“Curse of Conception” is a glorious success and a dazzling evolution of an already excellent band.
“Curse of Conception” CD//DD//LP track listing:
1). Earthbound
2). Curse Of Conception
3). To Fly On Broken Wings
4). Starless Age (Enshrined)
5). Graveside Invocation
6). Spectral Savior
7). Wakien
8). Onward, Inward
The Review:
I tend to approach reviews with a fair degree of two things: reservation and resolve. Reservation, because it is actually pretty tough to write about music you love and try to convey the message of why you love it to a broad audience without jumping to superlatives in every sentence. It is a task I always approach with trepidation, and this anxiety is in direct positive correlation with how much I love the music in question. Resolve is obviously a corollary of this: one has to steel oneself to 'analyze' what one really just wants to 'experience'. How can I accurately convey not just my enjoyment of art someone else has created, but ultimately, share my profound appreciation with not just other potential fans, but the artist or artists themselves? Particularly without either missing the interpretive boat or engaging in sloppy ellipsis?
When I was lucky enough to convince THESLUDGELORD to let me review Spirit Adrift's“Chained to Oblivion”, I had already been listening to it almost non-stop for several weeks. It was one of the albums of 2016 that I was most excited about, that I found most profoundly moving. It had and still has all the makings of a genre classic. That genre being heavy metal, not one of the vast and ever- propagating subgenres. My love of the debut album actually intensified some of my reservations about reviewing “Curse of Conception”: was I going to like it? Had Nate changed direction substantively? Was it still going to be the band I had grown to love? And here I default to throwing around superlatives: “Curse of Conception” is a glorious success and a dazzling evolution of an already excellent band.
I would actually be hard pressed to say what 'element' I like most about Spirit Adrift on this album, but the vocals are again what truly set the band apart. Nate's harmonies are epic in every sense of the word, and they are brilliantly punctuated here by cresting on top of a guitar tone that somehow retains the doom-heavy fuzz of “Chained to Oblivion”, yet brings in a razor-sharp brightness that calls to mind the Metallicawith whom I first fell in love. The switch from Orange to the EVH tonal palate works flawlessly, letting Spirit Adrift remain deeply true to everything that made the first album stand out while allowing an adventurous, exciting sonic reframing. Sabbathian elements are retained in vocal passages like the title track without every descending into copy-catting or worship. Spirit Adrift take their influences seriously and respectfully, but there is never a sense of retread or anachronism; this album is grounded in tradition but massively innovative in approach. On tracks like “Starless Age”, this growth expresses itself as a mature fusion of some beloved and sacred moments in the metal cannon with a clear, decisive compositional voice.
And lest I forget: the album is joyous, fun, revels in the interplay of the aforementioned harmonies with spectacular riffage and never-without-purpose soloing. Check out a burner like “Graveside Invocation”; you know Nate knows he's knocking it out of the park here. The peaks and troughs and dramatic build from song to song work like the best film scripts: pacing is everything. Case in point: the wonderful acoustic country-tinged psychedelia build of “Walkien”. I literally laughed out loud at how perfect the change was here at 1:59. Epic, indeed. I've wasted enough of your time: you should be listening to this album and not reading reviews about it. Go get it. Remember why metal is awesome.
Let it be known fellow Sludgelordians, The Sour 16returns. The Sludgelord presents the very bestDiabolus in Musica to pour scorn on this desolate day and strike upon us the might of the riff, to inject our veins with sin and guide us on journey of subservice to doom, an act that goes against the very laws and teachings of populist culture, and for those that wish to come with us on our quest, kneel with me as we embrace the thunderous din that is, The Sour 16.
You know the drill by now, each month, you the reader are unwittingly compiling a list of the top 16 records of the month, covering all genres of metal. Is it not a chart, in which reviewers or contributors extol their opinion about their favourite music. To put it simply, The Sour 16are the records that have been trending the most at SludgelordHeadquarters.
The results are compiled based on page views alone and calibrated into the list below. All reviews can be viewed by clicking the artwork and we have included album streams wherever possible. (Total views since their publication are highlighted in red)
16). Terrifier – “Weapons of Thrash Destruction” (552)
15). 1968 – “Fortuna Havana” (571)
1968 wear their influences on their sleeve. There are plenty of bands that stalk the planet playing classic/hard rock; the trick is to make it your own and not become a cliché. 1968 walk the line well and come out with originality whilst using their influences to great effect.
14). Cranial – “Dark Towers / Bright Lights”(588)
Cranial have honed their Earth-shattering attack to razor-sharp perfection and expand the scope of their music to galactic levels of grandeur. The band are a relentless riff engine, churning out a constant flow of thick sludge, like Neurosis channelling the almighty crunch of early Mastodon. “Dark Towers / Bright Lights” does not break down any musical barriers but it is poised to blow your mind with its dark intensity.
13). Lizzard Wizzard – “Total War Power Bastard” (612)
This album is defined by tones as sweet as a glass of warm tar, sparse arrangements, sluggish tempos and venomous attitude. To listen to “Total War Power Bastard” is to get lost in a haze of looping riffs, humming amplifiers, grimy guitar fuzz and putrid vocals.
12). Lecherous Gaze – “One Fifteen” (688)
Imagine what would happen if Howlin’ Wolf grew up in the 80s, spent his time jamming The Ramones and getting fucked up on anything that came his way. If such prospect tickles your curiosity, then by all means, jump on board the “One Fifteen” train, Lecherous Gaze’s new album.
The chemistry between the players – Paul Attard on guitar, Lachlan Paine on bass and Frank Attard on drums – can be heard in each one of these cuts. In fact, it’s not only heard, its felt, and that’s what makes this record sound so great. The music is alive, it moves, it gels, and best of all, it’s both heavy and psychedelic.
10). Demonic Death Judge – “Seaweed”(741)
The Finnish quartet deal in a potent blend of filthy sludge-encrusted riffs tempered by hypnotic stoner grooves and nasty gravel gargling vocals. The band conjure up the sound of a bar room brawl between Weedeater and Colour Haze.
09). Gloson – “Grimen”(776)
"Grimen" keeps getting better, the more you listen. It stirs the imagination with its ferocity and complexity. From its excellent pacing to its subtle use of varied instruments, it's a breathtaking achievement for a band that's just getting started.
08). Suma - "The Order of Things" (837)
Suma have proved that, over fifteen years on from their formation, they can still challenge listeners, in terms of their expectations and their open-mindedness. This is a sprawling record that impresses, uplifts, and imparts melancholia in equal measure. It’s a feat, and one that makes it sorely apparent that the Malmo crew deserves much more recognition then they are afforded.
7). Book of Wyrms - "Sci-fi/Fantasy"(921)
The legendary Hawkwind would be happy with the sounds exhibited on “Nightbong”, while the darkness on “All Hollows Eve” is right in sync with Uncle Acid et al. This is a good record which combines some of the best of space/stoner/doom in one package. A band to watch in 2017.
6). Kreator – “Gods of Violence” (1109)
There are so many great riffs, solos, hooks and vocals over the course of the record that there is absolutely nothing to complain about here. Kreator have produced another very worthy entry into their impressive back catalogue. Fans of their later work will love what is on offer here as it is a continuation of their most recent and very impressive albums. This is a hooky, vicious, well produced thrash record which is every bit as good as anything which has come out of America in recent times. Recommended.
5). Goya – “Harvester of Bongloads” (1015)
It is start to finish, packed with massive fuzzed out riffs, deep despair and copious nods to the sweat leaf that Goya pay homage to throughout the entire album. Small wonder in the midst of our current political nightmare that Goya would drop a jewel heralding the end, before escaping in the smoky haze of their own retreat.
4). Bathsheba - "Servus" (1106)
The biggest strength of the album is its tactful and haunting use of atmosphere. This is achieved through the skilful use of dynamic contrast, organically unfolding transitions and changes in the timbre of the music, particularly in the playing of guitarist Dwight Goossens. Tracks such as “Manifest” and “Demon” see Goossens change from chilling, ambient clean tones to rich, roaring fuzz tones that could satisfy even the hardest to please doom fans.
3). Sepultura - “Machine Messiah” (2115)
Will this convert early-Sepultura-only fans? Unlikely. Will it convert Cavalera only Sepultura fans? I doubt it, as those people have made their decision and won't entertain that a Sepultura can exist without the Cavalera brothers. However, this is yet another high quality entry into the Sepultura discography and is one of the best records the band has made.
2). Dead Witches - "Ouija"(3048)
This is another perfectly fuzzed out slab of doom from a band that doesn’t seem to know any other way.
1). Soen – “Lykaia”(3106)
On Soen’s third full length record their own explorative hunger is satisfied in the most delicious of ways, resulting in their most dynamically versatile but free flowing release to date. An explorative and colourful record, there is a lot to take in with this record, many dimensions in which to get lost in. Repeat listens bear gorgeous fruits.
A big thank you as always to our amazing writers, your dedication knows no boundaries and for that I am truly grateful. January’s “Sour 16”features reviews by: Richard Maw, Phil Weller, Victor Van Ommen, Jay Hampshire, Ben Fitts, Josh Nichols, Charlie Butler & Dominic Walsh
It is start to finish, packed with massive fuzzed out riffs, deep despair and copious nods to the sweat leaf that Goya pay homage to throughout the entire album.Small wonder in the midst of our current political nightmare that Goya would drop a jewel heralding the end, before escaping in the smoky haze of their own retreat.
“Harvester of Bongloads” CD//DD//LP track listing:
1). Omen: I. Strange Geometry, II. Fade Away, III. Life Disintegrates (20:07)
2). Germination (02:18)
3). Misanthropy On High (11:46)
4). Disease (06:21)
The Review:
Arizona doom trio, Goya, return with their third full length, and none to sublte, "Harvester of Bongloads". Following closely on the heels of last falls EP, "Doomed Planet", “Harvester…”continues to plumb the depths of their disgust for all life on this planet, except perhaps for plant life, of which they are shameless proponents. It is start to finish, packed with massive fuzzed out riffs, deep despair and copious nods to the sweat leaf that Goya pay homage to throughout the entire album.
The entirety of side A is made up of "Omen", an epic twenty minute, three part epistle on the end of days. Part 1, "Strange Geometry", opens up to slow tribal drums and psychedelic warbling, courtesy of their Boss Dr. Sample SP-303, before thick bluesy riffing slowly builds to a fuzzy lament on pending oblivion. Part 2, "Fade Away", is mostly a jam session, acting as a bridge between the first and third sections, slowing down enough to gently croon the title several times before ripping into Part 3, "Life Disintegrates". The third and final act of "Omen" continues the downward spiral of heavy sludge doom in the finest tradition of Electric Wizardand Sleep, epic smoked out doom for the pending apocalypse.
Side B dishes up twenty more minutes of meaty riffs in three more tracks, which sort of act like another massive three part opus, but this time with breaks between. First up is "Germination", just a couple minutes of slow heavy doom that sets the tone and acts as an intro for the next track, "Misanthropy on High". “Misanthropy…” is monolithic slow and enormously heavy. Lyrically, the title speaks for itself, with each verse making its escape from the waste of reality into dope fuelled release, repeatedly echoing the double edged sentiment “waste away".
The final track, "Disease", sees Goya wading back into more uptempo Sabbath-esque doom. After two epic jams full of deep gloom, it's a welcome release when they open up the jam and rock out a bit. While lyrically it's still dwelling on oblivion, “Disease” is full of swagger, energy and a couple really killer solos. It's a hook laden finish to a dank and heavy trip of an album. Small wonder in the midst of our current political nightmare that Goya would drop a jewel heralding the end, before escaping in the smoky haze of their own retreat.
“Harvester Of Bongloads” will be available digitally hereand other formats here from 03/03/2017
'Doomed Planet' is an EP executed with absolute ferocity. The first two leviathans are earth-splittingly heavy and the varying in styles is notable, with the dark acoustic elements in 'Sorrow' and the raging cover of Marilyn Manson's 'Dogma'. Goya are definitely not messing around and in times of a 'Doomed Planet', the title is very apt.
“Doomed Planet” CD//DD track listing:
1). Doomed Planet
2). Hood and Bone
3). Sorrow
4). Dogma (Cover)
The Review:
3-piece doom metal outfit Goya are back. Hailing from Phoenix, Arizona, their new 4-track EP 'Doomed Planet' was released a few weeks back on October 30th via Opoponax Records. 2016 marks Goya's fifth year as a band and there is no slowing down from this absolute powerhouse of riffs.
The first track on the EP happens to be the title track, 'Doomed Planet'.Goyahave went straight off the bat with a 9 minute track and they take no prisoners whatsoever. The main riff trudges along at a savagely slow pace and sounds like it has been dragged through the mud. The low end in this track is enough to shake your foundations and satisfy the lust for doom. There are also some spacey guitar sounds rearing their heads in the background which add another layer to the mental image of a Doomed Planet. The band have self-proclaimed themselves as being in the vein of Black Sabbath, Electric Wizard and Sleepand despite the cliché of these three being the trifecta of doom metal, you can absolutely hear the individual influences of each in the music. Track two 'Hoof and Bone' begins with more solid fuzzed out guitar and bass and the riff is as equally devastating as the first track. The beauty of doom metal is the simplicity and the power you can wield with some basic riff-work and this is a shining example of how it's done. This track has a lot more lead guitar work and Jeff Owens displays his skills in the opening couple minutes. As the track moves on, I can't help imagining this as the soundtrack to Hell itself. If Dante Alighieri was able to capture the terrors of Hell in writing, then this is definitely the auditory equivalent. The massive wall of sound continues and around the 7min mark we get some more fiery licks from Owens as he gives some balance to this low-end beast. The track ends as the riffs slow down to a crawling pace and disapparatesinto the hellish mist. 'Sorrow' takes a slightly different approach to the previous two songs. Firstly, this one is only 2min 40secs as opposed to the 10min behemoths that came before. A ferociously fuzzed out riff is repeated with acoustic guitar playing alongside and when the bass kicks in as well there's a very obscure sound created. It is indeed dripping with 'Sorrow' hence the name and creates a very morbid atmosphere throughout. The final track on the EP is a cover of 'Dogma' by Marilyn Manson and again, it takes a different style to the previous songs. It's an absolute thrashing cover and the guitar tones far outweigh the tones used in the original, making it a fucking solid endeavour. If Goya had written the song first, Marilyn'shypothetical 'cover' would never have matched up. 'Doomed Planet' is an EP executed with absolute ferocity. The first two leviathans are earth-splittingly heavy and the varying in styles is notable, with the dark acoustic elements in 'Sorrow' and the raging cover of Marilyn Manson's'Dogma'. Goya are definitely not messing around and in times of a 'Doomed Planet', the title is very apt. “Doomed Planet” is available here Band info: bandcamp|| facebook
2016 commemorates Goya’s fifth year as a band, and will see their latest EP, “The Enemy”, getting a deluxe vinyl release through STB Records, who also released their 2015 full-length, “Obelisk”, "a thinking man’s doom metal record, that it keeps you on your toes and always remains untamed, delivering uppercuts with complete conviction just when you think you’ve sussed them out."
Whilst “The Enemy” an EP, which saw Goya "sounding creepier and more terrifying" has already been made available digitally, there really is no better way to experience the record than via STB's glorious limited edition vinyl treatment. STB'slatest outing features two exclusive LP-only tracks, including a mortar-thick rendition of the Sabbath classic, "Who Are You?" and is offered in the four deluxe variants for which STB has become known.
With the vinyl release set to drop on Saturday 8thof October, and with the band showing no signs of slowing down, there seem to be no better time than to check in with Goyamain man, Jeff Owens and talk influences, his quest to write the perfect “Vol 4” riff and the prospects of a new album. It is time to get Amped and Doomed, with Arizona’s finest riff slayers, Goya.
SL:Welcome back to The Sludgelord, Jeff. Can you remember who or what inspired you to pick up the guitar? Are there any bands, guitarists, bassists currently on the scene that continue to inspire and push you to try new things?
Jeff Owens: I’m sure I’m not the first to say this, but the single person who caused me to be interested in picking up a guitar was Kurt Cobain. My biggest inspiration lately has been my band mate and the mastermind behind Spirit Adrift, Nate Garrett. That dude is a machine. Aside from him, Pete Adams of Valkyrieand Baronessand his brother Jake have both lit a fire under my ass to keep going and always try to get better at my craft.
SL: Who do you take inspiration from or do you have any heroes in music and do you have 5 records that stand out as favourites, what influence did they have upon you and what is it about those record that particular resonates amongst others?
JO: I’m not sure that I have heroes per se, but there are many greats who influence me, all of whom I will mention below. Choosing less than 30 records that are favorites is always hard
because there are a couple hundred, so I’ll just sort of throw out the first ones that come to mind with the caveat that there is no way these are my six favorite albums (I’m doing six), but they are all influential to me.
Nirvana – “In Utero”
To me, this is one of the most vitriolic albums ever written. Just how disgusted Kurt Cobain was with a lot of things comes through very clearly on this record in his lyrics, his delivery of them, and his guitar playing. Plus, “Radio Friendly Unit Shifter” is my favorite Nirvana song.
Metallica – “Master of Puppets”
This is probably my favorite metal album, arguably the best metal album of all time, and one of the most finely-crafted albums ever. The harmonies on it are top notch, and it is the perfect mix of complex and relentlessly heavy. Having Cliff Burton, the best metal bassist ever, does a lot for an album, it turns out.
Thin Lizzy – “Jailbreak”
Speaking of harmonies, this album has some of the greatest harmonies ever written. It’s hit after hit after hit on this record. Thin Lizzyare one of the great underrated bands, though it does seem that people have been catching on over the past few years, which is great! I may not sing about love in Goya, but Phil Lynott’s love songs are the best love songs.
Queen – “Queen II”
Did someone say harmonies? I have listened to this album more times than I can count and I still love it. I’d be hard-pressed to choose a favorite Queen album, but I’m relatively sure “The
March of the Black Queen” is my favorite Queensong. Freddie Mercury was it. The Golden Voice. And don’t get me started on Brian May. If I could go back in time and see one band that I never had the chance to see, it would probably be Queen.
Pink Floyd – “Obscured by Clouds”
Floyd is another band I have trouble choosing a favorite album from, but I come back to this one time and again. They are the masters of the melancholic triumph of life, which is what I think the majority of true artists are striving to depict, in one way or another. Gilmour’s lyrics are absolutely incomparable. Look up the song “Childhood’s End” if you haven’t heard it. It’s truly amazing.
Black Sabbath – “Vol 4”
Do I really need to explain this one? Iommi's guitar playing on this record is something that had never been done before and has never been done since. I am forever trying to write the perfect “Vol 4” riff, but it definitely ain’t easy!
SL:Can remember your first electric guitar, bass?
JO: Absolutely! I still have it. It’s a Peavey“Predator”. Black with a white pick guard.
SL:What guitar(s) are you using today and how did you gravitate towards the guitar
you currently use?
JO: In Goya, I use a modern Standard ’61 SGthat I believe is a GC exclusive. I started the band playing on a Les Paul “Smartwood”(which I still have and use in my other band), but I decided there was a little more low end in it than I wanted. I’ve always been interested in SGs because of Tony Iommi and Greg Hetson. I bought one when I was young, but didn’t really understand it, so I gave it another shot, and I haven’t looked back. My current axe, Lady Lucille (not named after BB’s guitar), sort of caught my eye in the store. I took her down and played for about an hour, and put her on layaway as soon as I could!
SL:What do you like about the guitars you currently use and has there been any specific modifications to it?
JO: One of my SGs has BLK/TRI pickups, and I do love those! They’re a great way to get a lot of power without any batteries. (Everyone knows batteries suck.) Lucille is all stock and I have no plans to change that. I’m actually a big fan of quality, stock Gibson’s.
SL:What amps and pedals do you currently use? Do you use a combination of amps, or a full
half stack? Talk us through your set up both in the studio and in the live environment?
JO: Live, I’m currently using a Marshall Plexi (1959HW) and a Sovtek Mig 100, each through their own full stacks. The Plexi runs into an Orange PPC412 and an Ampegcabinet loaded with BLK/
TRI/Ted Weber Ghost Series speakers, and the Sovtek runs into an Orange PPC412 HP8 and a
Randall cabinet loaded with Celestial G1265s.
For pedals, I use a Boss TU-3, Magic Pedals Magick Fuzz, Dunlop Crybaby Classic, MXR Phase 90, Boss DM-2w, and a Radial Twin-City ABY. I’m always trying to use less and less pedals, but I just can’t seem to get away from delay, wah, and phase. In the studio, I’ve been using the Plexiinto the PPC412 with the same pedalboard.
SL:What one pedal could you not live without and why?
JO: Hands down the Magick Fuzz. I got this pedal between the recording of “777”and “Obelisk/ “Satan’s Fire. If you listen to all of that, it’s very apparent that the guitar tone took a huge stepup between those recordings. The MFis about as close to the 4th member of Goya as it gets.
SL: What are your amp/ pedal settings?
JO: My amps are always turned up. The Sovtekis generally dimed. The Plexi runs at about 6 or 7. I had it dimed when I first got it, but I fried it and had to have it fixed, so that one would be all the way up, but I want to keep her working. As far as my pedals, it varies from track to track, excluding the MF.
SL: Do you have any advice for up and coming guitars players, bands?
JO: You don’t get better by not playing, and there will always be someone better than you.
SL:Do feel there are deeply help misconceptions about being in a band?
JO: It’s tough to say, as I’m pretty out of touch with what most people think. Maybe some people think it’s never difficult. I don’t know though. Working my ass off in music-related efforts is the most rewarding thing I have ever done, so it honestly seems easy and fun to me, whether I get 4 hours of sleep most nights or not. I don’t understand artists that don’t have a burning desire to create something 24-7. This isn’t a choice for me; it’s a compulsion, so it would be significantly harder to not do it, though it can get exhausting, at times.
SL: Moving on a little then, in terms of releases it has been a busy year, re releases of Goya records on your own Opoponax Records, the demo release on Totem Cat Records, but you have also established a great relationship with STB Records, what can you tell us about the upcoming vinyl release of “The Enemy” and where do you feel it sits within the Goya discography
JO: I’m really excited that STB Records wanted to put this record out! I was originally planning to do it as an Opoponax release, but I had so many other things to put out, that it became clear it would be quite a while before I was able to put it out, so when Steve and I spoke about it being released through STB, it was a total no-brainer.
I believe this one is going to be Steve’s biggest pressing yet, so that’s a true honor. As always, there is some cool stuff lined up for the die-hard edition. The vinyl will come with two tracks that have only been made available on cassette so far, so for everyone that hates cassettes, they will finally be able to hear the Sabbath cover we did last year!
Chronologically speaking, this release is the follow up to “Obelisk”. Musically speaking, this EP was extremely experimental for us. At the time, I was listening to Black Sabbath’s “Paranoid” a whole lot, and that was highly influential in the creation of the songs on it, particularly the title track. I really dig what we did on “The Enemy”, and I think people will look back on it as something from our catalogue that stands out as a very unique release.
SL:Does anything spring to mind when you think about the completion of the record
JO: This may seem strange, but the colors stand out to me, for which I owe a thank you to the cover artist, Jesse Schaller. I really see yellow and green (subtle nod to Baroness?) in my head when I think of the record. I’m not sure what that means. Maybe another strange connection to “Paranoid”, and “War Pigs” in particular, with the green being that sort of camouflage green.
SL:What stands out as your overarching memory from the recording sessions?
JO: Using way too many different guitar tones, and learning about the difficulties of recording to tape.
SL: Yo’re never a band to rest of their laurels, what is in the pipeline in terms of future recordings
and how is your schedule shaping up over the next 12 months?
JO: Well, we just finished up at Switchblade Sound with Joe Asselin recording our song for The
Planet of Doom, but that won’t be out until the movie is. Right now, we are finishing up writing
our follow up to “Obelisk”, which will be titled “Harvester of Bongloads”, and yes, that is a nod to Metallica.
We will also be recording that with Joe at Switchbladeover Halloween, and I will be releasing that one through Opoponax Records in late February or early March. We will be following the release with a couple of weeks up and down the west coast. Originally, the plan was to take it easy after “Harvester…”, and we will be doing that for a couple of months when we finish recording. Knowing me though, I highly doubt that we won’t be writing our next album by summer 2017, if not by the end of the year. In fact, we have already begun to kick around ideas. “Harvester…” is intended to be sort of a last hurrah to weed worship, as I am hoping for the band to mature and evolve.
I’m sure there are people out there moaning and groaning as they read that line, but to those people, I would like to point out that I think “Obelisk” is our most mature material so far, and it doesn’t have a single drug reference on it!
SL: As a band you have been active for around 5 years or so, what stands out as some of your
fondest memories
JO: Seeing King Diamond on Halloween in LA before playing “Day of the Shred” the next day was definitely a highlight. After the show, we came outside and it was pouring rain. A couple of us had to buy new shoes the next day. We also did a short run up the west coast with Bongripper(shout out to all the Dales and Boogies out there), and that was a wild ride. We definitely made some fond memories on that run.
When we played in Austin, we made a point to go around and see some of the sites from “Texas Chainsaw Massacre”, and that was pretty cool. Recently, playing at Psycho Las Vegas was incredible. That whole weekend was amazing. We made a bunch of new friends, and saw just as many old ones. Aside from playing music, the best thing about being in Goya is travelling and meeting a bunch of like-minded people! I can’t think of anything I would rather do.
SL:Finally, do you have any final comments/word of wisdom you’d like to bestow upon us?
JO: When you get interviewed, try to keep your responses short…
The End
Goya "The Enemy" goes on sale Saturday October 8th 12noon est. Album includes two unreleased tracks by the band and will be available here
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