Dozethrone - Coronavirus
DOZETHRONE RELEASE COLOSSAL ‘CORONAVIRUS’
Singapore’s three-piece sludge/doom outfit Dozethrone recently released their album, entitled Coronavirus, recorded and mixed by Mizar at Canberra Street, Singapore, at the beginning of February, with additional guitar overdubs recorded and mixed at Sungai Seletar, Singapore, the following day.
Dozethrone
Made up of Azmi Czar (guitar), Izhar Ashburn (bass), and Eddie “Pro” Graham (drums), the band’s genesis occurred in 2018 when Azmi and Izhar got together to jam, playing Black Sabbath songs. Initially, Azmi was on guitar, while Izhar played drums. About a year later, Eddie took Izhar’s place in the pocket, allowing him to take up the bass.
Revolving around Azmi’s concept, Dozethrone is an instrumental band, jamming and recording on-the-go. According to Azmi, “This concept is influenced by Jimi Hendrix’s recording of “Voodoo Chile” for his Electric Ladyland album.”
Citing influences from Black Sabbath, Mountain, Cathedral, and Sleep, Dozethrone’s gear consists of Cort M600 guitar, Gibson SG Special 2018, Yamaha RBX170 bass, Cort Gene Simmons Punisher bass, Line 6 Pocket POD, Digitech Drop pedal, Roland JC-120 amp (rehearsal studio), Roland Cube-80GX amp (home recording), Yamaha Stage Custom drums (rehearsal studio), Alesis DM6 electronic drum kit (for home recording).
Dozethrone blew me away with their macerating, pulverizing, annihilating sound. This band needs to be signed by a major label.
At the present juncture, the band has no plans to play live, due to band members’ diverse work schedules, making it difficult to rehearse for live performances.
Encompassing three tracks, the album begins with “Rapture Of Ruckus,” opening on a cool drum shuffle flowing into thick, growling guitar tones exuding muscular resonance and brawny heft, forming an impenetrable wall-of-sound, viscous and spine-tingling. A bassline from the bowels of Hell and walloping drums provide the chunky rhythm.
Tight harmonic shifts, including brief dark guitar licks, infuse the tune delicious sonic modifications, all corpulent with funereal dread. This track positively kicks ass!
Next up is “Driven To Paranoia,” traveling on dense chugging guitar colors, concentrated and granular. Eddie’s thumping drums imbue the rhythm with raw destroying energy, as the bassline rumbles on vibrating massive depth. The groaning gravity of this track approaches that of shifting tectonic plates, grinding and moaning as they jockey for relief.
The final track, the title track, drips with shadowy black colors, compelling and infectiously grating, infusing the tune with inescapable savageries, like an age-worn rampart confronting all else: grave, stern, impulsive, and reckless. A drum-filled breakdown shifts the harmonics to slower, more cavernous tones, adding gaping fractures.
Dozethrone blew me away with their macerating, pulverizing, annihilating sound. This band needs to be signed by a major label.
