LavaGoat

The chrysalis has finally opened up for Lavagoat!

In 2010, Lavagoat had impressed me, and not only me mind you. Their self-released eponymous album was fresh and chiseled with great tracks. I had at the time insisted on their close similarity with Cathedral. At this point, you probably could be a little perplexed with such a claim as Cathedral is not the band of a single genre, from Doom Death-like Forest of Equilibrium to more psyched-out stoner’ish late albums, the band encompasses many horizons. And so does Lavagoat.

Sometimes versed into strict Doom Death with guttural growls and menacing pachyderm guitars, sometimes more inhabited with a stoner weedy vibe. Two facets that compliment their music with a welcome and fresh duality as both versions of Lavagoat are equally graced with talent.

Monoliths of Mars is the right continuation of Lavagoat’s evolution. And even if the first track, Forge of Vulcan, still displays guttural vocals, the Doom Death has subsided to give in more room to the Stoner feel. Tracks get longer, they give way to more atmospheric parts and the allegory to Cathedral seems to be no longer adequate. It has somehow moved to something closer to the likes of Sons of Otis, Acid King and maybe even more to Acrimony, though in a slightly less groovy way.

Bands that age, tour (and I hear here and there that their live performances are quite good!) and grow up incorporate more and more elements into their music and finally give birth to their own characteristic sound. The chrysalis has finally opened up for Lavagoat and I think that this release will confirm their new orientation.

I’m only a (little) bit disappointed with very few things on this newest EP. Planet of the Dead, the third track, bears too close a resemblance to Magma, a track previously featured on the album. I’m also not a big fan of the longer last track, Monoliths of Mars, which, after a great start, falls into the meanders of the freaking long experimental track that leads to nowhere and which probably requires a shitload of weed to appreciate.

Those are only small disappointments because I honestly think that the biggest disappointment of them all is that this band is yet still unsigned. This is something I just can’t picture. True, Stoner Doom has become so hype lately that there’s probably too many bands out there for them to be all signed. But also true that there is also a great number of acts that should have stayed in their basement instead of polluting the scene. Lavagoat deserves a lot more recognition and until they get a decent record label, I can only advise you to contact them to get your own copy of Monoliths of Mars.


PS: after releasing this EP, the band has made their debut album available for legal download. Get to know them! It rocks! - SPIRIT OF METAL

The chrysalis has finally opened up for Lavagoat!

In 2010, Lavagoat had impressed me, and not only me mind you. Their self-released eponymous album was fresh and chiseled with great tracks. I had at the time insisted on their close similarity with Cathedral. At this point, you probably could be a little perplexed with such a claim as Cathedral is not the band of a single genre, from Doom Death-like Forest of Equilibrium to more psyched-out stoner’ish late albums, the band encompasses many horizons. And so does Lavagoat.

Sometimes versed into strict Doom Death with guttural growls and menacing pachyderm guitars, sometimes more inhabited with a stoner weedy vibe. Two facets that compliment their music with a welcome and fresh duality as both versions of Lavagoat are equally graced with talent.

Monoliths of Mars is the right continuation of Lavagoat’s evolution. And even if the first track, Forge of Vulcan, still displays guttural vocals, the Doom Death has subsided to give in more room to the Stoner feel. Tracks get longer, they give way to more atmospheric parts and the allegory to Cathedral seems to be no longer adequate. It has somehow moved to something closer to the likes of Sons of Otis, Acid King and maybe even more to Acrimony, though in a slightly less groovy way.

Bands that age, tour (and I hear here and there that their live performances are quite good!) and grow up incorporate more and more elements into their music and finally give birth to their own characteristic sound. The chrysalis has finally opened up for Lavagoat and I think that this release will confirm their new orientation.

I’m only a (little) bit disappointed with very few things on this newest EP. Planet of the Dead, the third track, bears too close a resemblance to Magma, a track previously featured on the album. I’m also not a big fan of the longer last track, Monoliths of Mars, which, after a great start, falls into the meanders of the freaking long experimental track that leads to nowhere and which probably requires a shitload of weed to appreciate.

Those are only small disappointments because I honestly think that the biggest disappointment of them all is that this band is yet still unsigned. This is something I just can’t picture. True, Stoner Doom has become so hype lately that there’s probably too many bands out there for them to be all signed. But also true that there is also a great number of acts that should have stayed in their basement instead of polluting the scene. Lavagoat deserves a lot more recognition and until they get a decent record label, I can only advise you to contact them to get your own copy of Monoliths of Mars.


PS: after releasing this EP, the band has made their debut album available for legal download. Get to know them! It rocks! - SPIRIT OF METAL

Lavagoat – Monoliths Of Mars (SR)
Written by Pete Woods on May 5, 2012 • 10:09 am

I really enjoyed the last self titled and debut album from Saskatchewan doom bruisers Lavagoat so naturally when this new one popped through the door I was quick to claim it. The first thing that really strikes is the old sc-fi style artwork (slightly different on my promo than displayed here) which goes hand in hand with the title ‘Monoliths Of Mars.’ This is the sort of stuff I used to spend ages looking at in books of poster art when I was a young un and wonder what on earth could be beneath the pages of the book or in the images of the film it represented. Kudos has to go to artist Jason Dopko for this.

Classed as an EP but giving a whole lot more than a short fix, the track titles are also great and this was like putting on an old Flash Gordon or Star Trek TV prog on an early Saturday morning and sitting glued to the screen. ‘Forge Of Vulcan sees the spaceship landing and we cautiously set foot outside to see what mysteries await us. As the riffs unfurl we venture forth into a barren sort of place that expands slowly into a heavyset and brutal sludgy doom-laden morass of roars from the singer and angry drum pounds. This is very much at the heavier side of anything doom orientated and although not quite death doom it’s not far off and serves as a hammer smash to the face. The steel of this Vulcan’s forge is not to be disputed. It retains a melody amongst the heaviness and you will be pounding your fists along to this one in no time. Everything goes tripped out with sonic bloops and swirls straight out the space rock school established by Hawkwind way back in time. We are now at the ‘Planet Of The Dead’ and vocals are cleanly delivered ala Lee Dorian before the track roars into life and forcefully batters on with Neurosian intensity.

Strange noises perpetuate this realm or perhaps it is lack of oxygen leading to next track ‘Galactic Dementia.’ Big riffs flail out like tentacles and we are into a slab heavy groove with deathly distempered roars bruising our ears. “Darkness, Chaos” comes the cry and we are sucked through the vacuum before a melodious spiralling guitar solo spins out. The monster however is still to rear forth as the title track lives up to its name and is a twenty minute beast of a number. Classic doom laden riffs crushingly and slowly pound away with shouted out vocals. I am reminded a bit of a mix of Electric Wizard and Cathedral here which is no bad thing at all and it is a heady one too. Things loosen up and it limbers off into a galloping rhythm that also now is reminding me a bit of our old favourites round these parts Centurions Ghost. The song could be considered finished around the seven minute mark but the band turn it into a megalithic pulsating mass of space rockisms taking us into infinity and beyond. Sticking around is advised if you want to go all cosmic man!

Great stuff this is a band to watch out for. - AVE NOCTUM

Lavagoat – Monoliths Of Mars (SR)
Written by Pete Woods on May 5, 2012 • 10:09 am

I really enjoyed the last self titled and debut album from Saskatchewan doom bruisers Lavagoat so naturally when this new one popped through the door I was quick to claim it. The first thing that really strikes is the old sc-fi style artwork (slightly different on my promo than displayed here) which goes hand in hand with the title ‘Monoliths Of Mars.’ This is the sort of stuff I used to spend ages looking at in books of poster art when I was a young un and wonder what on earth could be beneath the pages of the book or in the images of the film it represented. Kudos has to go to artist Jason Dopko for this.

Classed as an EP but giving a whole lot more than a short fix, the track titles are also great and this was like putting on an old Flash Gordon or Star Trek TV prog on an early Saturday morning and sitting glued to the screen. ‘Forge Of Vulcan sees the spaceship landing and we cautiously set foot outside to see what mysteries await us. As the riffs unfurl we venture forth into a barren sort of place that expands slowly into a heavyset and brutal sludgy doom-laden morass of roars from the singer and angry drum pounds. This is very much at the heavier side of anything doom orientated and although not quite death doom it’s not far off and serves as a hammer smash to the face. The steel of this Vulcan’s forge is not to be disputed. It retains a melody amongst the heaviness and you will be pounding your fists along to this one in no time. Everything goes tripped out with sonic bloops and swirls straight out the space rock school established by Hawkwind way back in time. We are now at the ‘Planet Of The Dead’ and vocals are cleanly delivered ala Lee Dorian before the track roars into life and forcefully batters on with Neurosian intensity.

Strange noises perpetuate this realm or perhaps it is lack of oxygen leading to next track ‘Galactic Dementia.’ Big riffs flail out like tentacles and we are into a slab heavy groove with deathly distempered roars bruising our ears. “Darkness, Chaos” comes the cry and we are sucked through the vacuum before a melodious spiralling guitar solo spins out. The monster however is still to rear forth as the title track lives up to its name and is a twenty minute beast of a number. Classic doom laden riffs crushingly and slowly pound away with shouted out vocals. I am reminded a bit of a mix of Electric Wizard and Cathedral here which is no bad thing at all and it is a heady one too. Things loosen up and it limbers off into a galloping rhythm that also now is reminding me a bit of our old favourites round these parts Centurions Ghost. The song could be considered finished around the seven minute mark but the band turn it into a megalithic pulsating mass of space rockisms taking us into infinity and beyond. Sticking around is advised if you want to go all cosmic man!

Great stuff this is a band to watch out for. - AVE NOCTUM

Wednesday, July 13, 2011
Album Review: Lavagoat - Self-titled

If Lavagoat’s self-titled debut album provides any indication of what life is like in Saskatchewan, I wonder why the province doesn’t produce more ominous doom bands capable of inflicting beautifully horrifying tales of isolation and despair. These eight tracks serve as a solid testimonial to taking what’s been given and finding inspiration where sunshine comes at a premium. Consistently bleak, agonizingly proficient, and thoroughly heavy are just three of a myriad of identifiers for this far-North four piece.


Puritan initiates this cleansing of the wicked with heavy feedback and a slow, condemned rumble. Vocals are layered with one gnarring bite hovering just above another, while a fuzz-groove hums steadily until nails hit a chalkboard as it rolls through bouncing dust ball riffs and clanking cymbals.


Throughout the album on tracks like The House and The Witch, Lavagoat avoid being pinned to any distinct sound, using melody and psychedelia as a sporadic companion to the distorted drag of sludge and marching death. Magma reminds the listener of El Paso punkers At the Drive-In, though smoky psychotropic accents do give way to tinny, out-of-control guitar quasars driven by Graham’s blistered drum-thumps.


The vocals shift from cave-dwelling Lemmy to Will Rahmer-toilet gurgle, at times even breaking into comedic crooning and peaceful acceptance. This multi-faceted assault perfectly complements tracks like the progressive Old Man and The Sea, which owes a debt to Mastodon’s time signatures and mystical themes. Rome tries to claw itself from an army of plodding, marching spongers, moving from medieval melancholy to a soaring stoner riff and back into a chanting throng.


The album improves as it plays, with later tracks highlighting exactly what Lavagoat are all about. Interstellar Deserts/Azazoth is a bouncing tandem of fluttering guitar laced with drums that just patiently hang around instead of steal the spotlight. Wispy and spooky, though also welcoming, the track breaks down with pounding drums and buzzsaws, entering a space-warp jam kicking up rooster tails until an oncoming train howls through the song’s end. The instruments seem to be doing exactly what Lavagoat want them to do.


Lavagoat never douse the listener with more than what’s necessary, exercising restraint at pivotal moments and pulling back the terror just before dragging you up a winding cobblestone stairwell. The album hits the widest spectrum of sonic emotions and can be as cathartic as it is exhausting. I've never been to Saskatchewan, and I'm not certain I'll plan on visiting. But Lavagoat manage to keep their fans warm by pulling their hair and holding their feet to a burning pyre. - HEAVY PLANET

Wednesday, July 13, 2011
Album Review: Lavagoat - Self-titled

If Lavagoat’s self-titled debut album provides any indication of what life is like in Saskatchewan, I wonder why the province doesn’t produce more ominous doom bands capable of inflicting beautifully horrifying tales of isolation and despair. These eight tracks serve as a solid testimonial to taking what’s been given and finding inspiration where sunshine comes at a premium. Consistently bleak, agonizingly proficient, and thoroughly heavy are just three of a myriad of identifiers for this far-North four piece.


Puritan initiates this cleansing of the wicked with heavy feedback and a slow, condemned rumble. Vocals are layered with one gnarring bite hovering just above another, while a fuzz-groove hums steadily until nails hit a chalkboard as it rolls through bouncing dust ball riffs and clanking cymbals.


Throughout the album on tracks like The House and The Witch, Lavagoat avoid being pinned to any distinct sound, using melody and psychedelia as a sporadic companion to the distorted drag of sludge and marching death. Magma reminds the listener of El Paso punkers At the Drive-In, though smoky psychotropic accents do give way to tinny, out-of-control guitar quasars driven by Graham’s blistered drum-thumps.


The vocals shift from cave-dwelling Lemmy to Will Rahmer-toilet gurgle, at times even breaking into comedic crooning and peaceful acceptance. This multi-faceted assault perfectly complements tracks like the progressive Old Man and The Sea, which owes a debt to Mastodon’s time signatures and mystical themes. Rome tries to claw itself from an army of plodding, marching spongers, moving from medieval melancholy to a soaring stoner riff and back into a chanting throng.


The album improves as it plays, with later tracks highlighting exactly what Lavagoat are all about. Interstellar Deserts/Azazoth is a bouncing tandem of fluttering guitar laced with drums that just patiently hang around instead of steal the spotlight. Wispy and spooky, though also welcoming, the track breaks down with pounding drums and buzzsaws, entering a space-warp jam kicking up rooster tails until an oncoming train howls through the song’s end. The instruments seem to be doing exactly what Lavagoat want them to do.


Lavagoat never douse the listener with more than what’s necessary, exercising restraint at pivotal moments and pulling back the terror just before dragging you up a winding cobblestone stairwell. The album hits the widest spectrum of sonic emotions and can be as cathartic as it is exhausting. I've never been to Saskatchewan, and I'm not certain I'll plan on visiting. But Lavagoat manage to keep their fans warm by pulling their hair and holding their feet to a burning pyre. - HEAVY PLANET

Spring 2011
Written by Spenny Bullen

After having to recently plough my way through a pile of over polished, over produced, and soulless offerings (and all so you don’t have to folks, so never forget the sacrifices your reviewers make for you!) I was desperate to hear some music with a spine that sounded like it was played by musicians, not brought onto the world by an engineer on his computer. Hailing from Saskatoon in the cold depths of Canada, Lavagoat is a crushingly heavy doom four piece that with their debut self titled album has done just that, providing a much needed antidote to the overblown power tracks that had been poisoning my speakers! From the off the album blasts out with ‘Puritan’, a dark and doom laden anthem that would have done any early Cathedral album proud, had it been written by a young Lee Dorrian rather then these hairy axe wielding Canucks.

Rather then stay at a single funereal slog, Lavagoat up the pace with ‘Old Man And The Sea’, blackened tinges firing through the gloom with faster guitar riffs and harsher vocals, before venturing into the psychedelic plane with the trippy rock of ‘Magma’. This journey through the astral plane is followed up in short order by ‘The House’, the guitars and bass stamping out from the speakers like the march of the hordes of hell, the vocals being the very pained groan of the damned. Amongst the eight superlative tracks on the CD, Lavagoat even manage to bring off a seven minute plus instrumental in the form of ‘Interstellar Deserts Azathoth’; any band that references one of the lesser known gods of the Lovecraftian mythos wins points with me, and the fact that they do so in a number that seems to encapsulate without vocals the churning madness of that demon sultan at the centre of the universe is a testament to the bands’ skill.

With their mixing of styles, maybe Lavagoat should create a new sub-genre to describe their sound? Blackened Death Doom, or ‘Bladdoom!” for short. No, maybe not, there are more then enough divisions in metal, and rather then pigeon hole this excellent debut release, I’ll just stick to calling it bloody good! Recorded live over just two nights, energy blasts out of every second of the album. I can only hope that this sonic juggernaut blasts out from the plains of Canada to lay aural waste to these shores. - MTUK METAL ‘ZINE

Spring 2011
Written by Spenny Bullen

After having to recently plough my way through a pile of over polished, over produced, and soulless offerings (and all so you don’t have to folks, so never forget the sacrifices your reviewers make for you!) I was desperate to hear some music with a spine that sounded like it was played by musicians, not brought onto the world by an engineer on his computer. Hailing from Saskatoon in the cold depths of Canada, Lavagoat is a crushingly heavy doom four piece that with their debut self titled album has done just that, providing a much needed antidote to the overblown power tracks that had been poisoning my speakers! From the off the album blasts out with ‘Puritan’, a dark and doom laden anthem that would have done any early Cathedral album proud, had it been written by a young Lee Dorrian rather then these hairy axe wielding Canucks.

Rather then stay at a single funereal slog, Lavagoat up the pace with ‘Old Man And The Sea’, blackened tinges firing through the gloom with faster guitar riffs and harsher vocals, before venturing into the psychedelic plane with the trippy rock of ‘Magma’. This journey through the astral plane is followed up in short order by ‘The House’, the guitars and bass stamping out from the speakers like the march of the hordes of hell, the vocals being the very pained groan of the damned. Amongst the eight superlative tracks on the CD, Lavagoat even manage to bring off a seven minute plus instrumental in the form of ‘Interstellar Deserts Azathoth’; any band that references one of the lesser known gods of the Lovecraftian mythos wins points with me, and the fact that they do so in a number that seems to encapsulate without vocals the churning madness of that demon sultan at the centre of the universe is a testament to the bands’ skill.

With their mixing of styles, maybe Lavagoat should create a new sub-genre to describe their sound? Blackened Death Doom, or ‘Bladdoom!” for short. No, maybe not, there are more then enough divisions in metal, and rather then pigeon hole this excellent debut release, I’ll just stick to calling it bloody good! Recorded live over just two nights, energy blasts out of every second of the album. I can only hope that this sonic juggernaut blasts out from the plains of Canada to lay aural waste to these shores. - MTUK METAL ‘ZINE

September 7, 2010

That’s One Heavy Bovidae!

LAVAGOAT
Saturday 11
Walker's


For those of us that grew up on metal and have long waited for it to make a comeback, it’s finally a good time to be a fan of the genre again. On the underground scene, cheesy cock rock has largely been replaced by a ton of amazing doom and psych rock bands roaming across Canada — including a healthy prairie scene, with bands like Saskatoon’s Lavagoat leading the charge.

The secret to their music is pretty simple, says guitarist Jimi: first of all, there’s a heavy emphasis on the heavy, and secondly, they just create the type of music they’d want to hear.

“Lavagoat is about heavy,” says Jimi. “We play metal, but we take influence from all types of music and we try not to confine ourselves to one style or another. We basically write whatever we want, put it through the jam process and however it turns out, it’s at least always heavy.

“No matter what we do, the finished product always comes out sounding like the Goat. We pretty much write collectively what we all would like to hear if we bought a disc, went to a gig or had a wicked trip.”

Lavagoat have just released a new self-titled album and plan to hit the road, touring with Regina’s Agonal — so catch their Walker’s show before they hit the road. Their live show is akin to running as fast as you can into a brick shithouse wall of noise — and the bloodier your nose is after, the better.

“[A Lavagoat live show means] lots of smoke, lights, and debauchery,” says drummer Graeme.

Awesome — but one nagging question remains: what the hell is a Lavagoat, anyway?

“It’s two things that we think are cool,” says Jimi.

Fair enough. - Planet S Magazine

September 7, 2010

That’s One Heavy Bovidae!

LAVAGOAT
Saturday 11
Walker's


For those of us that grew up on metal and have long waited for it to make a comeback, it’s finally a good time to be a fan of the genre again. On the underground scene, cheesy cock rock has largely been replaced by a ton of amazing doom and psych rock bands roaming across Canada — including a healthy prairie scene, with bands like Saskatoon’s Lavagoat leading the charge.

The secret to their music is pretty simple, says guitarist Jimi: first of all, there’s a heavy emphasis on the heavy, and secondly, they just create the type of music they’d want to hear.

“Lavagoat is about heavy,” says Jimi. “We play metal, but we take influence from all types of music and we try not to confine ourselves to one style or another. We basically write whatever we want, put it through the jam process and however it turns out, it’s at least always heavy.

“No matter what we do, the finished product always comes out sounding like the Goat. We pretty much write collectively what we all would like to hear if we bought a disc, went to a gig or had a wicked trip.”

Lavagoat have just released a new self-titled album and plan to hit the road, touring with Regina’s Agonal — so catch their Walker’s show before they hit the road. Their live show is akin to running as fast as you can into a brick shithouse wall of noise — and the bloodier your nose is after, the better.

“[A Lavagoat live show means] lots of smoke, lights, and debauchery,” says drummer Graeme.

Awesome — but one nagging question remains: what the hell is a Lavagoat, anyway?

“It’s two things that we think are cool,” says Jimi.

Fair enough. - Planet S Magazine

LAVAGOAT
By Sarah Kitteringham


During our first conversation, Saskatoon metal quartet LavaGoat was affable, jovial and chatty whilst on a speakerphone round robin. They discussed the acreage/recording studio owned by drummer Graham - no last names for these fellows - and their debut self-titled full-length that features a furiously crushing miasma of blackened sludge. They asked handfuls of questions about the Noctis festival they’ll soon perform at, had nothing but praise for the Calgary metal community and seemed genuinely stoked at the prospect of sharing a mug of frosty beer. Moments after the conversation ended, the recorder was plugged in for transcription and … the file was gone.

Shit.

Round two: “This is Jimi (guitarist) … LavaGoat actually came together in ’07. Sean (bassist) came to me with a couple of tracks and Graeme (vocalist and lyricist) joined about a month later. Then, in February of ’09, Graham (drummer) came along. We needed a drummer: he was a perfect fit. Everything else is history!”

Their self-titled debut was unveiled a year later, receiving a plethora of positive reviews on the Internet. Featuring eight tracks of gnarled grooves and guttural howls, LavaGoat was a strong debut recorded at their drummer’s childhood home, which doubles as a resting place for transient musicians like Baroness, Bison B.C., Goatwhore, Yakuza, Ninjaspy and Exit Strategy.

“When I joined the band, it was really kind of easy for me to say, ‘Hey dudes, I have a studio. I’ve been doing this for a couple years and this is what I want to do,’ ” recalls Graham, who takes goading questions regarding whether he also owns a big van in stride.
“The opportunity to get out there and just be away from the city and be away from everything else and kind of immerse yourself in that recording environment definitely did a lot for the vibe of the record,” says Jimi.

The atmosphere also lends to their prolific recording goals. They have a five-song EP, titled Monoliths of Mars, already recorded - which just “needs the mixing and mastering done,” according to Sean - and another release set after that.

“We are always writing songs and we always have a bunch more on deck … so the sound is probably going to be the same but new. It’s definitely of the same vibe,” says Graeme. Sean adds, “Lyrically the inspiration comes from science fiction, swords and sorcery, history, mythology.”

So more of the same?
“It’s definitely louder,” says one and they laugh.
That’s more than all right with us. - Beat Route Magazine (Calgary)

LAVAGOAT
By Sarah Kitteringham


During our first conversation, Saskatoon metal quartet LavaGoat was affable, jovial and chatty whilst on a speakerphone round robin. They discussed the acreage/recording studio owned by drummer Graham - no last names for these fellows - and their debut self-titled full-length that features a furiously crushing miasma of blackened sludge. They asked handfuls of questions about the Noctis festival they’ll soon perform at, had nothing but praise for the Calgary metal community and seemed genuinely stoked at the prospect of sharing a mug of frosty beer. Moments after the conversation ended, the recorder was plugged in for transcription and … the file was gone.

Shit.

Round two: “This is Jimi (guitarist) … LavaGoat actually came together in ’07. Sean (bassist) came to me with a couple of tracks and Graeme (vocalist and lyricist) joined about a month later. Then, in February of ’09, Graham (drummer) came along. We needed a drummer: he was a perfect fit. Everything else is history!”

Their self-titled debut was unveiled a year later, receiving a plethora of positive reviews on the Internet. Featuring eight tracks of gnarled grooves and guttural howls, LavaGoat was a strong debut recorded at their drummer’s childhood home, which doubles as a resting place for transient musicians like Baroness, Bison B.C., Goatwhore, Yakuza, Ninjaspy and Exit Strategy.

“When I joined the band, it was really kind of easy for me to say, ‘Hey dudes, I have a studio. I’ve been doing this for a couple years and this is what I want to do,’ ” recalls Graham, who takes goading questions regarding whether he also owns a big van in stride.
“The opportunity to get out there and just be away from the city and be away from everything else and kind of immerse yourself in that recording environment definitely did a lot for the vibe of the record,” says Jimi.

The atmosphere also lends to their prolific recording goals. They have a five-song EP, titled Monoliths of Mars, already recorded - which just “needs the mixing and mastering done,” according to Sean - and another release set after that.

“We are always writing songs and we always have a bunch more on deck … so the sound is probably going to be the same but new. It’s definitely of the same vibe,” says Graeme. Sean adds, “Lyrically the inspiration comes from science fiction, swords and sorcery, history, mythology.”

So more of the same?
“It’s definitely louder,” says one and they laugh.
That’s more than all right with us. - Beat Route Magazine (Calgary)

First Album Review of the Self Titled LAVAGOAT Album - sweetooth0.com

First Album Review of the Self Titled LAVAGOAT Album - sweetooth0.com

Big thanks goes out to Derek Edward Kellington for this interview with Canadian Psychedelic rockers "Lavagoat". A great band and if the two songs on their Myspace are anything to go by, i want to hear a lot more. Check them out by clicking the links in the interview.



When did the band start?
July 2007
Its not often you come across a band like this around here. What drew the band to this sound?
The sound resulted from wanting to get together drink beers, have smoke and Jam. And to have a more relaxed feel and just write, and whatever happens, happens.Just get loaded and play!
Have you had the opportunity to play many shows as of yet and how has the reaction been locally?
We have played Several Local shows and some out of town shows so far and the reception has been amazing, Unexpected and positive. with Lots of beer and Headbanging.
I see you are booking a tour for November. How is this coming along so far?
We are planning to leave Saskatchewan for a Select few dates to test the waters out West and maybe dip into the east. Keep checkin the Myspace to details on that.
http://www.myspace.com/goatlust
How many songs are in your set?
Depends how long the set is. It changes for the situation.But in the entire repertoire we would have to declare there are over a thousand songs.
Are there any plans on hitting the studio to record an album?
Yes there are future plans to hit the studio again and complete an Entire album. No news as of yet on the Release date. But there is an EP in the works and also 2 Versions of a 3 song Demo that is Available now.
The two tracks on your myspace have different vocal stylings. Are the vocal duties shared?
Yes the Vocal duties are Share between Guitar and Bass player.
Does the whole band work the songs out together, or is someone in the band more involved in the writing?
Individuals bring Ideas to the table for everyone to work on it collectively.
I read the influences on your myspace. Are there any stand out influences to speak of that you feel help mold your sound?
Not specifically a band, just music in general, and continuing to draw influence from everywhere.
Were not trying to sound like this or that, its just what we have always done, and its the natural result of years of playing together as friends.


Any last words?
cheers - Doom Metal Alliance