Hailing from Osaka, BlackLab has earned a reputation throughout the heavy underground, releasing In a Bizarre Dream on UK label New Heavy Sounds last year and playing Desertfest London, in one of their first ever shows outside of Japan. While there, they took time to record three live session videos.

Says the band:

“This live session was put into our itinerary in London by our label. It was done the day before Desertfest, so it worked great as a warm-up for the show. We recorded three tracks: ‘Weed Dream’ from the 2nd album 'Abyss’ and 'Lost’/'Dark Clouds’ from the 3rd album 'In A Bizarre Dream.’  We did it at Reservoir Studio right near Finsbury Park. Most studios in Japan are in dull buildings, but it was a very nice place converted from a traditional English house. So we were thrilled to be able to perform in such a wonderful environment. It was a great start to our musical experience in London.”

“Weed Dream” features grungy doom-punk riffs, a fiery beat, and a freaky story, with a stormy mood throughout. Its fierce spirit is palpable. Doomed & Stoned debuted the studio version of the song in these pages and reviewed it here.

Give ear…

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Prolific Japanese crusties COFFINS deliver a sludged-up splatter of gore and brain-matter with ‘Defilements’ (2021), the 25-year old band’s massive new compilation album.

Kicking off with “The Hatred Storm” (an aptly-named piece if ever I heard one), you’re hit with a chugging groove metal riff with a filthy sludge undercurrent, breaking into a fierce death and black metal section that has you headbanging like a demon until it breaks down into a crushing doom finale!

“Tyrant” replicates the doom-paced riff and descends further into a mire of guttural blasphemies and Old School thrash and death riffing. There’s even a slew of covers ranging from Eyehategod, Noothgrush, and Grief to Death, Buzzoven, and Iron Monkey, in addition to a solid slate of live tracks.

There’s a very strong doom presence throughout the album: the tortured cadences of “Craving to Eternal Slumber” and “Carpet of Bones” bear stark witness. The rest is crusted, misanthropic filth of the kind that will shake you to the core and gleefully finger your entrails…ooof!

Some Buzz

Horror Pain Gore Death welcomes back Coffins with the new double CD collection, 'Defilements’ (2021)! This two-CD compilation presents material from these out of print EP releases: 'Craving To Eternal Slumber’ (2015), ’ 'Noise Room Sessions’ (2014), 'March Of Despair’ (2012), 'Sewage Sludgecore Treatment’ (2012), and 'Live At Asakusa Deathfest’ (2016).

This official Coffins collection was designed and approved by Uchino himself, clocking in at nearly two hours of horrific, bone crushing Doom infested death metal which further cements the bands legacy as leaders of the underground!

For fans of Abscess, Acid Witch, Anatomia, Asphyx, Autopsy, Carnage, Celtic Frost, Cianide, Disma, Divine Eve, Grave, Hellhammer, Hooded Menace, Mythic, Venom and Winter

The past couple nights, the moon has been so bright I’d swear the sun was rising in the midst of it all. Long-standing doom duo BLACKLAB from Japan pay hommage to the super moon in their latest music video with a simmering witch’s cauldron of super fuzz!

Having already commanded our attention with ‘Under The Strawberry Moon’ (2018), Yuko Morino (guitars, vox) and Chia Shiraishi (drums) fire back with a powerful second album, 'Abyss’ (2020), on New Heavy Sounds. The presser isn’t lying, either, when it marks this “an uncompromising beast of a record.” Once again working with Osaka producer Jun Morino and mixed by London sound engineer Wayne Adams (who did a fab job with recent spins by Geen Lung and Cold In Berlin), BlackLab captured eight fresh tracks under the light of a full moon during a feverish three-day period.

Abyss is the right thing to call this one, too. From the slow churning opening track “Insanity” forward, we are summoned into the deep, dark, swirling void of BlackLab’s domain. Crunchy low-end, irradiated distortion, and maniacal shrieks greet us next in the slow-burning “Fade and Melt,” juxtaposed with enchanting melodic vocals. This leads into “Weed Dream,” with its strange, dirgy motif enjoined by a quickened tempo, deranged verse, and a hauntingly beautiful series of “oohs” pinned to a grinding finish.

Instrumental acid trip “Amusement Park of Terror” tunes way down, plunging us into a vat of molasses-thick riffage that gives way to a swirling assortment of sparks, chirps, and spacey pedal effects. “Forked Road,” by contrast, revives BlackLab’s Riot Grrrl attitude, presenting a snotty middle finger to the masses with a gnarly, punk vibe and wicked guitar licks.

Chia’s frenetic drumming is outstandingly showcased on the Sabbathesque “Chained” and continues to impress in “Sleepless Nights,” with its catchy, savage rhythm. This may be my favorite of the record, too (really got my head to bobbing!). Midway, the song surprises with a sudden shift in mood, as storm clouds gather for a thundering second-half and one irresistible anthemic chorus.

“Sun” closes the record in stark fashion with Yuko’s frighteningly sludgey screams drawing our attention to the apocalyptic hue of the horizon. As this 7-minute juggernaut plods along, we are treated to some dreamy singing undergirded by worshipful pacing, transporting the listener into an ethereal realm of blinding light.

This is BlackLab and today, Doomed & Stoned is giving you another glimpse into their world with the new lyric vid for “Weed Dream.”

Give ear…

~By Mari Knox~

The Japanese trio HIBUSHIBIRE 秘部痺れ came to our attention with the release of ‘Freak Out Orgasm!’ (2017 - Riot Season Records) this spring and we were quite smitten. Hibushibire play acid rock on acid, presenting the beloved medium with the attack of Radio Moscow and the vibrancy of Hendrix, leaving listeners with a mind-erasing high. Thought it would be a good time to get to know the band a big better, and Mari Knox has a nice give-and-take with guitarist Kohei “changchang” Takakura. If you’ve seen changchang do his thing live, you know this dude can seriously shred. (Billy)

The Hibushibire story starts in 2012. What gave birth to this groovy endeavor?

Back then, I was doing solo drone performances and playing bass in the psych rock band Higashi Hiroshi Unit. Hibushibire’s bassist 821 was previously in experimental duo called Sarry, among other bands. Ryu Matsumoto played drums in a progressive jazz rock band Haizara and he was famous for his drum technique. The scene in Kobe is very closely connected with our history.

Seven or eight years after we first met each other, a friend of mine invited me to play in jam band in Osaka. 821 was playing bass in the band, so then I got to know him better. That band broke up after just a few years, so I formed a new band with 821. After several changes, Ryu Matsumoto joined us two years ago. He was one of high-regraded technical drummers around here, so both 821 and I sent him a strong offer to join us, and now here we are.

For newcomers to Hibushibire, how would you describe the band and what inspires your music?

I want my band to be a simply cool rock band. I am trying to transform psychedelic sounds and images in my head into exciting and enjoyable works. Various kinds of music inspire me, like the rock of the '60s and '70s, world music, contemporary music, electronic music, and so on.

'Freak Out Orgasm!’ sold out very quickly and Riot Season Records ordered another run. Listening to the record, I get the feeling I’m in an overwhelming jam session. How did the songs come together?

We are surprised and really glad to hear our album sold out and then got reprinted. In most cases, our composing begins with the guitar riff and then we get together a jam to fill the outline. I sometimes offer my opinion to the others, but usually leave it to each member to trust their own “rock power.”

You chose “Lucifer My Friend” as a single to launch your debut album. What kind of message do you want share with this song or the others on the record?

“Lucifer My Friend” was first composed as a part of an interlude. But when we listened to the recording with producer Kawabata Makoto, we agreed that this song has the impact and speed right for the first track of the album. Our music does not have any message, thoughts, or ideology. That’s the way psychedelic is, isn’t it? I’m honored if you just enjoy our music.

I admire your guitar style. The acid rock vibes are really strong, but there are blues touches that bring to mind Tony McPhee of Groundhogs. What are your personal influences as a guitarist? Are you self-educated or did you take lessons?

Thank you! Tony McPhee is one of my favorite guitarists. I started playing the guitar when I was 19, that was later than any others around me. I thought I could not catch up with them if I played in ordinary style, so I just practiced guitar solo and kept thinking of new ideas. That hasn’t changed so much until now. So, I have never taken a lesson. I still don’t know chords and scales well, but I don’t care about that. The guitarists who gave me personal influences are Ritchie Blackmore, John Frusciante, and Kawabata Makoto.

Apart from names like Kawabata Makoto from AcidMothers Temple, most Europeans and American know very little about Japanese underground music and culture. Can you shed some light on this and maybe suggest a band or album, in particular?

There are a lot of exciting bands in Japanese heavy scene. Bands from various genres are competing and inspiring each other. As far psychedelic rock bands around the same age, people may be interested in checking out MKikagaku Moyo, Dhidalah, Sundays & Cybele, Joseph of Kirezi, and so on. And while you’re at it, take a listen to BLONDnewHALF, squimaoto, Hiroshi Nar, Nepenthes, Garadama, and Afrirampo.

I assume playing live is very important to Hibushibire, so what kind of experience is it for you? Would you like come for a tour in Europe or the United States?

Yes, I think playing live is the best way to convey our fascination. We all bear in mind to play our best all the time. We are going on tour in the UK this winter. Of course, we want to play in other countries, as well.

Besides the record promotion, what are your immediate plans and those for future?

I want to play abroad regularly. I am also developing an idea for a new album and want to complete it within the year.

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