my listens of this album is how great the bass lines are underneath the guitar solos throughout this album. they make the solos stand out even more, and should not go unnoticed. There is a certain groove and atmosphere made by this album that just sucks you in because it is so cohesive. My recommendation is to just lay back and feast on this audio. Harvester of Bongloads is without a doubt an album meant to be enjoyed from start to finish. Which proves to be a very easy and enjoyable task.


This album isn’t streaming on  Goya’s  bandcamp yet but keep a eye on it and their facebook. March 3rd is right around the corner.

Keep up with us here we have something else cool involving Goya coming up soon.

Fade Away Into Oblivion

A fire side chat with Spirit Adrift

spirit adrift bannerWe are here  with Nate Garrett, the big kahuna of doom metal outfit Spirit Adrift.  You may remember Spirit Adrift from when we reviewed the EP Behind – Beyond. We will be talking about the debut full length Chained to Oblivion (due out August 12 on Prosthetic Records), as well as the man himself and whatever else we see fit.

 Okay well thanks for agreeing to do this with me. I guess we’ll just jump right into it… The question that everybody has been wanting the answer to is, do you dip your French fries or cover them?

 SA: I dip everything. When I can, I even dip salad. I forget where I heard this, but somebody that does a podcast or something said it. Maybe it was a movie. But if you get your salad dressing on the side, you can get whatever part of the salad you want on your fork, and then control exactly how much dressing is on it. You have total control over the flavor of each bite. So I’m a dipper.

I haven’t thought about dipping salad that’s genius. Anyways the last time I did some Spirit Adrift related stuff I had to pretend I didn’t know you. What made you keep the identity secret and what made you reveal it when you did?

SA: There’s a complex answer there that I’m not even sure I fully understand. The short answer is insecurity. Particularly at the time I did the EP, I was newly sober. I had been drunk basically every day for 5 years or so, and drinking hard for almost a decade before that. I just wanted to do the album for me. I didn’t want it to be seen as a “solo project” because I find that to be pretty pretentious. I really didn’t want any attention. I didn’t want to talk to anybody about it. Unless you were in Black Sabbath or Judas Priest nobody should give a shit about your “solo project.” I like stuff like Wovenhand, Dawnbringer, Horseback, Leviathan, and Panopticon. Situations where yeah, it is one guy, but there’s a band name and it’s approached as just a project or a band rather than a “solo project.” I took it a step further and just made up some initials of nonexistent band members. I think what happened is that when I realized it was actually going to come out on a label and get reviewed, I wanted to see what kind of reviews it would get if people thought it was a full band. I’m not really a drummer, so I wanted to see some totally unbiased, honest feedback. Maybe so I could see what I needed to work on for the full-length. Out of all the reviews I’ve gotten to date, nobody has criticized the drumming, specifically, so my plan didn’t really work.

I revealed my identity because I was just kind of over it. I never planned on it being a big deal or some big secret.

I think I read somewhere that one of your favorite things about being in Gatecreeper is that you love death metal but before now have never played in an actual death metal band. Is that how you were with doom until now with Spirit Adrift as well?

SA: That is correct regarding death metal. I’ve played in a band or two that had some parts that resembled death metal. Doom metal and death metal were the first two subgenres that I fell in love with. Black Sabbath – Sabotage and Death – Spiritual Healing are what did it. I have played in doom and sludge bands before. The very first band I was ever in was kind of punk rocky with a bit of metal influence, my very next band was total Black Sabbath and Clutch worship. We covered EYEHATEGOD, Slayer, Sabbath, and High on Fire. So I’ve been playing doom type stuff since I was about 16. I’ve been in every kind of band you could imagine, just not a death metal band, until I started playing with Gatecreeper. (fun fact: we had this conversation on the 41st birthday for Sabotage)

It’s crazy how close the EP and the LP are being released together. It’s also crazy how much progress can be heard between the two. How much time was there between writing and recording them?

SA: Thanks man. For the EP, I spoke to Bob Hoag in May of 2015. He twisted my arm to record with him, but the only opening he had was, like 3 weeks from then or something. I only had one song that wasn’t even really done. So I wrote most of the first song and the entire second song in a couple of weeks, then recorded them in 3 days. Then for the full-length, we booked time in October. So I wrote all that stuff between June and October. We recorded the full length in a couple of weeks in October. Fortunately I had some money saved up, and my fiancé was cool with me being a ghost for that entire time. Even when I was home, I wasn’t there. I was fully absorbed in it. My hands were annihilated 24/7 from the 10+ hour drum sessions and whatnot. I would re-record every instrument on the demos basically every day or every other day. I averaged about 3 hours of sleep for a few months there.

Oh yeah man definitely!

Is this the first time a band has been solely your project? I don’t mean like you playing and writing everything but like it being your brain child and you being the big kahuna.

SA: Not really. I’ve been pretty active in every band I’ve been in. I would say that there’s only been a couple of bands that would classify as my brain children though. One of which was Queen Beast in Arkansas. Don’t get me wrong, it was a collaborative effort for sure, but I wrote the vast majority of the music and even a few lyrics and stuff here and there. That band actually recorded with Sanford Parker in Chicago. Sanford and I are labelmates now (War Crime Recordings) so that’s pretty cool. Sanford is one of a kind. He’s a fascinating and extraordinary human specimen in a lot of different ways. But yeah, I’ve been in more bands than I can count. I would say 2 or 3 of them were my brainchild, and the rest I was a contributor in some way.

Oh! About the recording process! I’m super stoked that you’re working with Bob Hoag on this. I’ve heard you speak highly of him on many occasions. Has he performed on any of the Spirit Adrift songs? Also I know he has tons of vintage gear have you used any of that to record with as far as guitars and amps?

SA: Bob is my family at this point. He’s probably one of the best friends I’ve ever had, and he’s operating on a level that few ever reach. He’s the man. He didn’t perform on the EP at all because I wouldn’t let him. He was super understanding of that. He did perform on the full-length. He does some super high harmony vocals, and the crazy Ayahuasca-tripping Cannibal tribe percussion at the beginning of the last track. You’ll see. We always use a combination of things, but yes. Vintage amps, guitars, recording console, compressors, EQs… basically vintage everything was used at some point. He even has an old Echoplex box. A real one. Jimmy Page style.

That’s awesome I love his ability to record so many different styles with the Take Over And Destroy, Spirit Adrift, Spoiled and who knows what else goes down at the Flying Blanket. What about the live members, how did you go about choosing those guys? What is a job interview for Spirit Adrift like?

SA: Yeah, the funny thing is Bob doesn’t even specialize in heavy stuff. At all. That’s just how good he is. Something I just realized is that Bob and Sanford (the two most pro guys I’ve ever recorded with) both possess the old-school mindset, they just have slightly different angles. Their approaches are more like back in the day when audio engineers were ex-Navy guys, mad scientists, and hard ass 9 to 5 type dudes. Back then, it was just as much hard work as it was artistic expression. Bob takes the entire process very seriously.

There was no job interview for Spirit Adrift. I’ve seen the other guys’ bands, heard their albums, come to understand their character and work ethic. What was really important to me is that I find guys who share the same philosophies and mindset as me, and dudes who have been through some shit. In life and in bands. In the past, I’ve been in bands with great players, but a lot of times the downfall of a band will stem from differences in motivation, work ethic, or attitude. Those sort of things. It was important to me that I found guys who could do the music justice, who were also down to work their asses off, stay humble, and never fall prey to the delusion that we’re going to be rock stars one day. Music means everything to these guys, and everything else is secondary. Same with me.

(Spirit Adrift will be performing live sooner than later with: Jeff Owens of Goya on Guitar/vocals, Christopher Coons of Sorxe on bass, and Marcus Bryant of Gale on drums. All of which do an exceptional job in their own respected bands, so this is quite the live line-up Nate Garrett will be surrounding himself with).

Speaking of working your ass off, how is it different with this band basically getting label support from Prosthetic immediately? Is there less DIY involved?

SA: I paid for everything involving the EP out of pocket, other than pressing vinyl and CDs. So there wasn’t a huge difference there. I think there’s a misconception out there that once you get signed, things change. They don’t, not really. I knew that going in. Prosthetic paid for a good chunk of recording fees and CD manufacturing on the full-length, and I’m grateful for that. Steve Joh, the A&R guy at Prosthetic, and head of War Crime Recordings has been a major benefactor of Spirit Adrift. He’s facilitated so much of it, and I’m thankful to know such a great person and have him in my corner. He literally single handedly made the vinyl release happen. As far as artwork, mastering, music videos, and other things, I paid for or did those things myself. I would say, if anything, I have more work to do at this point than I ever have before, actually. Kelly at Prosthetic US and Duncan at Prosthetic Europe have killed it with the PR. That’s definitely something I’m not used to. So yeah, in this day and age the best situation you can have with a label is a symbiotic relationship. You’re not going to just sit there and leech off of them, and you can’t let them do the same. I still work my ass off every day, and now so do a few other people.

I have actually always wondered about that. You mentioned the artwork, which I love what other Nate has been doing in that department. How close do you work with him in the creation process, also who is “Brenda” can we consider her the mascot similar to Agatha with Black Tusk? (Other Nate being Nate Burns the cover artist for both Spirit Adrift releases)

SA: Nate is incredible. I was drawn to him by complete accident, actually. He doesn’t even know the full story but I realized recently that I thought I knew him before and I did not. I had the wrong Nate. But, like everything else Spirit Adrift related, it somehow worked out perfectly. That work ethic and attitude I’ve been talking about, he has it in spades. He knocked out that art so fast. We worked somewhat closely. There was a ton of communication. I told him as specifically as I could what I wanted, provided a ton of references, and he did his own thing with it. I laughed watching Stranger Things because the X-Men comic they talk about in the first episode is the same one I sent Nate as a reference. The Phoenix. Everything he’s done for me has been perfect, first time. He’s awesome.

You are correct, Brenda is the mascot of Spirit Adrift. Man you’re paying attention! I feel like she’s a nod to Iron Maiden, Megadeth and other bands like that. I might try and get her looking gnarlier and more metal on future releases. Maybe not. Brenda is my mother’s name. She died when I was about 4 months old. The older I get, especially after becoming sober, the more fascinated I become with my bloodline, my relationship to her home state of Kentucky, and my ties to Ireland and Scotland. I think there’s a lot of traditional Gaelic influence in some of the melodies and harmonies in Spirit Adrift, and that was not a conscious decision. Back in the day, the native music of Ireland and Scotland ended up becoming gospel and bluegrass in the Appalachians, which would explain why I’m just genetically predisposed to go ape shit when I hear that kind of stuff. I can’t hear a bad ass fiddle part without wanting to holler and put my fist through something. In a good way. Things got really interesting when I started researching the name Brenda. When I was speaking to Nate about the appearance of our female mascot, I mentioned that I wanted her to be feminine, but also very strong and tough looking. Come to find out, Brenda actually comes from Brendr, which was a male name meaning either “torch” or “sword.” Obviously a strong name. So it couldn’t be more perfect. That’s how everything has been with this project. It just falls into place.

spirit adrift chained to obThe artwork to Chained to Oblivion done by Nate Burns featuring Spirit Adrift mascot Brenda

Damn dude it’s the craziest thing when stuff works out like that especially artistically. I’m a firm believer in things happening for a reason.

What song off of Chained to Oblivion are you most excited for everybody to hear?

SA: Yeah the whole thing has been such a trip. Really just a life-changing experience. I’m a better person because of what I’ve experienced through this music. My views on life in general have improved significantly and I think I’m much more positive than I used to be. It’s surreal and I’m grateful for every second of it.

Psychic Tide was the song I was most worried about. It was the least finished when we recorded, and I remember being so worried that song in particular was going to be a disaster. I had to rework the bass after I recorded drums. Then I had to rework guitar after I recorded bass. Then I had to rework vocals. It was terrifying. It’s probably my favorite song on the album now. The cool thing is that people’s favorite songs seem to be pretty evenly divided. I’ve been hearing a lot of praise regarding the title track. Marzanna is another favorite of mine, it’s definitely the “hit” I think. I’m proud of all of them, truly. I set out to ensure that there wasn’t a single lackluster moment on the album, and I think we did it. I want to thank Bob Hoag for putting up with that insanity… haha

I love Psychic Tide! I cannot wait to hear the rest, just comparing Psychic Tide with Form and Force and how individual both of those songs from one another are has me hyped through the roof.

I guess that was the last of the “serious” questions. Now I have a good friend of mine/reader who got wind that I was going to do this, and she has a question. She of all things wants to know what your favorite book is. Also recommend us a movie and we’re done. (Thanks for the question Autumn)

SA: Oh man, great interview, and that’s a great question to end it!

My favorite book I’ve ever read is Blood Meridian by Cormac McCarthy. Some others are anything by Charles Bukowski, Hell’s Angels by Hunter S. Thompson, and anything by Alan Moore.

The worst book ever written is Infinite Jest by David Foster Wallace.

Y’all are from Arkansas. Sit down and SERIOUSLY watch Slingblade because it’s my favorite movie of all time. It’s easy to clown on, but if you take it seriously it’s one of the most powerful cinematic experiences there is. Billy Bob Thornton also did one right after that called Daddy and Them that’s just as good. Between those two movies, that’s the spirit of Arkansas summarized right there.

Once again be sure to check out Chained to Oblivion by Spirit Adrift when it drops on August 12th. We Promise it’s going to be one of the best doom metal albums this year. This also won’t be the last time you hear about Spirit Adrift from us.


Bandcamp: https://spiritadrift.bandcamp.com/album/chained-to-oblivion

Physical Pre-orders: http://prostheticrecords.limitedrun.com/products/search?q=spirit+adrift


Spirit Adrift Facebook: https://www.facebook.com/SpiritAdrift/

@spiritadrift on Instagram and twitter

Find Abusement Park here: https://www.facebook.com/abusementparkblog/?fref=ts&ref=br_tf&qsefr=1








A fire side chat with Spirit Adrift