Description

PROMO CD

Check audio (all 5 songs):  https://goatsnakesl.bandcamp.com/album/trampled-under-hoof

https://music.youtube.com/playlist?list=OLAK5uy_k8Uz0nQ5_u9ijgxxVq4UfSclhWnc2bnJg&feature=gws_kp_album&feature=gws_kp_artist

GOATSNAKE: Trampled Under Hoof cd
(Southern Lord SUNN33) cult doom from one 1/2 sunn o)))
Another slice of thick, beautiful doom from a band that deserves high praise. Greg Anderson’s brutal axe-work and Pete Stahl’s brilliant vocals are joined by Scott Reeder (Unida, Kyuss, The Obsessed) this time out. The two rare cover tracks alone, “”Burial at Sea”” (Saint Vitus) and “”Hot Rod”” (Black Oak Arkansas), are worth more than the price of admission. If you’re a fan of classic Black Sabbath or quality rock in general, gather up all the Goatsnake you can find!

Label: Southern Lord ‎– SUNN33
Format: CD, EP, Promo, Cardboard Sleeve
Country: US
Released: 2004
Genre: Rock
Style: Stoner Rock, Doom Metal

PROMO CD
1. Portraits of Pain 07:00
2. Black Cat Bone 02:52
3. Juniors Jam 09:05
4. Burial at Sea 08:41
5. Hot Rod 03:19
30:57

Goatsnakes lineup alone is the pinnacle of sonic gravitas, with ex/current members of Sunn O))) (guitarist Greg Anderson), The Obsessed (bassist Scott Reeder), and D.C. hardcore outfit Scream (vocalist Pete Stahl) larding the pot.
Juniors Jam opens with the harmonic smears of Black Sabbaths The Wizard; the opening riff of Portraits of Pain brings doom masters Candlemass, Saint Vitus, and Cathedral to mind, and the title – Trampled Under Hoof – is a transliteration of post-Led Zepp onanism tempered with the fight-not-fuck mindset of early greats Hellhammer, Motorhead, and Venom. Two bonus tracks, the Saint Vitus cover Burial at Sea and Hot Rod, a Black Oak Arkansas cover (replete with spoken word intro) engage some of the best – and worst – of Goatsnakes tendencies. Yet, it must be noted that the members of Goatsnake aren’t covered in corpse paint and engaging self-mutilation; there’s no overbearing ideology or cache of underground websites to promote the band – and for good reason.

Anderson & Co. eschew the ominous, choosing to trounce territory not unfamiliar – the aforementioned Sabbath, Australia’s Buffalo, and even Budgie are all invoked, made manifest, and brandished. And while this may sound tedious to some, its anything but: Goatsnake – for all their ostensible metal hero-worship – manage easily to achieve originality. Whether its Anderson’s incessantly churning guitar work, Stahl’s near Ian Astbury stunt-doubled vocals (not a bad thing), or Reeders swamp draining bass, its part and parcel to metals unspoken bona fides.

Volume and attitude aren’t just tropes. When this group is engaged and pushed, technically inferior bands make good. Tom Warrior (Hellhammer/Celtic Frost) knew this, as did members of Saint Vitus, or even punk rocks Flipper. But Goatsnake – especially Anderson – knows what its doing. For the uninitiated, it may not seem as potent as it truly is – but give it time. The best doom metal, even if it chooses to not wax funerary, knows something about the psycho-physiological effect achieved from stretching the minutes from end-to-end. And even if its hinted at with only bent notes and snarling feedback, this music makes its mark.