TOMBSTONES

It may or may not be right to call such barbarity progressive, but there is definitely a sense of growth in Vargariis, the new full-length from Norwegian trio Tombstones. Released by Soulseller Records, it’s their fourth long-player — something I also said about late-2013’s Red Skies and Dead Eyes (review here) — and finds the lineup of guitarist/vocalist Bjørn-Viggo Godtland, bassist/vocalist Ole Christian Helstad and drummer Markus Støle in an entirely more brutal, vicious era. Granted, the rather sizable wall of fuzz in Godtland and Helstad‘s tones remains, but they’ve shifted the context in which that wall is constructed, and Vargariis‘ six-track/56-minute run is made simultaneously broader and more oppressive by flourishes of sludge and black metal extremism, as on “The Dark High,” which starts side B, or “Oceans of Consciousness” right before it.

On one side or the other, each track hovers around the nine-minute mark in runtime, but what Tombstones do with that time is varied in aesthetic despite being universally dark appropriate to the tones of the album’s cover art. Like the release before it, Vargariis was recorded live, tracked by Joona Hassinen at at Studio Underjord in Norrköping, Sweden (Audun Strype mastered), but the two are very different in terms of concept and execution, Tombstones having grown thanks to some considerable roadtime the last couple years into a more patient, sonically ambitious and lethally grooving outfit, willing and capable to bend the genre of doom to suit their purposes rather than the other way around.

They start with a slow-motion pummel in “Barren Fields,” which seems to nod at Conan in its tablesetting opening riff before shifting into more hypnotic fare. For a release so aggressive on the whole, it doesn’t seem appropriate to think of Vargariis‘ leadoff track as easing the listener into the rest of what’s to come, but a big function of “Barren Fields” seems to be in establishing a baseline — also a bassline; that roll is thick — on which the rest of the songs continue to build. Godtland and Helstad trade vocals effectively as Støle, who makes his first studio appearance with the band here, bashes away beneath the morass, a midsection break providing a breather before a quickened ending movement grows more and more headbang-worthy as it thrusts toward an inevitable conclusion. Bass and drums start the semi-title-track, “And When the Heathen Strive, Vargariis Rise,” and the snare continues to be a punctuating factor through an extended intro and into a punishing slowdown of corresponding screams and growls that sets up a stretch of chugging, abrasive sludge topped with screams, moving into roaring shouts, Tombstones clearly having as much fun toying with the instrumental back and forth as that in the vocals.

tombstones

There’s not much by way of hope to be found in any of it, but the guitar takes just a touch of brightness to its tone in the final third before a sudden drop-off in the drums brings about a quick fade and the blasting, charred-black opening of “Oceans of Consciousness” to stamp it out. They don’t keep up the onslaught for the entire 10:14 (the longest runtime), but play again with tradeoffs and heathen and sludge nod before all the bombast and gutturalism crashes to a halt at about 5:20 in and they begin the linear build that will consume the rest of the track with minimalist rumble and percussive gruel. Even in the quietest reaches, “Oceans of Consciousness” is filthy, and the lead that marks the beginning of the last minute is likewise, but by the time they get there, Tombstones‘ plunder is long-since established and the only thing to do is sit back and be impressed at how they manage to make mud so dense flow so well.

Vargariis is a definitive step forward from Red Skies and Dead Eyes because where that album played one side off another somewhere between stoner and doom impulses — and did it well, I’ll add — Vargariis flagrantly refuses to be bound by those or other constrictions, and where the predecessor worked its two sides with a duality in accord with its title, Vargariis is multi-faceted throughout and cohesive in spite of which element might be forward at any given moment. Even for appearing on a band’s fourth record, that cohesion is an impressive feat in “Oceans of Consciousness,” and the second half of Vargariis continues to build outward from there, “The Dark High” conjuring darkened swirl early on, breaking in the middle and finishing with more uptempo push à la “When the Heathen Strive, Vargariis Rise” as Støle distinguishes himself on drums and a long-sustained scream reminds of how effective harsh vocals can be when put to the right use. In addition to supplying a surprising dual-vocal hook, “Underneath the Earth” also brings about the most crushing tones on offer early on before shifting after six minutes — via standalone drums — into a fuzzier build that closes out.

That fuzzier vibe holds firm as the drums lead the way into “Pyre of the Cloth,” which is something of a further departure from the material before it in terms of its overall affect, though the oppressive heft is certainly a factor, particularly in the faster parts of the first half. There’s something psychedelic lurking beneath the surface ooze of “Pyre of the Cloth,” however, that isn’t in songs like “The Dark High,” and the closer locks in a central groove even as it rolls its way past excruciatingly slow sludge and higher-speed chugging Sleepism, ultimately finishing on the latter, and that winds up being the uniting factor holding it together. Like the bulk of the album before it, “Pyre of the Cloth” works structurally to hold together material that’s deceptively broad beyond its superficial drive toward the extreme, and most importantly, it shows Tombstones four albums in as a band whose palette is continuing to expand and who are clearly making the most of the experience they’re gaining along their way. - The Obelisk

Hey guys, I found my head again…it was up my ass as suspected; the only reason I could have possibly missed out on down n’ dirty, Norwegian doom-slaughterers Tombstones and their previous three full-length releases. Sometimes, going into a review as an ignorant s.o.b. has its advantages because you place no preconceived notions upon the music you’re hearing. This trio is a corporate merger of brawny biker doom played Earthride/Turambar style, straight rehab sludge from the Cavity, Soulpreacher, Grief, Brainoil and Eyehategod school of hard knocks, Crowbar/Subversion/Hull-esque melody-basted suicide sludge and trippy, ascending scuzz ala Diesto and Arkansas’ forgotten riff hypnotists Dead Bird and Shitfire (Rwake fans will probably dig this too…it’s pretty fuckin’ scalding). It’s a good mix and if not a totally brand new scientific discovery, these guys certainly have their own sound which made this release a strychnine-dipped pleasure to listen to.

“Barren Fields” is the perfect opener, luring the listener in with some snake-charming feedback that immediately begins cycling a repetitive, sinking riff smoke-out bolstered by drummer Markus Stole’s deadly precise beat syncopation. Bassist Ole Christian Helstad fattens up this side of beef with plunging, valley deep grooves while guitarist Bjorn-Viggo Godtland thickens up the 6-string weight with each passing measure. Nothing is too complex or difficult to follow, but the riffs continue augmenting their power chord arrangements throughout to grab your attention span by the scruff as the drumming makes ample use of crisp, crunchy yet surprisingly agile snare fills and numerous dips into progressive lead guitar melodies. This is far and away from another Electric Wizard clone, let me tell you that right away. Follow these guys up with their country mates the Count Raven influenced Purple Hill Witch, and you’ve got a serious day of doom ahead of you. Godtland handles the lead vocals with some backing support from Helstad and instead of screaming their heads off they fuck around with texture, tuneful shouting and subterranean grumbles which strikes a nice balance between extremity and control. In the cut’s final third, these boys really ratchet up the tempo with a forceful, admirably intense bayonet charge of aggressive, sharply aimed riffs that will have you bangin’ your head until it’s a pile of dust on the floor waiting to be sucked up by Satan’s vacuum cleaner. Lots of pinchy, pained melodic notes only add to the band’s cathartic crumble.

Stole leads off “And When the Heathen Strive, Vargariis Rise” with a deliciously dry, polyrhythmic beat that works the kit with stark, busy changes; barreling through the impasse into a dominating riff with morphine-pumped melody chords piercing through the massive doom density. Suddenly, the driving sonic override detunes into a molten crawl where riffs deconstruct and reassemble before your very eyes as the vocalists unleash scathing, dyin’ on one knee screams. The bloated, bull-horned anguish picks up nicely into bluesy Sabbath grooves with the vocals morphing into a bellowing, cavernous ultra-low baritone grumble. There are multiple personalities at work here with a little bit of everything I love about this type of music thrown in. Tombstones can be as fuckin’ heavy as the heaviest but they show a great sense of melody and dynamics throughout, for example the arid, minor-key psychedelic dirgery that’s a goddamn highlight in the song’s last quarter. It’s eventually ground up into a fine, snortable powder of god hatin’, goddamnation doom-cocaine, led to the grave by a BIG riff you won’t be forgetting anytime soon.

The band’s Norwegian home base is certainly an inspiration during the early going of “Oceans of Consciousness” where the plague-stricken tomb doom is shot headfirst out of a cannon into the heart of a frosted over forest…screeching speed picking, brazen blast beats and murky bass lines tell me that Tombstones certainly embrace the black metal heritage of their homeland. There’s enough tension on hand to snap every power line across the country, showering the populace in electricity, until reprieve is found in a massive sludgy riff and a solo bass line that’s so fat it needs a lifetime supply of Slimfast. The riffs that follow up this segment are as heavy as anything in the early Electric Wizard discography, but bend beautifully with massively swingin’ blues in the key of Soulpreacher. Then holy fuck…I let myself get comfortable and then I’m getting punched in the nose so hard thanks to some relentless grindcore/death metal jabs that I had snot squirting out of my ass. Finally, the track settles into an irresistible sewer stew of alternatingly blues-grooved doom and drop-out depression sludge with riffs that are several cuts above the norm. Those vocal trade-offs inject even more energy into the mix with one guy adopting a high-pitched, drug-bombed shriek and the other again dredging the lake with his surly low howl. Smooth 70s leads and melodies also further elevate this tune to another level altogether. Just…wow…goddamn guys, sick shit if you got the stomach for a little carnage.

At 9+ minutes in length “The Dark High” has an ominous build with an overabundance of halted, haunted house chords which toy with the ears in a blood-soaked spray of foreplay until the psychedelia dissipates into a black hole of clattering percussion, lumbering riffs so strong they could break Superman in half and just the right amount of dramatic accoutrements splayed across the song’s quicksand slow tempo. Vocally, the strained melody shouting returns with those ultra-low roars making for a cool call n’ response effect as the band musically nearly drops out of existence into a subdued shamble which whips itself back up into another frenzy of impenetrable sludgy doom riffs. Hell, some of the vocals here approach actual *gasp* singing and it works, acting as a cue for mind-altering 70s blues riffs towards the track’s death knell finale. “Underneath the Earth” cracks the terra firma in strides of broken, stop/start riffing that’s practically a march straight into a wartorn battlefield where every footstep is in danger of getting stuck in a pile of corpses. Stole keeps this one lively even though it’s one of the slowest tracks on the record, and the guitars are brimming with shades of melody that nearly suffocate as they choke their way through a smog of noxious doom riffing. The pace picks up a few clicks riding on the crest of endless tom heavy rolls, but for the most part this is a damn ugly jam, although the vocals have the slightest melodic retention at first even building to a chorus! A killer full-on riff assault rounds this motherfucker out, yet they refuse to play things straight by sneaking into subtle melodics whenever they are needed most. Closer “Pyre of the Cloth” is riff after riff, again giving Stole ample chance to flex his percussive chops (he sets the tone with the intro). Godtland threads numerous melodies (almost Kyussian in nature but eerie n’ evil like Rwake) into a concrete wall of decapitating doom riffs that go from freaky, noisy trip-outs to burden carrying grooves…he surprises with a semi-lengthy, super tight climactic solo before all is said and done.

Tombstones’ fourth long-player Vargariis dressed me up in my funeral suit and laid me out flat on my back. The entire effect of this album is like getting run over in succession by a horde of elephants and an army of steamrollers before Popeye grabs a blue whale by the tail and beats you into paste with that big oceanic bastard. I’m kickin’ myself for missing out on this band for so long. As money accrues in my wallet again someday, there is no doubt I will be buying up every single thing this band has released. As it stands, Vargariis is what you need if you want the ultimate blend of doom mixed with sludge played heavy as fuckin’ hell. This is what I hoped that Monolord’s recent album would do for me, but alas it turns out that Tombstones had EXACTLY what I was looking for. Highly recommended! - Hellride Music

Tombstones have always been great, and they always will be. Their last two albums, ‘Red Skies and Dead Eyes’ (2013) and 'Year of the Burial’ (2012), were solid releases that made sizeable footprints in the heavy underground world. But with the latest LP from the Oslo doomsayers, 'Vargariis’ (released on vinyl January 29th via Soulseller Records), Bjørn-Viggo Godtland (guitar/vox), Ole Christian Helstad (bass/vox), and Markus Støle (drums) have created something that far exceeds their previous achievements. This time around, the stentorian riff lords beckon you to enter their barrow, because this record was written to bring respite to your troubled soul.


Vargariis feels immense. It’s prodigious, loud, and impressive. The songs are long and the riffs crunch and churn. The term “wall of fuzz” gets thrown around a lot in reference to this band, and for very good reason. Tombstones have cultivated their own sonic approach to this distinct weapon. While the concept is not particularly new, every iconic act - from Electric Wizard and Belzebong, to Ufomammut and Monolord - have honed some unique version of that wall of fuzz to great effect. Tombstones seems to have found theirs, as well.

Beyond this, there are two other quintessential facets composing Tombstones’ distinctive sound, namely Helstad and Godtland’s vocals (predominantly Cough-esque, gut-wrenching screams, and unsettling, deep bellows) and Støle’s inherent groove behind the kit. The occasional clean vocal section notwithstanding, it’s those harsh screams and growls layered nicely over the turbulent distortion that get our attention, with Støle’s drums providing a deep, driving pocket (at some points reminding me of Spelljammer’s Niklas Olsson). This is the lethal engine that so effectively propels the Tombstones machine. It’s a powerhouse combo with force like a tidal wave that will leave listeners feeling ripples.



Barren Fields



The opening drones in “Barren Fields” find the band striding in unison, almost like a dutiful march into an unpleasant battle. Rhythmically conscious vocals chime in seamlessly as the song blooms into full form. This track adds layers of intensity until it kicks the tempo up a lot, resulting in a pummeling outro groove that lasts nearly three minutes.






And When The Heathen Strive, Vargariis Rise



A stoner bass and drum intro leads into a rhyming riff that’s pleasing to the ear and the vocal duo also work together to great effect. Seriously, the vocals on this track are wicked, reeking of misery and rancor. They soar above gaping whole notes that give the chorus a slight funeral doom feel. “When The Heathen Strive” will send shivers down your spine. An absolute must-listen.






Oceans of Consciousness



“Oceans of Consciousness” opens with tremolo guitar and blast beats, which rings out as the bass sustains the foundation with thick fuzz. Five minutes in, “Oceans” takes an unexpected turn from gnarly overdrive to bare bones drum and bass, allowing the clean vocals to shine. Of course, the brief reprieve has the “quiet before the storm” effect, after which the guitars and vocals surge together, creating a colossal moment with twangy guitar leads.






The Dark High



“The Dark High” is the most powerful piece on the album. It constructs vivid scenery with quiet bass and subtle guitar feedback as the band builds masterfully on a simple progression. The vocals have a Mike Scheidt quality to them and this, coupled with the grandeur of the guitar and drums, has Tombstones experimenting in Yob territory, without ever compromising the sound they’ve established up to this point. The song dies down to a halt and rebuilds into a stoner riff with a heavy lilt, as if giants were at play in the distant foothills.






Underneath The Earth



Imagine sludgy mire, wetlands, and dank bogs as you listen to “Underneath The Earth.” The composition is thick and slow with some magnificent drum fills and powerful vocal parts that truly make it all come together. And man, the unexpected riff at the end hits harder and groovier than anything you’ve heard all year. It’s a fitting outro for an epic piece.






Pyre Of The Cloth



This track is relentless! “Pyre Of The Cloth” hits hard with heavy moments that are vaguely similar to Cough, and others that sound a bit like Sleep. Ultimately a fine conclusion to a remarkable album.


Vargariis finds Tombstones in a better place than ever before. The drastic dynamic changes and catchy vocal and guitar hooks heard throughout the record make indelible impressions on the listener, hoisting Tombstones up there with the greats. This is an album to make room for in your collection, so get on it.








Unpolished and Raw:
An Interview with Tombstones

By Billy Goate

Cover Pic by Stig Løvås
Concert Photos by Jessica Lotti




I don’t know if you’ve noticed lately, but the underground is getting very crowded. Both the number and the quality of heavy releases seem to be increasing exponentially every year. In this renaissance of heavy music, Tombstones has managed to craft a very recognizable sound for itself. I can imagine that first-time listeners might find themselves a bit at a loss for words in trying to describe what they’re hearing. How do you like to describe the Tombstones sound to new-comers?

You are stating the truth here. The underground seems extremely vibrant these days, and that’s a fact making it even harder to cut through. It’s always a pain in the ass to try to describe your own sound, but I think on Vargariis, in particular, we have a slightly more oppressive and aggressive sound than the common stoner doom, EL Wiz, Black Sabbath worshipper is used to.

I think as our band has kept moving, we are feeling more confident in our own approach, allowing us to implement the elements we enjoy the most in heavy music. I think you can say we have a bit of a hardcore twist on some of the songs, as well as small fractions of blackened metal.




Curious as to which bands that Tombstones look up to as an influence or inspiration?

We are huge fans of bands like Amenra, The Old Wind, Melvins, Breach, and Neurosis, to name a few. All these bands are super heavy, without even touching the usual formula. We had a clear goal after the recording of Red Skies and Dead Eyes, that we wanted to push our sonic violence in a more in-your-face direction. I think it can be summed it up as unpolished and raw, in-your-face sludge.




That’s a fitting description, for sure. You probably have fans from the ‘Year of the Burial’ and ‘Red Skies and Dead Eyes’ days who may have just now discovered ‘Vargariis’ and want to know, “How is the new record similar or different from Tombstones’ past records?”

It’s similar in that it’s made by the same people. I mean, we still love huge, hypnotic riffs and these will always be a big part of our sound. On the other hand, the two albums you’re referring to were written in the same time period. They were released with an 18-months gap, but still eighty percent of those songs erupted in a short period of time, at least from a band’s point of view. Vargariis is also our first recording with Markus behind the drums, and he surely had his impact on the album’s sound. He has been our touring drummer for a couple of years, but this is the first album he’s been involved with. Vargariis is also much more of a team effort than our two previous albums. We’ve still brought a lot of riffs and ideas from home to rehearsals, but the songs were crafted together, in comparison to earlier albums where complete songs were brought to rehearsals.

You will still have our take on heavy riffs, our love for changes in time signatures, sudden breaks, and so on. We love using light and shade when playing music. Dynamics are key! The most obvious stylistic change, I’d say, are in the vocals. We don’t try to sing as much on this album, focusing rather on what we do best and what feels natural. A huge part of how Vargariis sounds reflects our decision to play the material on two European Tours before entering the studio. We actually played the album, except for one song, in its entirety at Roadburn last April. Doing it this way, seeing the crowd’s response, and being able to make natural adjustments along the way made us approach the studio recordings in exactly the same manner we do from the stage.



The recording does sounds great. I mean, the clarity of tone, the depth of that rumbling bass, and the sheer weight of the low-tuned riffage made for a superb listen. As you touch on a lot of different metal styles, it’s impressive how well this album captured this special blend. Talk to us a little about the production. Who did you collaborate with throughout the recording, mixing, and mastering process to get things sounding precisely as you wanted it?

Before deciding upon a studio, we tried to find a common reference in an album we all think sounds great. Both our previous albums were recorded 50 meters from our rehearsal space with Petter Svee, who is a good friend of ours. On Red Skies and Dead Eyes we even had Billy Anderson in Oslo for the recording and engineering. This was obviously very convenient, since we all live in Oslo, and we always had the chance to go back and redo things, if unhappy with something.


This time around, we wanted to do it a bit differently and leave Oslo for some days, instead of going to the studio after work every day. So one of the first bands we came to think of having the sound we wanted was Ocean Chief. We looked up where their latest album Universums Hård had been recorded, and there it was. I contacted Studio Underjord after noticing it wasn’t that long a drive from Oslo, so we booked the studio for four days.


Joona Hassinen is the owner and engineer, and he was in the process of building a new, much bigger studio in Åby, a small town in the middle of the woods just outside Norrköping in eastern Sweden. We lived in a small cottage at a Caravan resort during the event and had a great time. The recording room at this new, improved Studio Underjord, sounded amazing - especially the drums. It took us just 20 minutes to have the right drum sound. Pretty awesome! Since we travelled by car, we were only able to bring amps and instruments, so we had to do some runs to collect the additional gear in the nearby area. Bjørn from Ocean Chief also lent our Bjørn his Electric Green stack, custom built. Awesome guy!


We recorded everything live, as we always to, and finished drums, bass, and one guitar track in a day-and-a-half. As we wanted to keep the energy from the live takes, we only added one guitar dub, in addition to vocals and some minor jump-ins. We had everything done, and a very nice rough mix to go with it, after five days and Joona took care of the final mix the following week.


We’ve mastered all our albums at Strype Audio here in Oslo. Owner Audun Strype has become a trusted companion and he never disappoints. He had a clear vision of where he was heading and had the sound more or less locked down when we hit the mastering studio around noon. It was new, fresh, and a bit terrifying to us - as you said yourself, it sounded very clear, not as muddy as we were used to. This was exactly what we wanted in the first place, but it was still hard to decide to go for it, because of the aggressiveness and coldness found in the sound. Needless to say, we’re delighted with the result and how Vargariis sounds. It’s pretty damn close to seeing us live.




We’re big gear-heads here! Do you mind sharing with us what instruments and gear you record and perform with?

Haha! We’re gearheads ourselves, so no problem. Markus hammers his old Tama drum kit, sounds awesome! Bjørn is using a Gibson SG through two separate full stacks. One 70’s Simms Watts 100w head, paired with a Simms Watts 412 and a Marshall 412 cab, and a custom built Matamp GTL paired with a Sound City 412 and a Laney 412. All cabs besides the Marshall are from the 70’s. I use a Rickenbacker 4003 through an Ampeg SVT Classic paired with an 810 cab, and a 70’s Sunn Beta Bass paired with a 70’s Carlsbro 215 cab. Both me and Bjørn are currently using Bass Big Muffs for one of our stacks. I also use a Way Huge Pork Loin for the Sunn stack.


When we’re on tour we need to rely on rented gear most of the time, and usually downscale to a Marshall JCM 800 half stack and an Orange Rockerverb half stack for guitar, and an Ampeg SVT + 810 for bass.

We’ve used our own gear for all our recordings up to this one. As I mentioned, we travelled by car, and were only able to bring amps, but ended up with a very similar setup. Vargariis is recorded with an Electric Amp custom made Green stack belonging to Ocean Chief, our Simms-Watts head plus a Marshall 412 cab, Ampeg SVT+810 and an amazing sounding Gretsch kit, belonging to Studio Underjord.




Your music video for “Oceans of Consciousness” is a delight – full of creepy atmosphere, with a strong occult vibe. Each number on the album has its own similar character. Do you see these as stand-alone songs, or are they stylistically or thematically related?

I see them as stand-alone songs, for sure. However, we got quite a few comments after playing this album in its entirety at Roadburn, saying that they were perceived as a whole. They are thematically related, as pretty much all our songs are when we come to the lyrics. We wrote this album in a short period of time, with a very specific goal: to have them ready for our April tour, and that fact might have glued them even more together.



We’ve traded words before about your aspiration to play festivals and tour the world. Let’s say you were granted your wish, with all expenses paid – what would an idea Tombstones year look like if you could go anywhere and play any festival?

That’s a tough one. (laughs) We definitely want to tour the US. Rather sooner than later. That’s a big goal and a dream for us. Especially playing events such as Psycho California, Maryland Deathfest, Hoverfest etc. Would also love to play Canada. Then there are a huge number of European festivals we would love to visit in the future. Hellfest is a big dream, of course, but also Duna Jam, Stoned from the Underground, Reverence Festival, Hammer of Doom, etc. There are so many awesome festivals going down in Europe. Roadburn and Freak Valley are on the “want to do again" list. Japan and Australia would be killer, too. So many places we would love to visit!



You’re playing in the US for the first time, I believe, at Psycho Las Vegas in August. Tell me, just how excited are you? What are you doing to prepare and what do you have in store for us?

Fuck yes! This will be our first time as a band “over there.” Playing in the United States has been a dream for us for years and, much thanks to you guys over at Doomed & Stoned, it is actually happening! It feels totally unreal to be able to go to Las Vegas and take part of a lineup of such gargantuan proportions, I think it’s fair to say this is the coolest thing ever to happen to our band to date. Let’s hope it will open some doors for us, allowing us to come back for a full tour later on. At this point, we are very motivated for bringing the best performance we can over to Psycho Las Vegas. It will be a joy rehearsing with this in mind. It’s still some months away, so who knows, maybe we have some new material up our sleeves when the festival comes around.




Are there any bands you would enjoy sharing the stage with, maybe even playing a song together?

For me personally, I’d say The Melvins! No doubt. I’m also a huge Cough fan, and we’re working with the same booking agency, so…hopefully sometime soon!




When you guys aren’t neck deep in heavy riffs, what do you do with yourselves?

We spend time with our girlfriends and go to work. Hang out with friends, go to concerts, drink beer, and enjoy life! We have one kindergarten teacher, one student, and one who’s in shopfitting in Tombstones. Huge thank you goes out to our girlfriends, employers, and teachers for letting us spend as much time as we do on the road. Would never happen without their continuous support!




Wow, now there’s something I would have never expected. A kindergarten teacher! Rock on, man. That’s awesome. Hey, thanks so much for taking time to visit with Doomed & Stoned!

Thank you for showing interest in our band. Love your work, and keep supporting the underground! - Doomed and Stoned