![]() ![]() “There’s something so special about being able to work with other Indigenous people because we share a connection and there’s a lot of care and intention there,” says Reed.Īfter releasing Gas Lit, Reed and Nehill moved to New Orleans and they started work on Systemic in early 2022. They too bonded over their shared Indigenous identity: Nielson is of Hawaiian and Māori descent. ![]() ![]() Nielson also produced Divide and Dissolve’s new record, Systemic, which pairs dissonant soundscapes with celestial synths and reedy saxophone flourishes. ![]() Over the course of an hour, she slowly reclines further down her pillow, warning me: “Sorry, I have to lay down more.” If you’re in shock about the type of music that’s being played, then let me just be really clear what it’s about Takiaya Reed She’s staying at a friend’s house, groggy from jet lag but cheerful as she conducts the interview from bed. We meet in June, the day after her grandfather’s funeral in the US, as she lands in the UK for press engagements. Reed is feeling the impact of the new demands. BBC Radio 6 Music’s Mary Anne Hobbs named it her record of the year Low invited them to support a high-profile tour. The band have embarked on a journey unlike few other doom acts, from the underground to widespread critical acclaim: Portishead’s Geoff Barrow signed them to his label Invada for the release of their third album, 2021’s Gas Lit, which was produced by Unknown Mortal Orchestra’s Ruban Nielson. Follow Old Nick’s Pub on Instagram Want more stories like this? Subscribe to get unlimited access and support local journalism.Divide and Dissolve: Blood Quantum – video Janys-Iren Faughn resides in the Jefferson Westside neighborhood and books/plays more and events than is reasonable. For local examples, check out bands like Witchasaurus Hex, Coyote, Psyup, or of course YOB, and you’ll find that doom metal is a genre as widely varied as metal itself. Since 2010, the reach of doom has been more and more widespread, influencing post rock, modern psych, folk and more, creating new subgenres and re-writing genre norms. Bands like Sub Rosa, Pallbearer, Electric Wizard, Ahab, Eugene’s own YOB and many more gained international acclaim as the aid of the internet really brought the worldwide underground together making not only marketing easier, but bringing fans together creating more support and ability to network and build tours and festivals like Maryland Doom Fest and New England Stoner & Doom fest. In the 2000s, metal, and doom in particular, only got bigger and more mainstream. The '90s also saw extreme metal and goth rock blending with doom (Anathema, My Dying Bride, Type O Negative) ruffling the feathers of genre purists, as well as the advent of Funeral Doom (an even slower more depressive extension of the genre) with bands like Skepticism and Evoken taking the genre in new directions. Bands like Candlemass, Saint Vitus and Solitude Aeturnus upping the unholy imagery, and bands like iconic stoner-doom band Sleep emerged to solidify the long and slow, reverb-soaked (that’s echo for you pedestrians) vocals format with which doom has become synonymous. Following suit in delivering refreshing and previously unheard heaviness were fellow trailblazers Pentagram, Cirith Ungol and, later, Witchfinder General, and Pagan Altar brought elements of psychedelic rock infused with slow grooves that were downright infectious, and easily the heaviest of their time.ĭoom only got darker and heavier in the '80s and '90s. Born of blues and hard rock bands like Black Sabbath stood in stark contrast to The Beatles (“Abbey Road” and Sabbath’s eponymous album were recorded the same year, and couldn’t feel more different). In the late 1960s and early 1970s, a boom of psychedelic music stormed the radio waves, but below the surface, gaining steam via college radio and late night local shows, something gloomier was brewing. ![]()
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