#mo nemo

[doomedandstoned]

Dopelord Guide Us Through Dark World of Psychedelic Horror on ‘Reality Dagger’

~By Willem Verhappen~

Photographs by Mo Nemo

Cover Art by Paweł Mioduchowski

I've expressed my love for horror movies before on this site. One of my favorite sub-genres is giallo, with Suspiria (1977, Dario Argento) being my favorite movie in the genre. Pretty much every scene in the film (starring Jessica Harper as an American ballerina enrolling in a Berlin ballet academy, only to discover it's a front for something far more sinister) is a psychedelic, impressionistic masterpiece. The unnervingly playful soundtrack by Italian prog rock band Goblin adds an entire new layer to the already great movie, making it the timeless classic it is.

So why, I hear you asking, is this mad Dutchman talking about a European cult movie from way before he was born, when he should be discussing heavy music? Well, because the cover of the new DOPELORD EP, 'Reality Dagger' (2021 - Green Plague Records), is a loving tribute to that movie. It's no secret that the Polish band knows their cinema, and a cover like this is clear proof of that. Anyway, I get your point, so on to the music.

'Reality Dagger' consists of three tracks that didn't make the cut for one of my favorite records from last year, 'Sign Of The Devil' (2020 - Green Plague Records) -- Doomed & Stoned's Album Of The Year and number 10 on the Doom Charts Top 100 of 2020. Calling these tracks leftovers wouldn't do them justice. They are undeniably Dopelord, but are clearly different from what's presented on last year's full-length.

Reality Dagger by Dopelord

If "Dark Coils" would be the first Dopelord track you ever heard, you know exactly what the Lublin-based quartet is about. Iommic riffing and thunderous drums are accompanied by psychedelic effects and bass player Piotr Zin's instantly recognizable vocal style, at times accompanied by harmonies from Paweł Mioduchowski (guitar).

"Your Blood" is a track that probably would also do well on a Kadavar record, if it wasn't so god-damn heavy. Here we have Dopelord in its most rocking form. The track is more up-tempo and the guitar solo is absolutely killer. It reminds me of when I first discovered the band, through 'Black Arts, Riff Worship & Weed Cult' (2014). Fans of that record will know what I'm talking about.

Closing off this EP is the title track, "Reality Dagger", and it gives us Dopelord at its nastiest. The opening is real sludgefest, with a slow, ultra-heavy riff and earth quaking drums. It certainly helps that Weedpecker axeman Piotr Dobry adds an extra layer of guitar to the song.

Vocally, we're presented with some of the dirtiest growls to be found in the Dopelord discography. Halfway through the ten minute track, the band shifts pace and introduces a mantra for us Doom Bastards. “All things that are lifting me up, become things that are dragging me down. All things that are dragging me down, become things that are lifting me up” describes a feeling that everyone will recognize and this track is a great way to deal with these feelings. As good as the track is on the record, I'm sure it will do even better live.

In the ten years since its conception, Dopelord managed to become doom metal royalty, with an instantly recognizable sound and a discography filled with records that can already be considered classics. Reality Dagger fits in perfectly. All elements that make the band stand out are touched in these 20 minutes, making it also a suitable introduction to the band, while also pleasing long-time fans.

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[doomedandstoned]

How To Get The Attention of A Record Label

~Bacon's Blog~

Photographs by Mo Nemo

People hit me up all the time asking for the best way to get a label’s attention. As there’s tons of labels out there -- and tons of bands, all in different situations -- what I’m going to talk about here is by no means definitive. That being said, I do think some of what we’re about to dig into is going to help just about any band figure out their label situation. Remember that at the end of the day, getting signed to your first label as a nobody band is based on kindness, gratitude, and engaging with your community. If you can’t be a cool guy in your scene, then nobody’s going to want to work with you. Underpin your approach to labels with the understanding that it’s really as simple as this. Once you’ve got that in your head, you need sick fucking music. Meeting all of these criteria puts you in a position to get signed, get opportunities, and reach that crucial next level.

The first thing you can do to get a label’s attention and make them want to work with you is to start hooking up shows. If you develop a reputation as the guy who puts on cool shows and helps to make sure a certain label’s bands feel catered to, then you’re going to get more opportunities. Eventually, people from the label will start to reach out and express their gratitude. The bands you hook up will tell their friends, who will in turn tell their labels. Fundamentally, most bands are in it to play cool shows. If you show initiative and prove that you can be a part of the world of live music, then you’ll start to get some real traction. It’s important to remember: fuckin’ nobody wants to book shows. If you show that you’re willing to get your hands dirty, people will respect and try to connect with you.

Now, some people reading this article may live in rural areas and maybe can’t put on a ton of shows. It’s easy to book shows when you live near a major market, but what if you live in the middle of nowhere? Well, you can start off by commenting on people’s Instagrams in a cool and friendly way at scale. This means that if you want a label to sign you, you make damn sure you’re dropping comments on their shit every day. The thing is, generic and forgettable comments (i.e. "sign my band") aren’t going to work. They need to be friendly and relevant. If your content is cool and proves that you want to build a relationship, people will take note and you’ll see them interacting back. It’s through showing a desire to make friends with people (and not just use them) that you’re going to get value. When people start to realize who you are and what you’re about, they’ll pay more attention. If they pay more attention, well shit, suddenly you’ve got yourself into a very positive situation — assuming you have the music to back it up.

Here's my secret that has opened a bunch of doors over the years, both for me and my bands. I write about everyone. A lot of people don’t realize this, but I write eight or more reviews every week. I’ve run Two Guys Metal Reviews for almost a decade, and I drop reviews about once a week on Metal Injection. Every once in a while, I sneak some coverage in through other places, such as premiers and interviews. The thing is, I used to write about bands way more often than I do now, cranking out something like fifty pieces of band coverage a month. This led to tons of really sick relationships, the majority of which I still pursue to this day. When I was writing about bands, I was able to open doors. Why? Because I was giving away an asset that everyone wanted: attention. Offering attention is what so much of this comes down to, because when you do it people feel catered to.

Now if none of this seems appealing to you, then start thinking of other things that you can do for bands on the label, or at least things you can do for the label that require no supervision on your end. I’ll explain this using an example from my experience. There are a ton of people who want to help out at Ripple or Prophecy, two labels I work for, but in most cases I know that it would just mean more work for me, because I’d have to make sure that all of their work was done right. I don’t want to have to do that. I don’t want to have to hustle my face off for someone else who’s trying to curry favor with me in the first place.

So think about things you can do for the label’s bands, and think about things you can offer that are easy to implement. This often entails things like graphic design. I know a few people who’ve opened doors by doing shirt designs for free, or even charging a discounted price — either way, they become known throughout the community as "the shirt design guy." I know other guys who’ve managed to get signed by doing layouts for a lot of their friends, then using that experience to start the dialog. Like I said, anything you can do to get people talking to you and seeing that you’re for real, not annoying, and have damn good music is going to be a good thing.

The music business is an unforgiving place and, yes, it sucks that you need to do a bunch of stuff for free to even get your foot in the door. The thing is, these things aren’t guaranteed to get you a label, nor are you guaranteed to not get a label by just staying in your room and cranking out good music. The thing I’m trying to outline here is simply the fact that if you connect with people, sharing your attention and passion for the music, then people are going to want to connect with you. People are going to appreciate the hustle you bring and reciprocate. You can either embrace that or shoot yourself in the foot. Give, give, give and you’ll be surprised how much more receptive people are to working with you. I didn’t invent the rainy day, I just have the best umbrella.

☀

Matt Bacon (IG: mattbacon666) with Dropout Media is a consultant, A&R man, and journalist specializing in the world of heavy metal. Matt also co-hosts the Dumb & Dumbest podcast with Curtis Dewar of Dewar PR.

[doomedandstoned]

Record Label Red Flags

~Bacon's Blog~

  Featuring photographs of Dopelord, IL, and Kazuskoma by Mo Nemo  

★

Bands hit me up asking about the deals they get offered by record labels all the time. They want to know if they should take them, if they will get screwed over, and if all "the rumors" are true. This is a really good and healthy line of questioning. Quite often, I think, bands get label deals and then they just take them. Or they get deals and they assume is all bullshit, because they are operating on the (mostly false) assumption that the music industry is all bullshit. It’s a tricky way to be and the sort of thing that is going to keep you fucked for years to come, unless you figure out how to operate within the system.

That being said, I wanted to talk about some of the things legit labels will do (as opposed to sketchy labels) to provide a sort of blueprint when figuring out your negotiations. Please note that I’m not a lawyer and a lot of this stuff is case-by-case, so you need to use your own best judgement, in addition to consulting with those who are experts on understanding contractual agreements. With that caveat aside, let's dive into this thing.

First and foremost, it’s important to realize that any label worth its salt is going to welcome you asking a lot of questions about the record deal. I know that some bands are afraid of asking questions because they don’t want to look stupid. Here’s the thing: the guys running labels have seen it all. If they get mad at you for asking dumb questions, then you don’t want to be working with them in the first place. At the same time, if they give vague answers or don’t answer at all, it means that either they don’t know or that they are trying to rip you off. If they are coming from a place of complete honesty and transparency, then you know they are going to be easy to work with and there is little reason to doubt what they are doing. It’s simple as that. A lot of folks overthink it, but don’t ask questions. Just go for it in a kind, professional manner.

Children of the Haze by Dopelord

Tied into this, no matter how much you might trust a label or how much you might get along with the guy in charge, don’t be afraid to hire a lawyer. If it’s a smaller release it might not be as necessary, but it’s always a good thing to keep in mind. You can pay a lawyer just a few hundred bucks to check things over. For a multi-record deal, this can save years, even decades, of stress. Are you really that cheap that you don’t want to make sure you’ve crossed your T’s and dotted your lowercase j’s? Are you so proud in your understanding of the contract that you’re willing to risk years of turmoil with a label you never really should have trusted in the first place? Yeah, I didn't think so. Sure it's a pain to consult a legal professional, but it is a struggle we all need to face. If a label explicitly tells you not to hire a lawyer, it’s a scam and you should tell them to fuck right off.

In terms of finances, it once more pays off to be cautious and talk to the label openly and honestly. If they are giving you an advance, then make sure you are understanding how it gets paid off. The odds are it does not get paid off in the way you think it does. There’s a lot of trickiness that has worked its way into the industry over the years, so getting how different options work will be key if you want your band to increase its savvy moving forward.

To gain a better understanding of music contract law, I strongly recommend you start with Donald Passman’s classic, All You Need To Know About The Music Business. This will put you in a position of authority so that you can ask intelligent questions and ensure you aren’t embarrassing yourself or getting involved in contracts that you'll later regret. As a general rule, product deals (while less lucrative) lead to a lot less stress and fuckery in the long run. Just a thought.

Образ Пустоты (Void Shape) by ИЛ

Finally, a good label should be fairly open about their production and release process. If they can’t give you a basic outline of how their releases roll out and they claim to have made numerous releases to their name, well then you’re just wasting your time. It’s as simple as that. They don’t need to have every detail for your release nailed down right when you ask about it, but if their plan doesn’t involve realistic timelines, hiring PR, or having some sort of marketing plan, then you probably should sit down and re-evaluate if you want to work with them.

Again, I’m not saying that you should be a dick and to quiz people, the same way you might with a used car salesman. You should just try to get a general idea of how they envision themselves being involved in making your album release as successful as it can be. No doubt, this is a tricky process every single time -- even for established bands; but if you don’t embrace it and make a point of getting your questions answered, then things could end poorly. Like I said, if the label doesn’t want to answer, then start to back away slowly.

One more thing: at some point in your band's life, you will probably end up feeling fucked over by a label. It’s part of growing in your knowledge and awareness of the business, which is continually evolving. Be cautious of contracts that involve indefinite terms or "in perpetuity" clauses, but don’t immediately run away when you see them. In fact, nothing should be an immediate turn off, just an opportunity for clarification and mutual understanding -- and the label should be damn ready to explain them to you and give you a reason to engage with them. It’s simple as that.

Remember, most of these labels are run by genuine fans (doom metal is a dumb thing to attempt running scams in). If you take the time to learn and grow, then you increase your band's chances of finding a productive path forward. If you just go headlong into a contract you don’t understand to say that you have a deal, then it’s probably going to lead to regrets or, in a worst-case scenario, fuck you over. I don’t want to wish that kind of stress and misery, which the music industry can sometimes pour down, on anybody.

Matt Bacon (IG: mattbacon666) with Dropout Media is a consultant, A&R man, and journalist specializing in the world of heavy metal. Matt also co-hosts the Dumb & Dumbest podcast with Curtis Dewar of Dewar PR.

[doomedandstoned]

ELDER

Rallies Russia!

-Review: Nick DiSalvo | Forward: Billy Goate-

-Photos: Mo Nemo | Film: Anton Rodionov-

"The funny thing I've noticed about Russians is how reserved they can be, but then when the music is playing they are going crazy, moshing or stage diving, and crowd surfing the whole time."

Earlier this month, Doomed & Stoned brought you a two-part feature on Acid King's first ever appearance in the Russian Federation. Now, we are pleased to present the sights and sounds of another cross-continental concert tour, that of the mighty ELDER.

You're looking at another stunner of a photoset from the young Saint Petersburg photographer Mo Nemo, snapped at Elder's MOD Club show on August 3rd, 2017. The night before, Nick DiSalvo (vocals, guitar), Jack Donovan (bass), Matt Couto (drums), and new member Michael Risberg (guitar) played at The Volta in Moscow. The Re-Stoned, a band we've long touted as a prime example of Russian heavy psychedelic rock, opened on that particular evening. Ilya Lipkin (guitar), Vladimir Kislyakov (bass), and Andrey Pristavka (drums) performed a sublime series of songs from their recent LP, 'Reptiles Return' (2016). It was, of course, time for Elder to show off fresh tracks, too, namely selections from the new album that topped the Doom Charts: 'Reflections Of A Floating World' (2017 - Stickman Records).

By all accounts, the setlist included almost all the songs from Reflections..., including "Sanctuary," "The Falling Veil," "Staving Off Truth," "Blind," and "Thousand Hands." Let me tell you, that second guitarist has sure come in handy in pulling these off! The band also played what is now a bonafide hit: "Compendium" off of 'Lore' (2015 - Armageddon Shop). That song in many ways foreshadowed the complexity of the new material. Then there was the beloved "Gemini" from 'Dead Roots Stirring' (2011 - MeteorCity Records), which no Elder performance would quite be complete without.

I reached out to frontman Nick DiSalvo this week for comment on their trip. "Well," he replied, "I can certainly share some thoughts about Russia in a stream of consciousness sort of way with you." That was just fine by me, and I invited Nick to give us all a first-hand account of his band's visit to this land rich in vodka, literature, political intrigue, and most of all music. My piano teacher, who came to the US from Russia for her doctorate degree, is a disciplinarian. From her I've gotten an idea of how seriously Russians take the art and the science of music. You'll find this quite easy to confirm both anecdotally and historically.

How, then, would heavy music fans of the Moscow and Saint Petersburg underground take to the soaring progressive stylings of these four ambitious muzykanty from the States? The next words your read will be from Nick's tablet...

We've been to Russia twice now, both times in the same cities (Moscow and St Petersburg). I can only assume that sounds as fascinating to most American readers as it was for us. I think we have a very biased view of Russia in the States and assume that the country is very "foreign." Let me tell you, that's definitely not the case in these two cities -- two of the biggest in Europe (if you want to count Russia as part of Europe). We're lucky to work with a really cool promotions team over there called Madstream. Their guys Andrey and Vadim have surprised us with their professionalism and hospitality that's truly a leg up from the rest of Europe, even. That's really saying something, since most European clubs and promoters treat bands amazingly.

We had an early flight in from Milan to Moscow and were pretty whacked out after an hour and half drive from the airport through the city to the venue. The city never ends! The sprawl of Moscow is truly awe-inspiring, not necessarily in the best way.

In Saint Petersburg (band photo)

We got in for soundcheck at the venue Volta. Big stage. The club could be suited for any kind of gig and certainly doesn't give off the dingy rock club vibes (except for the makeshift water closet backstage that really does remind you you're in Eastern Europe). Soundcheck is fine and we retire to a long forgotten luxury for a few hours, the hotel, to catch some sleep.

I sleep through my alarm and wake up to Mike jostling me, since we need to get back for bus call. This is different for us, getting shuttled around to hotels and back. Normally, we travel in a sort of converted camper van and a stationary bed and shower are truly a treat. I don't know how many fans we really have in Russia, in Moscow maybe 200-250 people come to the show. For a city of 20 million I'd say that it's not much, but the scene is really just developing here.

The fans who do come are rabid and we get a rare taste of what it must be like to play in a famous band. Leave the backstage area and everyone grabs you, wants a photo, an autograph, to tell you an anecdote, and you realize the bizarre and fantastic nature of your situation: an American band in Russia surrounded by people who are just like you, music enthusiasts stoked on a concert. The funny thing I've noticed about Russians is how reserved they can be, but then when the music is playing they are going crazy, moshing or stage diving, and crowd surfing the whole time.

Welcome Package! (band photo)

A nice photographer we met on our previous trip is backstage and gives us some gifts: a bottle of vodka, some matchboxes, lemonade, all labeled with handmade Elder labels. That's pretty damn cool. The venue feeds us well and too much on borscht (a Russian tomato soup), lasagna, chicken. It's all fantastic, too. Our show is fine, despite an amp blowing up. Matt, Mike, and I improvise a jam for what feels like 10 minutes while a stage crew struggles to replace it. After the gig, we hang for a bit with the fans and drink some beer, then head back to the hotel where Boris is checking in for their gigs in Russia the same week. We try to drunkenly convince them to hang out with us in our hotel room, but they politely refuse.

In Saint Petersburg (band photo)

The next morning we have a train to St Petersburg, 4.5 hours away with the fast train, which is super modern and clean like much of what we've seen of these cities. Jack and I laugh at English translations of items in the "on board shop" magazine, order some souvenirs, and are amazed to see our photo and some information about our gig last night in the train magazine (the equivalent of finding your photo in an in-flight magazine on an airplane). When we arrive we're again transported to a hotel in St Petersburg. This city's historical center is absolutely beautiful, full of "old" buildings (the city itself is relatively new, from the 1800s) and Czarist monuments and buildings. Instead of sleeping, we have a walk around and look for some food. We're not exactly successful.

Tickets for the big show!   Photo by Denis Kolpakov

When we arrive at the venue for soundcheck, we're surprised to find it's directly in the historical center, not a five-minute walk from the winter palace. After soundcheck, we take a tour of the area with another guy from the show. The great thing about this area is the souvenirs. You can find amazing coffee mugs and all kinds of kitsch with photos of Trump and Putin on them (in 2016 it was mostly Putin kicking Obama's ass, etc.).

The show tonight is smaller, but also a lot of fun and we play every song we have, again. Last time St Petersburg was crazier, this time Moscow wins in the energetic fan competition, but still people are dancing, moshing, and having a great time. We do the dance of autographs and fan photos after the show and then return to the hotel, more exhausted than anything else. The next morning we manage to catch some breakfast in the lobby where a large Jewish travel group is doing the same. Our trip to the airport and back to the van waiting for us in Vienna is uneventful, but the trip in Russia leaves again a lasting positive impression that we're not so different after all.

Live & Loud:

Moscow

Live & Loud:

Saint Petersburg

"The fans who do come are rabid..."

"We're not so different after all."

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[doomedandstoned]

ACID KING

~Live 'n' Loud in Russia~

    Part I: St. Petersburg

Review & Cover Photos by Vadim Aleksensky

Additional Photographs by Mo Nemo

To be honest, I did not know entirely what to expect from this concert. It was almost 10 years ago that I begin listening to Acid King and I always eagerly awaited new material from them. All this time, the thought that Acid King could come to Russia did not seem possible.

Their last album 'Middle of Nowhere, Center of Everywhere' (2015) pleased, but the live recordings I'd come across recently somehow did not impress. So when I heard Acid King was coming to St. Petersburg on the 19th of July 2017, I was excited, but braced for disappointment -- especially since the band had rarely performed in the decade between their third and fourth albums. Perhaps I was afraid they had lost the drive of those inspired earlier years.

Fortunately, those doubts were not justified. I could not have even imagined how cool Lori would sound in person. Her voice steals your soul from you and sounds even better live than on record. Everything else that night was at the highest level, as well -- even the lighting at MOD CLUB was perfect this time.

The setlist for Acid King's first ever show in Russia was wonderfully prepared, composed in such a way that the tension increased with every song. After beginning with a long, juicy instrumental, the main part of the performance was occupied mostly with fresh tracks.

About an hour after the start of the set, Acid King retired to the green room. I admit I was a bit hurt that little of their old material was played. But no! The band appeared again, bringing with them liters of vodka and treating the first row of fans to shots, rushing to bring more for the second. Lori and the boys went on to play over a half-hour of those fat, classic hits

Kinda strange line-up. Anyway have a good tour. --Vasya B.

Opening Act:

    PRESSOR

More Pressor.

Headliner:

    ACID KING

Can't believe I was listening to "Teen Dusthead" live! You are very special band that is like no other. Keep doing and stay true!

--Denis D.

It was incredibly cool show. Thank you, guys.

--Pavel T.

More Acid King.