Loathfinder – The Great Tired Ones Review | Planet Caravan

Godz Ov War Productions are about to release the debut EP of a band called Loathfinder in April. They are a blackened doom act from Poland, and we just received an advanced promotional copy of ‘The Great Tired Ones’ from the label to review.

Before I go into the tracks of this EP, the first thing that I liked about this album is the fascinating cover art which has been done by Robert A. von Ritter (Outre, Diabolizer, Witchmaster) with the design and colours being the creations of Maciej Kamuda (Nekrofilth, Kingdom, Ectovoid). The mixing and mastering on this has been done by Haldor Grunberg of Satanic Audio (Azarath, Thaw, Blaze Of Perdition).
The very first track itself establishes the slow morbid death/doom metal sound of the EP. The gainy riff has a bit of stoner doom influences of the likes of Sleep and Electric Wizard and the vocals sound along the lines of Obituary’s Tardy. The melodies and the melancholy guitar interludes add a different flavor to the song. The next track “Feast On My Entrails” goes a bit more aggressive and the tempo changes are really good.

“Scents Of Regression” begins with a pounding bass intro and has a oppressive atmoshphere throughtout the riffs. The vocals are also tighter in this one and needless to say this one’s my favourite track from this record. The EP ends with the title track which has a very eerie intro and has melodic guitar interludes like the first song. The guitar works reach a new level here and the melodies have been perfectly placed alongside the riffs.

Overall this is a typical blackened doom sound with the band not going into any ‘experiments’ at all. But they have done a very decent job with the music and the mixing. This is likely to appeal a lot to the old school crowd.

Written by – Spirit Crusher


Sinner – Tequila Suicide Review

Even though front-man Mat Sinner must surely have his hands full with his many projects (Primal Fear, Voodoo Circle, Silent Force, the Rock Meets Classic project), he evidently still finds plenty of time for his band, Sinner, who have been part of the German heavy/ power metal scene in various forms since 1982, selling over a million albums worldwide.
Due on March 31 via AFM Records, ‘Tequila Suicide’ is the German heavy metal band’s eighteenth studio album, being co-produced by Mat Sinner and Dennis Ward (Pink Cream 69), and features Matt on vocals and bass, Tom Naumann and Alex Scholpp on guitars and Francesco Jovino on drums, plus special guest artists such as Gus G (Ozzy Osbourne, Firewind), Ricky Warwick (The Almighty, Thin Lizzy), Pete Lincoln (The Sweet) and Magnus Karlsson (Primal Fear).

The record kicks off with a bang, opening with fast and hard rockers such as “Go Down Fighting”, a fast number with a punkish feel and the title song “Tequila Suicide”, one of the highlights of the album with its energetic licks and catchy hook. The record transitions to a strong midsection, straddling various genres such as the power metal rocker “Dragons”, “Battle Hill” a hard and impactful metal number with a slight Celtic feel, and then going mellow in the fine ballad “Sinner Blues”. The latter part of the album continues delivering hard rock/ metal songs that, while fun to listen to, ultimately fail to stand out much, with the exceptions of “Gypsy Rebels” and the closing track, “Dying On A Broken Heart”, another soft number that gives the album a memorable ending.

Ultimately, while there is nothing on ‘Tequila Suicide‘ that hasn’t been done before, it still makes a worthy addition to the collection of any diehard metalhead, delivering a power packed mix of catchy vocals over frantic guitars and chugging bass, along with some really awesome album art – one hopes that Sinner release their next album soon.

Written by: Akshit Bajaj

Interview With Arnwald

Planet Caravan recently interviewed Belgian “Ambient” Industrial Band, Arnwald! Here’s how it went:

PC: What was the idea behind mixing industrial with dark ambient music?

A: There was no particular idea behind this mix actually. It’s just the sound that came out when I needed to express what I have in my head through the instruments I had at home. But I guess these two styles represent very well the emotional chaos which reigns in my soul for the moment

PC: Not many opt to merge two such diverse things; the first track is a good example of which. Did you want to venture on new grounds by yourself?

A: I didn’t try to invent anything. I just wanted to exorcise myself through music, letting my demons speak through different songs. All the music you can hear on ‘Primal Expurgation’ is spontaneous, like a therapy where you should pour out all your problems without thinking about. I found an artistic way to psychoanalyze myself and if it sounds different than other projects, It’s because everything here is really personal, intimate. And I’m glad that you can notice it.
PC: Is this exactly how you feel about the world?

A: What I feel about the world changes every day. I’m always searching something positive, pleasant but as you can hear on Arnwald: these few rare moments are drowned in a restless dark torment. So, to answer your question, yes, these 11 songs are different ways I feel the world. They are an honest image of my tortured soul at the very moment I composed them. I couldn’t express a lot of beautiful things about it and still have difficulties to do so. But I still fight to find some kind of light through my own hell.

PC: There is a sudden drastic change after the first track, what happened there?

A: Time! When you have to unleash all these feelings devouring you from the inside, it takes time to let all out and the first song is also the very first composition I made for Arnwald. It was like a first date by your psychiatrist, you need to measure how he reacts to the shit you tell him on the surface before you vomit the ugly part. Let’s say that this song was like the first attempt to unveil a little part of this obscure me and “Primal Expurgation” represents the first sitting.

PC: It’s like the industrial revolution taking over the darkness, was that intentional? Or you let it flow?

A: No, that was not the plan but why not? As I wrote before, all here was spontaneous and came as you can hear it. Even if Arnwald means a lot for me and have some kind of a catharsis meaning, I think that this sort of music should let everybody’s imagination work to create their own microcosm around. I’m really interested to read how you feel or describe my music, actually. I would be curious to gather all interpretations the listeners have from it.

PC: The album has drone influences throughout any band or artist specifically influenced you a lot?

A: Here again, I should say that the only influence I had to create this album was myself. Of course, I’m listening to Dark Ambient bands, but I think that they didn’t really play a role here as I only searched the sounds and instruments who really translated my mood at the moment. I really concentrated on my feelings and what I have to spit out through it. The thing is that I even can’t put words on what I need to express and that I really need to find the right sounds and screams to represent it as near as possible.

PC: The vocals are so demented like. How did you manage to portray the darkness so well?

A: Thanks a lot, I guess I succeed to pass a message if you feel them like this. The vocals are like some sufferings escaping my head, a raw way to let you all understand how much pain and despair I have inside. As  an introvert person, I accumulate a lot of very violent and strong emotions through the years and they created like an enormous magmatic chamber inside which is ready to explode. This has a very bad influence on my personality and it throws me in a very thick darkness I’m trying to flee from. I guess to portray something at its best, you need to experience it deeply. I’m very glad that the experience worked for me.