AN NCS INTERVIEW: ELLIOTT’S KEEP

 Interviews  No Responses »
Sep 052022
 

(Comrade Aleks brings us this interview of guitarist Jonathan from the Texas band Elliott’s Keep, whose formidable fifth album was just released last month and will be available on vinyl through NoSlip Records.)

At first I was attracted by the ascetic artworks of Elliott’s Keep, and by the band’s name itself, and they also performed quite original doom, so it was interesting to know what hides deep in the Keep’s cellar.

We kept on communicating with the band each time they released a new album, and I need to tell you that Elliott’s Keep became only stronger with each new release. How many doom bands with progressive, death, and epic influences do you know in the US? So there’s Ellott’s Keep in Dallas, and you’ll learn the rest from this interview with the band’s guitarist Jonathan, who’s ready to tell the story of their fifth album Vulnerant Omnes released on August 19th. Continue reading »

A DOOM DESCENT (PART 5): ALASTOR, BLACK CAPRICORN, ELLIOTT’S KEEP, HOODED PRIEST

 Album Reviews  No Responses »
May 142018
 

 

(After a seven-month hiatus, we present the continuation of a series of reviews prepared by our Russian connoisseur of all things doom, Comrade Aleks.)

First, I was busy finishing the Doom Metal Lexicanum book, and then I put the weight of the “Lexicanum II” project on my shoulders, but blood calls for revenge! And I have some obligations, so here are four overviews of doom albums you may have missed at the end of 2017.

 

Alastor: Blood On Satan’s Claw (Ljudkassett!)

Blood On Satan’s Claw is the second Alastor EP for 2017, and actually I wonder why they didn’t release one full-length album instead. This time the Swedish quartet prepared two ten-minute tracks with a deep psychedelic touch and pop-occult lyrics. The record surpasses its predecessor, Blood Magic, with more effective songwriting and delivery, though the production is on the same underground level. The vocals on these new songs sound different. Actually I was thinking that Alastor had recruited a lady on vocals, but I was wrong. It’s still their bass-player, R, who sings. Continue reading »

AN NCS INTERVIEW: ELLIOTT’S KEEP — “TALES OF GRIEF IN DAYS OF HELL”

 Interviews  2 Responses »
Jun 242014
 

(Our doom-addicted Russian contributor Comrade Aleks returns with another interview — and this time he talks with guitarist Jonathan Bates from the critically praised Dallas band Elliott’s Keep. We’ve got music from the band in here, too)

Elliott’s Keep is a strange example of an original and professional band who have stayed in the shadows despite all of their merits. This Dallas-based trio have worked in their own way, composing a tight and both epic and sinister mix of thrash, progressive, and doom metal since 2006. Their third work Nascentes Morimur was released in November 2013, and since then I have been immersed in this record, listening to it time after time. In the end, I found myself thinking that I needed to spread the word about Elliott’s Keep further, and these thoughts disturbed me until I finished this interview with Jonathan, the man with the black distorted guitar.

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Hail Jonathan! The third Elliott’s Keep album Nascentes Morimur was released in November 2013.  What has happened in your lives since then?

Greetings again, Aleksey!  Things have settled down a bit after the busy times associated with the release of the new record.  We played locally and have been starting to work on new songs.

 

Nascentes Morimur shows the band’s strongest sides and it took three years to write, record, and release it. Can you tell us the story of this release?

After releasing Sine Qua Non, we dealt with various life issues, including a significant vocal paresis for Ken that sidelined him in that aspect for nearly six months.  We also took time to build our own practice studio, which is now a convenient and efficient asset.  As we composed and polished the songs for Nascentes Morimur, the months did turn into years and, before we knew it, three years had passed.  As with each of our albums, we recorded with J.T. Longoria at Nomad Studio in Dallas.  That was a four-month process, through tracking, mixing, and mastering.  Once that was finalized, Joel had the art ready and it was off to duplication and release. Continue reading »