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The Buckingham

Modern Love

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Dream come true, could not believe they were playing in my back garden where all the weeds grow. The band came on played faster than I expected which made it even better than I could have dreamt, Definitely the best live band at this moment on this planet.

Please come back regularly :)

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Dopethrone is not due to play near your location currently - but they are scheduled to play 5 concerts across 2 countries in 2024-2025. View all concerts.

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DOPETHRONE RETURN

Montréal-based sludge metal dealers DOPETHRONE return after six years with their new album “Broke Sabbath” on Totem Cat Records this spring, and unleash their devastatingly heavy new single “Uniworse”! The trio has announced a full Canadian tour as well as a string of European summer shows including some festival appearances.

Watch Dopethrone’s new video for “ Uniworse “ + stream the song on  Bandcamp

Whenever the world thinks  Dopethrone  has finally disappeared, be sure that Canada’s filthiest heavy trio is rustling up something evil in the dark corners of their twisted minds… The beast has awakened and it’s now ready to deliver maximum levels of grim, fuzz and fun with their sixth studio album “Broke Sabbath”, a noxious 7-tracker recorded by long-time collaborator Jean-Baptiste Joubeaud and coated with copious amounts of asphyxiating sonic density thanks to mastering from Brad Boatright.  About the album, the band says:  “ We went full ‘Volume 4’ on this one. The last few years have been thought for the underground, we swam against a tsunami of nonsensical bullshit and still managed not to drown. It’s just like a stew, we all know that the scum always rises to the top… And here we are! We decided to turn up the ‘not giving a fuck’ knob to 11, stepped out of our rusty dumpster, gave it a spit-shine and lit the fucker on fire. We went ‘full DIY’ on the cover artwork. We grabbed a shit-ton of Hochelaga alley dirt, junk, slutch and dumped it on our saloon floor, made a concoction of ‘fake’ blood and proceeded to surgically etch the Dopethrone logo on this stinking putrid pile. We also made all our videos with no budget and full dedication. Passion is known to exceed the norms of expectation, but we’re not passionate, we’re obsessed, so you better buckle up. “ “Broke Sabbath” will be released in the spring of 2024 on various vinyl editions, CD and digital through independent label Totem Cat Records. Don’t miss their latest video for “ Life Kills You “!

New album “Broke Sabbath” Out this spring on Totem Cat Records (vinyl/CD/digital)

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• Apr 20 Green Auto Vancouver, BC
• Apr 24 The Buckingham Edmonton, AB
• Apr 25 Modern Love Calgary, AB
• Aug 9 Void Fest Cham, Germany
• Aug 15 Hafenklang Hamburg, Germany

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Chasing Kites – Collide

3kelves – lucas루카스, sonny tennet – howay, bad sounds – aah song + new ep, bonneville – chimpanzee, die tired – need to feed, jon tyler wiley & his virginia choir – the ending of the end + tour dates, shenanygans – all the trippin’ around, roseye – sacred, president elect – pretence, loupe – forest of our memories, dopethrone – uniworse + tour dates.

DOPETHRONE has today released their new video for the track titled ‘Uniworse’ from their upcoming album ‘Broke Sabbath’ dropping this spring via Totem Cat Records .

My first thought is how the fuck could you not love this band? Look at the effing picture! But that was the first thing I saw. The video is an absolute opus of debauchery and violence in such a way that you can’t unglue your eyes. Think Riki-Oh: The Story of Ricky (Youtube it HERE ) . If you’re into that sort of thing, you won’t be disappointed. This literally amps that up a notch. The outside of the box thinking and innovation that went into the video alone is worth a lifetime of loyal fanship. But the real star is the track. A glorious gateway drug for what is about to come, ‘Uniworse’ is dystopia as dialect and a dark mirror in the face of the world, with a shard in it’s eye.

About DOPETHRONE

Dopethrone is a three-piece band from Montreal, Quebec, Canada. Active since 2008, this DIY gang encompasses the bleakness of black metal, the steadfastness of New Orleans-style sludge, and a heavier-than-thou doom mentality. The riffs are thick, punishing, suffocating and destructive, with lyrics based on self-destruction, murder, cannabis and sleazy drug abuse. The band refers to their music as “Slutch”, the Canadian term for cold sludge or dirty mud snow. They once described it as “frozen sludge, snow covered in crackhead diarrhea, blood, tears and broken dreams”.

After their second release “Dark Foil” (2011), Dopethrone started drawing some attention and were invited by Voivoid to play Roadburn Festival in 2012. They since haven’t stopped growing their audience in Europe, their adoptive land. Since their formation, Dopethrone has released five studio albums as well as some collaborations with other artists, and have regularly toured Europe and Canada.

After a series of tours in 2019, Dopethrone has retreated to focus on the “delicate” baking of their sixth studio release. This new album entitled “Broke Sabbath” will be released in the spring of 2024 through French independent label Totem Cat Records, followed by shows in North America and Europe.

Whenever the world thinks Dopethrone has finally disappeared, be sure that Canada’s filthiest heavy trio is rustling up something evil in the dark corners of their twisted minds… The beast has awakened and it’s now ready to deliver maximum levels of grim, fuzz and fun with their sixth studio album “Broke Sabbath”, a noxious 7-tracker recorded by long-time collaborator Jean-Baptiste Joubeaud and coated with copious amounts of asphyxiating sonic density thanks to mastering from Brad Boatright.

About the album, the band says: “We went full ‘Volume 4’ on this one. The last few years have been thought for the underground, we swam against a tsunami of nonsensical bullshit and still managed not to drown. It’s just like a stew, we all know that the scum always rises to the top… And here we are! We decided to turn up the ‘not giving a fuck’ knob to 11, stepped out of our rusty dumpster, gave it a spit-shine and lit the fucker on fire. We went ‘full DIY’ on the cover artwork. We grabbed a shit-ton of Hochelaga alley dirt, junk, slutch and dumped it on our saloon floor, made a concoction of ‘fake’ blood and proceeded to surgically etch the Dopethrone logo on this stinking putrid pile. We also made all our videos with no budget and full dedication. Passion is known to exceed the norms of expectation, but we’re not passionate, we’re obsessed, so you better buckle up.”

Dopethrone 2024 shows

• 19.04 – Victoria, BC – Wicket Hall
• 20.04 – Vancouver, BC – Green Auto
• 21.04 – Kelowna, BC – Jackknife Brewery
• 22.04 – Nelson, BC – The Royal
• 24.04 – Edmonton, AB – The Buckingham
• 25.04 – Calgary, AB – Modern Love
• 26.04 – Regina, SK – The Exchange
• 27.04 – Winnipeg, MB – Handsome Daughter
• 07.08 – Warsaw (PL) Hydrozagadka
• 08.08 – Jaroměř (CZ) Brutal Assault Fest
• 09.08 – Waldmunchen (DE) Void Fest
• 10.08 – Seelbach (DE) Hoflärm Festival
• 11.08 – Basel (CH) Quarterdek
• 13.08 – Nijmegen (NL) Merleyn
• 14.08 – Berlin (DE) Neue Zukunft
• 15.08 – Hamburg (DE) Hafenklang
• 16.08 – Copenhagen (DK) Stengade

LINKS: https://www.facebook.com/dopethrone.mthell https://dopethrone.bandcamp.com/ https://www.instagram.com/dopethroneband/

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Dopethrone is a three piece band from Montreal, Quebec, Canada.  Active since 2008, this DIY band is known for their abrasive mix of sludge and doom with lyrics based in self destruction, cannabis, sleazy drug abuse, and the macabre.

Influenced by rock n roll, punk, black metal, and blues, the band refers to their music as "Slutch", the Canadian term for cold sludge, a.k.a. dirty mud snow.  They once described it as "frozen sludge, snow covered in addiction, blood, tears, and broken dreams".

After their second release, the band started drawing some attention to them and were invited by Voivod to perform at Roadburn 2012.  They since haven't stopped growing their audience in Europe, their adoptive land.

Since their formation, Dopethrone has released five full length studio albums to date, join some collaborations with other artists, and have regularly toured Europe and Canada.

After a series of massive tours in 2019, the band has not hit the road since, and focused on the 'delicate' baking of their new release.  The new effort, to be out early 2024, will come with North American tours, and even a return to Europe for select dates.

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The Story Behind Electric Wizard: Dopethrone

Dorset metal overlords Electric Wizard were already known as ‘the heaviest band in the universe’ when they created one of the slowest, most-doom laden records of all time.

THE STORY SO FAR... In the land of sludge, there was always one British antidote to the onslaught from Louisiana. While this style of music – the inbred offspring of doom, stoner and southern music – was essentially an American redneck phenomenon, us Brits could nonetheless compete in our own way, and Electric Wizard took on the fight better than anyone else over here.

COME MY FANATICS…

The Dorset decibel dervishes were once dubbed ‘the heaviest band in the universe’ – and with good reason. They strapped on the riffs of Sleep, Candlemass, Saint Vitus and Cathedral, and gave grindcore a damn good rogering. It was a musical form covered in moss, and about as commercially viable as putting snuff movies on children’s TV. More toke than token. More boa than bore. The Wizard’s music has set remarkable standards, without the band ever compromising to gain even the slightest of toe holds.

It started in 1993 when former Thy Grief Eternal guitarist/vocalist Jus Oborn teamed with bassist Tim Bagshaw and drummer Mark Greening to start the Electric storm. A split single with Our Haunted Kingdom [later to become Orange Goblin] was followed in 1995 by the trio’s self- titled debut album. But it was 1997’s magnificent album, Come My Fanatics… , that set the seal on the Wizard influence, as they dragged their doom vines through a space-rock acid bath.

This record immediately put Electric Wizard among the rarified underground elite, something reinforced by the EPs Chrono.Naut [a split one with Orange Goblin, again released in 1997] and Supercoven a year later. And then, as the new millennium dawned, we were hit with Dopethrone.

CHRONO.NAUT

“To me, Come My Fanatics… , Supercoven and Dopethrone are the trilogy of terror. I look back with a lot of fondness on all three,” says Oborn. “With those albums, I believe we really found our mark as a band. When we did our first album, none of us had ever been into the studio before – and had no clue what to actually do. But by the time we got to do Dopethrone , we knew what was needed – or, rather I did!”

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For Oborn, this record not only represents the very best from the first era of Electric Wizard, but exposed cracks in the personal relationship between the three that were only to get a lot worse through the coming few years.

“If you were to have asked me back then about how we were getting along, I’d have completely denied there were any problems at all. I just didn’t wanna believe that anything was wrong. Now I can admit to myself that our relationship was very rocky. The trouble was that Mark and Tim had ideas for this band that simply didn’t fit what we were about. It may amaze fans, but they wanted to introduce Nirvana and rap influences. That was just crap. What had they gotta do with Electric Wizard?

“Then things got very heated in the studio. There were constant death threats. I think we were all having a go at each other! So, it really ended up with me being the most involved of anyone as far as the recording process went.”

Now, most bands operate on the principle that, while they enjoy a possible reputation for being outrageous, drug-taking zombies, there’s nevertheless more than a particle acceleration of professionalism in the studio. Not with this lot, though, mind…

“Did we do drugs in the studio? Of course. As far as the three of us were concerned, what was the point of being in a band if you couldn’t indulge? That’s one of the perks. What could be better than three or four bongs before you start recording? For us, it was absolutely essential.”

There was, of course, a three-year gap between the Come My Fanatics… and Dopethrone album. But this wasn’t exactly a planned situation. Merely the product of minds who refused to conform to schedules or to confirm timetables.

“This isn’t pop music, where there’s commercial pressure to deliver all the time. This is underground metal where, if you’re lucky, you might sell one or two copies,” smirks Oborn, at the mere thought of planning ahead. “Lee Dorrian, who owns the Rise Above label [to which Electric Wizard have always been signed] drove us mad, constantly nagging about when we’d go into the studio to start doing what was to become Dopethrone . But, for us, it was always a case of when we’re ready we’ll do it. Not before. We were never one of those bands who’d sit down, write a load of songs, demo them up,aandsthenibookestudio_ _time. It could never be that simple.

“Honestly, it’s tough to explain how we worked. But all of us thrived on jamming out ideas. Sometimes they’d lead to proper songs. Other times… to nothing. We had only had three tracks fully written for the album when we went into the studio: Dopethrone , Funeralopolis and We Hate You … the first one was based on a story that I’d heard, about someone who had a sofa completely made out of dope. And the third one, well, that was inspired in a way by Ozzy. He was always going about how much he fucking loved everyone, so we thought it would be great to go and do the opposite.

“When we finally realised that it was time to do the new record, those were all we had ready. A track like [epic album centrepiece] Weird Tales , for instance, came about purely in the studio. And it was all the better for it. Being so new, it was a lot fresher than the old shit we had!

“I still remember when I called up Lee and told him that we were ready to record, his reply was, ‘About fucking time!’”

Oborn was responsible for all the lyrics on Dopethrone , and his inspiration was a combination of hallucinogens and early 20th-century fantasy/horror author H.P. Lovecraft.

“I really got so many ideas from his stories. I’d sit there, out of my brain, reading his stuff, and extrapolating on what he’d written. It was amazing. The irony was that he wrote while straight, influencing someone like me, who certainly was not.”

FUNERALOPOLIS

However, if Oborn certainly enjoyed his mental vacations, when it came to the nitty gritty of studio grime, he was the man who got his hands dirty.

“It was our producer Rolf Startin who understood the technology of the time. But I was the one from the band who was most involved. We were in the studio [Chuckalumba, in Dorset] for a few months. Not all at once – we’d do a few days and then take a brief break – but there were neither time nor budget constraints as such. Everyone understood that when the record was ready, then it would be delivered. Like I said, we weren’t dealing with chart music here, so if we missed a deadline, who cared?

”I learnt so much from Rolf that now I’d feel able to produce another band. However, back in 2000, I concentrated on coming up with the concepts as to how we should sound. There’s a lot of intricacy and subtlety on the record. A number of sonic layers that had to be built up. If you listen carefully, there’s more going on than perhaps we get credit for.

“I got a lot of ideas from watching Pink Floyd videos, especially the way they set up their microphones. I spent ages working out the best way to mic up my amps. It was very important to the way we sound on the record. The other two guys weren’t as heavily involved as me, but that wasn’t a problem at the time. As I said before, it was only later on that I realised this was the beginning of the end. Part of the trouble was that all three of us were going through tough personal situations. We all had full-time jobs, but were in the process of giving them up, which brought extra financial burdens.”

WE HATE YOU LIVE

Oborn doesn’t fully recall exactly how the album title came about, although he’s fairly convinced that nothing was actually decided until after recording was done and dusted.

“I think it was my idea, but I believe we left the choice until the last minute. But I came up with the cover idea [a satanic figure getting stoned]. I did a basic line drawing [which you can now view in the booklet that comes with the recent re-issue], but it was Tim’s brother [Tom Bagshaw] who conceived the final version that we used. It has a nightmarish, Lovecraftian, early 1970s quality to it, which was exactly what I wanted to capture. I suppose my attempt would have done, but Tom’s was a lot better. Besides, I didn’t feel it was right that my name should be all over the album!”

It was also Oborn who came up with the cult slogan that was used on the sleeve. The phrase ‘Legalise Drugs And Murder’ still puzzles people to this day. Inevitably, its origins lie in a combination of things Wizard are known for: drugs and humour.

“Yep, that was my nonsense. I think I got really off my face one day and said something like, ‘Let’s get stoned and kill everyone.’ That just developed into what we used on the album. What we were after was a catchphrase that summed up Dopethrone – and this seemed to fit.”

WEIRD TALES

But, there is one more revelation that may surprise Wizard fanatics about this record. Are you sitting comfortably? Well… it was never meant to be a fully blown album at all!

“We were aiming to do another EP,” admits Oborn. “But, in the end, we couldn’t agree on what tracks to leave off so the three of us just agreed that we’d put everything in there and it became a complete album. In a way, it was an accident – but a happy one.”

Dopethrone was released by Rise Above in October 2000, to nods of underground approval, and all seemed to be going the band’s way as the internal rifts looked like they were slowly melting away under the heat of acclaim and touring demands. We now know that, eventually, personal differences proved to be greater for Bagshaw and Greening than any musical commitment. But, for Oborn, Dopethrone represents the true spirit of the band.

“I feel we captured something special. Sure, there are flaws with the record, and I know we could have made it a lot better. But this is where Electric Wizard should be. After a few years experimenting with different sounds and styles, we are gonna get back to basics with our next record. It will be the conclusion of what we started with Come My Fanatics…, and continued on through Dopethrone .”

VINUM SABBATHI

I, THE WITCHFINDER

THE HILLS HAVE EYES

WE HATE YOU

MIND TRANSFERRAL

JUS OBORN: GUITAR, VOCALS, EFFECTS

TIM BAGSHAW: BASS, EFFECTS

MARK GREENING: DRUMS

PRODUCED BY: ROLF STARTIN

WHAT HAPPENED NEXT

In many ways, the huge praise accorded the Wizard at this stage in their career proved to be too much of a millstone. A year later, they seemed to have taken their collective all-seeing third eye off the ball, and the result was the inconclusive Let Us Prey . Although the elements that had made both Come My Fanatics… and Dopethrone so crucial were still there, the band reacted as if bored.

LET US PREY

They threw in some punk and hardcore influences, introduced piano and violin parts – as if trying to emulate Celtic Frost circa Into The Pandemonium – and generally lost their way. Maybe it was an attempt to avoid the tempting rut of becoming formulaic. Or perhaps they really wanted to push the envelope. In any case, Let Us Prey openly indicated that all wasn’t right with the band and it was to be the final work from this trio.

In 2003, Greening quit, followed soon afterwards by Bagshaw (the pair later formed Ramesses). Undeterred, Oborn put together a new line-up of the band, bringing in former Iron Monkey drummer Justin Greaves, Sourvein guitarist Liz Buckingham (who also is married to Oborn) and bassist Rob Al-Issa.

It represented a fresh era for Electric Wizard, as proven by their one release to date, 2004’s We Live . Tighter and perhaps little more focused than what had gone before, it still retained enough early Wizard underground authority to convince many diehards that they’d not lost the plot. But it had enough modern ideas to avoid the trap of being an anachronistic curio. So, what did the future hold? Surely, a new album?

“We’re working on ideas. But I couldn’t tell you when it’ll be out. We may go into the studio next week, next year, or… well, this is Electric Wizard. Never hold us to a timetable.”

SOMEWHERE IN TIME

WHERE DOPETHRONE STANDS IN THE CHAIN OF INSPIRATION

CANDLEMASS EPICUS DOOMUS METALLICUS (Black Dragon, 1986)

Apart from having perhaps the most ludicrous album title of all time, this is a pivotal doom record. In many ways, it re-styled the genre with a European twist and refreshed its credibility.

SOLITUDE AETURNUS INTO THE DEPTHS OF SORROW (Roadrunner, 1991)

One of the most underrated doom trappers of all time, the Texans brought a new sense of mournful, dark riffage into metal with this, their debut album.

IRON MONKEY Iron Monkey (Earache, 1996)

Louisiana had the sludge monsters, but we had Iron Monkey. The Nottingham nutters took grindcore to new extremes on this first album. It was so underground, it made Napalm Death seem like disco divas.

SLEEP JERUSALEM (Rise Above, 1999)

One of the most preposterous albums ever, this began in 1995 as Dopesmoker, conceived as one song, it lasts an hour. Their label, London, was so shocked at the anti-commercial bullishness they refused to release it. Subsequently, Sleep split up. Fortunately, this work of genius was give a posthumous airing.

ELECTRIC WIZARD Dopethrone (Rise Above, 2000)

Welcome to the new millennium, as the Wizard fuzz up their sound, giving it an almost surreal bent. The album was still so determinedly slothful it almost suffocates the senses in a blanket of hypothermic riffs.

ORANGE GOBLIN THIEVING FROM THE HOUSE OF GOD (Rise Above, 2004)

Grime-infested rock’n’roll that still retains sufficient connection to the band’s roots to make it heroically accessible to stoner, doom and sludge fans. Madder than a goose on stilts with a cherry bomb up its arse.

CATHEDRAL THE GARDEN OF UNEARTHLY DELIGHTS (Nuclear Blast, 2005)

After spending a few years dabbling on the edges of psychedelia, Lee Dorrian and the crew get right back to doom basics with an album that’s drenched in the fluids of the dirty underground.

Malcolm Dome had an illustrious and celebrated career which stretched back to working for  Record Mirror  magazine in the late 70s and  Metal Fury  in the early 80s before joining  Kerrang!  at its launch in 1981. His first book,  Encyclopedia Metallica , published in 1981, may have been the inspiration for the name of a certain band formed that same year. Dome is also credited with inventing the term "thrash metal" while writing about the  Anthrax  song  Metal Thrashing Mad  in 1984. With the launch of Classic Rock magazine in 1998 he became involved with that title, sister magazine Metal Hammer, and was a contributor to Prog magazine since its inception in 2009. He died in 2021 . 

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Montréal sludge heroes DOPETHRONE are back in Europe! Full tour kicks off this week!

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Dopethrone (Band)

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Dopethrone are a band from Montreal, Quebec, Canada. Active since 2008, this DIY band is known for their abrasive mix of sludge, stoner and doom with lyrics based in self-destruction, murder, cannabis and sleazy drug abuse. Although some people think they are named after the Electric Wizard album, they hold no dedication to the Electric Wizard sound, leaving many to believe it is simply a nod at the titanic gods themselves. In a 2018 interview with Decibel the band confirmed the band's name was a joke and a spoof on "Darkthrone", though the band also enjoys Electric Wizard. Dopethrone also refer to their style of music as "Slutch". [1]

Since their formation Dopethrone has released five studio albums to date and have regularly toured Europe and Canada.

• 1.1 Demonsmoke, Dark Foil and III (2008 - 2013)
• 1.2 Hochelaga (2014 - 2016)
• 1.3 Transcanadian Anger (2017 - Present)
• 2.1 Studio Albums
• 2.2 Misc. Releases
• 3.1 Current members
• 3.2 Former Members
• 4 List of Known Tours
• 5.1 Official Links
• 5.2 Archival/Reference Links
• 6 References

History [ ]

Demonsmoke, dark foil and iii (2008 - 2013) [ ].

Dopethrone started in 2008 with the lineup of Vyk, Shawn and Thomas. The band thought up the name as a joke as the band were smoking a ton of pot and listening to black metal in their high school years, going with Dopethrone as a spoof on Darkthrone, whom they were huge fans of. In the band's early days they largely played only in Montreal, sharing the stage with the likes of Downtrodden , [2] Depletion, Memories of an Old Man, Fuck The Facts, [3] KEN Mode and The Great Sabatini just to name a few in their early days. A debut album in Demonsmoke would see release sometime in 2009, seeing positive reception from the likes of Doom Mantia among others. [4] According to an interview with Temple of Perdition, Demonsmoke was recorded only nine months after the band had formed and according to the band, was "still figuring out what our sound was gonna be, it was kind of a experiment". [5]

Following recording in late 2010, Dopethrone would release a follow-up album in Dark Foil circa 2011, featuring five new songs and a cover of "Ain't No Sunshine" by Bill Withers. The next year would see the band's earliest known European show with an appearance at Roadburn Festival . Around the same time the band would release their third album, colloquially calling the album III . III saw it's release on 12 August 2012 to positive reviews. The next year would see a full tour of Europe alongside Huata along with signing with Totem Cat Records , whom re-released all three albums. The band also made their earliest known live appearance in the United States at Autumn Screams Doom in Baltimore.

Hochelaga (2014 - 2016) [ ]

2014 would see the trio on an extensive tour of Europe alongside gurt , spanning nearly two months. Following the tour work would begin on a fourth studio album through the remainder of the year. On 22 January 2015 it would be announced that Dopethrone would be releasing their fourth album Hochelaga through Totem Cat Records on 13 April 2015. [6] Hochelaga would see critical praise along the likes of Echoes and Dust, [7] Doom Metal Heaven, [8] CVLT Nation, [9] More Fuzz [10] and The Sludgelord [11] among others.

Following the album's release Dopethrone would go on a tour of Europe seeing the band at DesertFest London , DesertFest Berlin and Heavy Days in Doomtown amid marquee shows alongside the likes of Acid King , Black Cobra , Eyehategod and Belzebong . [12] Further touring would be intended in 2016 but several dates would be canceled after Vincent broke his leg, forcing the band to cancel appearances at Maryland Deathfest and Hellfest. However touring through Europe would happen in the fall, with second drummer Carl Borman quitting. Notably Dopethrone would also release a split with Fister on 11 May 2016 and an EP entitled 1312 on 29 August 2016.

Transcanadian Anger (2017 - Present) [ ]

With a new drummer named Shawn in tow the band would take a break from touring in January to concentrate on their fifth studio album, with one notable exception being an appearance at Maryland Deathfest. On 7 May 2018 Dopethrone would announce their fifth album Transcanadian Anger in lieu of their tenth anniversary as a band. Seeing a further evolution on their mix of sludge, crust, blues and punk Transcanadian Anger saw praise from several publications such as Metal Injection, [13] Outlaws of The Sun, [14] More Fuzz, [15] Metal Nexus, [16] and CVLT Nation [17] among others. Notably guest vocalist Julie Unfortunate would also officially join the group as a second vocalist.

Dopethrone would embark on some of their most extensive touring yet, embarking on a lengthy summer European tour with Bongzilla , Sons of Otis and Church of Misery . This tour would also see festival appearances at Duna Jam , Red Smoke Festival , Stoned From The Underground and Hellfest. A tour of North America was planned but ultimately canceled due to VISA issues so thus the band returned to Europe in the fall alongside Sunnata and featuring an appearance at Desertfest Belgium . Further touring in support of Transcanadian Anger would follow in the summer of 2019 throughout Europe.

Discography [ ]

Studio albums [ ].

• Demonsmoke (2009, Self-released)
• Dark Foil (2011, Self-released)
• III (2012, Totem Cat Records)
• Hochelaga (2015, Totem Cat Records)
• Transcanadian Anger (2018, Totem Cat Records)

Misc. Releases [ ]

• Dopethrone / Fister (Split with Fister ) (2016, Self-Released)
• 1312 (EP) (2016, Self-Released)

Members [ ]

Current members [ ].

• Vyk - Bass (2008 - Present)
• Vincent Houde - Guitars, Vocals (2008 - Present)
• Shawn - Drums (2018 - Present)
• Julie Unfortunate - Live Vocals (2018 - Present)

Former Members [ ]

• Big Borman - Drums (2011 - 2017)
• Thomas Polychuck - Drums (2008 - 2011)

List of Known Tours [ ]

• Europe13 Tour (With Huata ) (2013) [18]
• 2014 European Tour (With gurt ) (2014) [19] [20]
• 2015 European Tour (2015) [21]
• Tour XVI - Part I (2016; Canceled) [22]
• Tour XVI - Part II (2016) [23]
• Tour XVI - Part III (2016) [24]
• 2018 European Tour (With Bongzilla , Sons of Otis ; Select Dates with Church of Misery ) (2018) [25]
• 2018 North American Tour (2018; Canceled)
• September 2018 Canada Mini-Tour (2018)
• 2018 Fall European Tour (With Sunnata ) (2018) [26]
• Transcanadian Tour 2019 (2019) [27]
• 2019 European Tour (2019)

External Links [ ]

Official links [ ].

• Dopethrone Myspace
• Dopethrone Bandcamp
• Dopethrone YouTube

Archival/Reference Links [ ]

• Interview via G. H. Gumman
• Interview via MHF Magazine
• 2013 Interview via The Sludgelord

References [ ]

• ↑ Decibel Magazine
• ↑ Dopethrone Myspace
• ↑ Doom Mantia
• ↑ Temple of Perdition
• ↑ The Obelisk
• ↑ Echoes and Dust
• ↑ Doom Metal Heaven
• ↑ CVLT Nation
• ↑ More Fuzz
• ↑ The Sludgelord
• ↑ Metal Injection
• ↑ Outlaws of The Sun
• ↑ Metal Nexus
• ↑ Dopethrone Facebook
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Video Premiere & Interview: Dopethrone – ‘Killdozer’

Dopethrone  have been steadily on the rise over the last ten years, their brand of scuzzy doom and dark humor leading them toward the front of the pack. Their latest effort is album number five,  Transcanadian Anger , and it’s the best Dopethrone album to date.

Take a listen to “Killdozer,” the latest offering from  Transcanadian Anger , and watch the accompanying video. Fair warning: in between the riffs, pack-a-day vocals, drug references and cars on fire, you may see a few bare butts.

After listening, keep scrolling for an interview with the band about  Transcanadian Anger , goats and snorting daggers. The new record is out on May 25 via longtime label Totem Cat Records.

Your new album is called Transcanadian Anger. What are you angry about this time around? Shawn (drums): Apathy fucking apathy either we’re all dormant or we all rise it’s the in between that’s annoying as fuck. Everyone’s got a piece of fence up their butt. So we’re here to fuck with ya! Wake up! Vincent (vocals): I personally try not getting angry about things I can’t change, there is no point, getting angry requires energy and I’m a lazy piece of shit, so count me out. I just usually get slightly annoyed, especially if I’m about to sober up.

We’re a bunch of party animals that don’t seem to understand the concept of gravity and we keep breaking bones at the worst times possible. For example: we had to cancel 35 shows including Maryland Deathfest and Hellfest two years ago because I broke my stupid leg trying to climb all the way up to my ego and fell all the way down to my I.Q., so we lost a bunch of money and opportunities after that, Carl quit the band so we were even more fucked but we kept going because FTW. We got Shawn as a drummer. I was happy he decided to join this shit-show because I initially asked him before I asked Carl eight years ago. Shawn gots the grooves, he’s a killer drummer. We also had to cancel a couple shows because Vyk broke his wrist a couple months ago; he was also testing gravity and failed. We were broke as fuck and broken physically and without a drummer when we started writing this new album. We might have been a bit angry, yeah.

Dopethrone’s music is generally dark and abrasive, but there’s always a sort of funny, sarcastic undertone to everything, such as “Wrong Sabbath,” which has a sample of a guy talking about hitting a goat with his motorcycle. Why do you incorporate that humor/sarcasm, and where does a quote like that even come from? Vincent: It’s my buddy Tim, he’s this badass biker I know. I also would like to point out that he’s a ginger and has a mullet (LOL). We were hanging out and he started telling this story about him killing a goat (by accident) on his bike, so I grabbed my phone and started recording him. This is a true story.

What did you write about on Transcanadian Anger ? Vincent: Anger… Drugs… Misery… Toxic people… Demons… Bad decisions in general.

Dopethrone is also the name of an Electric Wizard album, arguably one of the most famous doom albums ever recorded. You’ve been around for nearly a decade and your music shows up before Dopethrone in a Google search. Do you still get a lot of comparisons to Electric Wizard, and if so, does that get old? Vincent: Our band started as a joke, so did our band’s name. We called it Dopethrone because me and Vyk were in high school together and we used to listen to a shit-ton of black metal and were smoking a lot of pot, so we decided to call the band “Dopethrone” because we are massive Darkthrone fans. We also really like Electric Wizard but I don’t think we sound anything like them. We never ever thought Dopethrone would play a gig outside Montréal, so the name did not really matter at the time.

The song you released previously is called “Snort Dagger.” Are you snorting daggers, or is it about snorting a substance off of daggers?

DUUHHH. Are you serious dude? We totally snort daggers. Don’t do this at home. It’s dangerous.

On your Facebook page, your genre is self-described as “slutch.” Where does this come from and how does it represent what Dopethrone sounds like? It’s a foul mix of Canadian snow, crackhead diarrhea, blood, tears, broken dreams dirty needles and something that died, then you have “slutch.” It’s like a colder and more disgusting sludge.

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Names of Moscow Concert Attack Victims Begin to Emerge

Those lost include mothers, fathers, an amateur hockey player and many others.

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By Oleg Matsnev

• March 23, 2024

As emergency services combed the scene of the attack on a concert hall in Moscow, details on some of the victims began to emerge from officials and local news media.

Most of those identified so far appeared to be in their 40s, and many had traveled from other parts of the country to attend the concert where Piknik, a Russian rock band formed in the late 1970s, was slated to perform on Friday night.

Alexander Baklemyshev, 51, had long dreamed about seeing the band, his son told local media , and had traveled solo from his home city of Satka, some 1,000 miles east of Moscow, for the concert.

His son, Maksim, told the Russian news outlet MSK1 that his father had sent him a video of the concert hall before the attack. That was the last he heard from his father.

“There was no last conversation,” his son said. “All that was left is the video, and nothing more.”

Irina Okisheva and her husband, Pavel Okishev, also traveled hundreds of miles to attend the concert — making their way from Kirov, northeast of Moscow. Mr. Okishev had received the tickets as an early birthday present. He was set to turn 35 next week, the Komsomolskaya Pravda newspaper reported. Both he and his wife died in the attack, the paper reported.

“Very painful and scary,” Ms. Okisheva’s colleagues wrote on a social media page for a photo studio where she worked. “The whole studio team is horrified by what happened.”

Anastasiya Volkova lost both of her parents in the attack. She told 5 TV that she had missed a call from her mother on Friday night at around the time of the attack. When she called back, there was no response, Ms. Volkova said.

“I couldn’t answer the phone. I didn’t hear the call,” Ms. Volkova told the broadcaster, adding that her mother had been “really looking forward to this concert.”

As the death toll climbed to 133 people, the Moscow region’s health care ministry published a preliminary list of victims . It had 41 names; Andrey Rudnitsky was one of them.

A forward in an amateur hockey league, he turned 39 years old last week, according to his page on the league’s website. Mr. Rudnitsky’s teammates told Pro Gorod , a local news website, that he had moved to Moscow last year from Yaroslavl but planned to return home to play there. Mr. Rudnitsky had two children.

Ekaterina Novoselova, 42, was also on the list. Ms. Novoselova won a beauty pageant in 2001 in her home city of Tver, 110 miles northwest of Moscow, one of the pageant organizer’s told the local news outlet TIA . It reported that she had moved to Moscow to work as a lawyer and is survived by her husband and two children.

Some people appeared to have been named by mistake. Yevgeniya Ryumina, 38, told Komsomolskaya Pravda that she had fled the concert hall to safety. But she had lost her ID, Ms. Ryumina said, suggesting that might have led to the confusion.

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Russian singer Shaman said he will pay for the funerals of the victims and treatments of those injured during the terror attack at the venue.

"We are all one big family. And in a family there is no such thing as somebody else's grief," the singer, known for his nationalistic views, said in a video posted on the Russian social media network Vkontakte to his more than 600,000 followers.

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At least 60 people died after Moscow's Crocus City hall attack

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At least 60 people died as a result of the terrorist attack in Crocus on Friday, Russia's Investigative Committee said in a report on Saturday. 

There were also 145 people sent to hospitals, according to the Moscow Region’s Health Ministry, Russian state media TASS reported. 

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Over the last month, Russia has thwarted several ISIS related incidents in March alone, according to Russia’s state media agency RIA-Novosti.

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Starting in November, there has been a steady stream of intelligence that ISIS-K was determined to attack in Russia, according to two sources familiar with the intelligence.

It was “fairly specific” intelligence, rising to the level of a duty to warn and the US intelligence community did indeed warn Russia, one of the sources said. But it’s not clear if this is directly tied to the March 7 warning by the US embassy in Moscow. 

Russian state media  reported  on March 7 that the FSB prevented an ISIS attack on a synagogue in Moscow, according to Reuters. The ISIS attackers were killed in a gunfight, the reports said.

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Adrienne Watson, National Security Council spokesperson, issued a statement Friday on the US warning Russia about an attack.

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French President Emmanuel Macron said he "strongly condemns the terrorist attack claimed by the Islamic State" that left at least 40 people dead and more than 100 injured in a Moscow concert hall Friday, according to AFP and Reuters citing the Elysee Palace.

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The United Nations Security Council condemned the "heinous and cowardly" attack at the Crocus concert hall in Krasnogorsk, in Moscow, on Friday, which left 40 dead and more than 140 people injured.

"The members of the Security Council expressed their deepest sympathy and condolences to the families of the victims and to the Russian people, and they wished a speedy and full recovery to those who were injured," the UNSC said in a statement.

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Following the deadliest terror attack on Moscow in decades, 115 people have been hospitalized of which 60 are in a "serious condition," according to Russian Health Minister Mikhail Murashko. 

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Moscow City Duma Chairman Alexey Shaposhnikov late Friday called on Muscovites to come forward and give blood to help treat the dozens of wounded following Russia's deadliest terror attack in decades.

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Roger Daltrey’s New Tour Will Feature Deep Cuts and an Audience Q&A

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Roger Daltrey is coming to America in June for a rare solo tour that will feature an onstage Q&A with audience members, Who hits and deep cuts, and selections from his solo career. It opens on June 12 in Vienna, Virginia, and closes June 29 in Highland Park, Illinois. Midway through, Daltrey will return to the site of the original Woodstock festival in Bethel, New York. KT Tunstall is opening up seven shows, and Dan Bern is on the bill at two.

Daltrey’s backing band for the tour will feature guitarist Simon Townshend, mandolin player/background singer Billy Nicholls, percussionist Jody Linscott, guitarist Doug Boyle, bassist John Hogg, violinist Katie Jacoby, harmonica player Steve Weston, keyboardist/accordion player Geraint Watkins, and drummer Scott Devours.

On Daltrey’s 2022 solo tour, he played Pete Townshend’s “Let My Love Open The Door,” lesser-known Who songs like “Another Tricky Day,” “Break the News,” and “Tattoo,” and solo cuts like “After the Fire” and “Days of Light.” He also sprinkled in a few Who hits, including “Squeeze Box,” “Baby O’Riley,” and “Who Are You.”

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Bruce Springsteen’s rock ’n’ roll church is back in session with the E Street Band

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How this guy got his dog into a sold-out rock concert I can’t say.

But there he was, not long before the end of Bruce Springsteen’s gig here Monday night, hoisting a small bulldog onto an elevated walkway running across Pechanga Arena.

Springsteen , who’d come out onto the walkway to sing his indelible “Tenth Avenue Freeze-Out,” clocked the pup as he passed by, then knelt down, entirely unfazed, to give it a little pat: just another supplicant looking for a blessing from the Boss.

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“We are here to wake you, to shake you, to take you to higher ground,” he told the crowd in San Diego, which roared back in approval. “I plan on sending you home with your feet hurting, your hands hurting and your sexual organs stimulated.”

Yet last year, this rock ’n’ roll faith leader stepped away from his pulpit when a bout with peptic ulcer disease forced him off the road amid fears that he’d lost his ability to sing. In January, another blow arrived when his mother, Adele — a crucial booster early in his career and a frequent presence at his concerts well into old age — died at age 98 .

Monday’s show, which had been rescheduled from December, was Springsteen’s third since he resumed his world tour last week after a six-month break. (He’ll play the Kia Forum in Inglewood on April 4 and 7.)

“It’s great to be back in San Diego,” he said at one point. “I mean, where the f— was I?”

Indeed, the Boss’ recent troubles seemed far from his mind throughout a rousing if somewhat standard-issue three-hour performance that delivered just what his fans have come to expect: fist-pumping songs about hope and redemption, affectionate covers of old rock and soul standards, a bit of squishy philosophizing regarding the fragility of life and just enough bum-waggling (in this case during a rendition of the Commodores’ “Nightshift”) to convince you that Springsteen is still enjoying pop stardom at age 74.

Then again, nobody goes to church to be surprised — the point of the thing, as Springsteen has always understood, is to be reaffirmed.

Here his voice was in strong shape in both the roaring uptempo numbers and the stately ballads: a keening bellow in “No Surrender” that he could downshift to summon a sense of gravelly desperation in “My City of Ruins.” He ripped shards of noise from his guitar in “Prove It All Night” and got his harmonica wheezing in “The Promised Land.” “Death to My Hometown” carried a faint whiff of Revolutionary War cosplay as several E Streeters temporarily became a miniature fife and drum corps. But it was fun to see Jake Clemons put his saxophone down to smack a bass drum hard enough that you could hear it without apparent amplification.

Other pleasures from the dozen and a half players crammed onto the stage at Pechanga: the unchanging sight of drummer Max Weinberg’s perfect posture, Nils Lofgren’s dive-bombing guitar solo in “Because the Night,” the gorgeous combination of Stevie Van Zandt’s slick leather trousers and extra-pointy boots.

After 45 minutes or so, Springsteen introduced the members by name, then asked, “Are we missing anybody?” The answer was yes: As at his previous two gigs, the singer’s wife, Patti Scialfa, wasn’t in the band Monday, though he didn’t say why.

“Everybody’s missing somebody in this crowd,” he added with a touch of poetry.

The show was long — maybe too long — on tunes from Springsteen’s most recent handful of albums. (“Mary’s Place”? C’mon.) But once the hits started coming toward the end of the night, they came in a deluge: a luscious and muscular “Thunder Road”; “Born to Run,” delirious as always under the blazing house lights; an almost comically speedy “Rosalita (Come Out Tonight)” that he brought to an impressive standstill so the crowd could take the line about that “pretty little place in Southern California, down San Diego way.”

As a mover, Springsteen was maybe a little creakier than in the other shows I’ve caught over the last decade, at least until he came across that dog in his path during “Tenth Avenue Freeze-Out.” Blessing bestowed, he stood with an ease that looked like purpose.

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Mikael Wood is pop music critic for the Los Angeles Times.

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Better Than Ezra's Kevin Griffin talks band's 10th album, spring tour

Franklin resident Kevin Griffin, founding member of the band Better Than Ezra and founder of Franklin's Pilgrimage Music and Cultural Festival, has been a little busy with establishing and growing his festival baby to find time to make a new record.

But in 2021, he and his bandmates decided it was time for Better Than Ezra to get back in the studio. The result is "Super Magick," the band's first full-length record in 10 years, which, according to Griffin, "feels like Better Than Ezra. It's fresh but also sounds familiar."

The album is set to be released May 3, but the latest single, "Live a Little," is out now and generating a buzz.

"We never stopped touring and we've been putting singles out," Griffin told The Tennessean. "I'm so confident in the album. The reaction we've gotten from the new songs 'Mystified,' 'Contact High' and 'Live a Little' has been so gratifying."

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He said the time span between albums wasn't deliberate but more a product of everyone's busy lives, adding that the band members would refocus and say, 'We need to do a new album,' and then a year would go by.

"Once it started to come to fruition, we said 'It really needs to be good.' It's a self-imposed weight we put on ourselves, but I think we delivered."

'Super Magick' recorded to sound like a band

Griffin said that although he loved the band's last album "All Together Now," released in 2014, he called it a very "deliberate" album, whereas "Super Magick" comes with a bit more ease and frivolity.

"I loved that last album, but the way it was recorded, it was a combination of real organic elements and programmed elements. It was a structured record, and we wanted to make this new one feel a little looser and more like a band. I didn't want it to sound too processed or pop."

He said the album was recorded live, with songs played start to finish, which produces an end product that sounds like a band, not like a computer-generated collection of perfect snippets and parts of songs pieced together.

"I sang the whole song each time," he said. "I didn't sing one line and cut and paste it into the song. If I messed up a vocal, I re-sang the whole thing. What you are hearing sounds like a band."

The songwriting process for this album began with Griffin bringing loose structure for the songs before bringing the band in to collaborate and finish the songs.

"The reason people like Better Than Ezra, why they keep coming, is because of the things the four members bring to the table. We butt heads sometimes, but the music we end up putting out has passed everybody’s litmus test, so to speak."

The band is set to embark on the Live a Little Tour, beginning in the band's hometown of New Orleans on May 3. A Nashville stop at 3rd & Lindsley is scheduled for May 5. A complete list of tour dates is below.

Better Than Ezra Live A Little Tour dates

• May 3 - New Orleans – House Of Blues.
• May 4 - New Orleans – House Of Blues.
• May 5 - Nashville – 3rd & Lindsley.
• May 7 - Louisville – Mercury Ballroom.
• May 9 - St. Louis – The Pageant.
• May 10 - Kansas City, Missouri – Uptown Theater.  
• May 11 - Minneapolis – Varsity Theater.   
• May 13 - Indianapolis, IN –The Vogue.   
• May 14 - Detroit – Saint Andrew’s Hall.   
• May 16 - Cleveland – House of Blues.   
• May 17 - Pittsburgh – Rivers Casino.    
• May 18 - Wilmington, Delaware – The Queen.   
• May 23 - Meridian, Mississippi – MSU Riley Center.     
• May 24 - Mobile, Alabama – Soul Kitchen Music Hall.    
• May 25 - Bossier City, Louisiana – Margaritaville Resort.

What : Better Than Ezra Live a Little Tour.

When: Sunday, May 5, at 7 p.m.

Where : 3rd & Lindsley, Nashville.

Tickets : $29.91 at betterthanezra.com

Melonee Hurt covers music and music business at The Tennessean, part of the USA TODAY NETWORK — Tennessee. Reach Melonee at  [email protected] , on X @HurtMelonee or Instagram at @MelHurtWrites.

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Springsteen and e street band deliver a powerful message in san diego.

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PHOENIX, ARIZONA - MARCH 19: Bruce Springsteen and Steven Van Zandt perform at Footprint Center on ... [+] March 19, 2024 in Phoenix, Arizona. (Photo by John Medina/Getty Images)

Bruce Springsteen and the E Street Band rolled into San Diego’s Pechanga Arena on Tuesday for the third date rescheduled from last fall, when Springsteen was sick with a peptic ulcer. As usual, there is an incredible amount to unpack from any Springsteen show.

First, there is the strictly musical standpoint. Looking at the show solely from a musical perspective, this is not only Springsteen and the E Street Band at their best, years from now this should be viewed as one of the best tours ever. Springsteen is in discussions for the greatest live act of all time, so Springsteen and the E Street Band at their best is as good as live music gets. Maybe its getting older, the years not being able to tour from COVID, the continued mortality that comes with aging, or just being better musicians with age, but Springsteen and the whole band have a renewed passion in every note. They are there to deliver that expertly.

As he said during a long intro to the tour debut of the powerful “My City In Ruins,” “We are here to bring the joyous power of rock and soul into your life. We are here to wake you, to shake you, to take you to higher ground.”

Starting with the raucous one-two-three punch of “Lonesome Day,” “Prove It All Night” and “No Surrender,” the band established a ferocious intensity and power that was coupled with a life-affirming joy. As I wrote last year after seeing the Madison Square Garden show, there is no greater celebration of life, in my opinion, than a Springsteen concert. That feeling again permeated the entire three-hour plus extravaganza.

The majority of the show was delivered with a fervent joy that was at a remarkably upbeat tempo. There were countless rocking highlights. The impassioned zealousness of “Badlands,” with the crowd’s screaming along; “Wrecking Ball”; the pure giddiness of “Detroit Medley” and “Rosalita,” which of course earned a huge pop with the line about down “San Diego way”; the party vibes of “Mary’s Place” and “Dancing In The Dark”; the beautifully uplifting “Bobby Jean”; the intensity of “She’s The One”; the timeless “Thunder Road”; the anthemic “Born To Run,” my vote for the single greatest live song in music for the incredible camaraderie and community the song inspires, turning 16,000 separate voices into one. The list goes on and on. Every song is a highlight in its own way.

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Springsteen can take you on a pure party for three hours as well as anybody. But the show has an important message as well. Springsteen is smart enough to know that message is best heard quietly. As Cameron Crowe, who was at the San Diego show, said, “It was all about ‘Last Man Standing’ into ‘Backstreets’ for me. That couplet told the whole story.”

As usual, the astute Crowe was dead on. As Springsteen has discussed throughout the entire tour, “Last Man Standing” was inspired by being at the death bed of his early band mate George Theiss and how Theiss’ death led to his realization that he was the last man living from that band, The Castilles.

So, as he has throughout the tour, Springsteen spoke about the epiphany that sparked in him to “seize every day.” It is a profound message especially for his audience, who is older. Like he said, everyone in the crowd has people they’ve lost now.

When I saw the tour last year it was just a few weeks after the passing of my father, Bruce Baltin, a devout Springsteen fan who I saw my first show with in 1984. This show, interestingly, came just about a year later. So I had just marked my father’s one-year passing (the show last night also happened to be the two-year anniversary of Foo Fighters’ Taylor Hawkins’ passing, a long time friend), and right before my birthday.

However, this isn’t about me. It’s about the way this tour makes you tap into your feelings and brings the message you need to hear at the time. That is a huge part of the magic of a Springsteen show. For fans the show speaks eloquently to where you are in life. Every person who enters the building has their demons, their loved ones, their memories, their ghosts in their heart, some uplifting them and some weighing them down.

You don’t have a more than 50-year career as one of the top artists in rock history without forming a true bond and connection with your fans. So Springsteen knows how to speak to his audience and find their feelings. That message is different for every person. In my case, when he spoke about being with and appreciating loved ones, I took it to be about choosing to spend your time with the people who appreciate and want to be with you as much as you want to be with them. Life is short, why waste it on people who do not cherish your time together and what you bring to them?

In other cases, for people who are afraid to share their feelings, the message might have been to tell people you love how you feel. Or maybe it was not to be scared to take that leap. The message is individual. But the fact that he, with the help of the mighty E Street Band, is able to deliver those messages time and time again is what makes a Springsteen gig such a uniquely impactful, life-affirming and unforgettable experience. If it doesn’t change your life, it will damn sure at least make you appreciate life again.

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Philly hardcore band Soul Glo makes NPR debut — and opens up the first Tiny Desk Concert mosh pit

P hiladelphia-based band Soul Glo was NPR’s first hardcore punk band to get a Tiny Desk Concert — and the first to open up a Tiny Desk mosh pit.

The band’s four-song set, which was filmed at the public radio organization’s D.C. headquarters, premiered Friday on NPR’s website and social media pages . Tiny Desk Concerts — the live video series that launched in 2008 and has been likened to a new generation’s version of MTV Unplugged — notably hasn’t featured many heavy acts before (in 2022, the series invited Turnstile , but the set didn’t take place in the office because of COVID-19).

“We have hosted rap legends, Broadway musicals, pop stars, world-renowned classical musicians, indie rockers, and folkies — there’s a universe of music at the Tiny Desk that keeps expanding,” said Tiny Desk producer Lars Gotrich. “But we have never featured a hardcore punk band at the NPR Music office … until Soul Glo .”

And, if the comments section is any indication, it’s being received well.

“Please bring more stuff like this to the desk, I love the ‘pop singer does a soulful acoustic set’ thing but this is infinitely better,” one comment said. “Never in a million years did I expect to see Soul Glo here,” said another.

Soul Glo, which formed in West Philly in 2014 and signed to Epitaph Records in 2021, is comprised of Pierce Jordan on vocals, GG Guerra on guitar and vocals, Allen Nunez on bass, and TJ Stevenson on drums. For the Tiny Desk set, the band played songs mostly off its 2022′s album, Diaspora Problems , spotlighting racism, trauma, and mental-health issues in America.

Last year, Rolling Stone magazine called Soul Glo “trailblazers who play a nuanced, unpredictable hybrid of hardcore punk, metal, and hip-hop” and “one of the most ambitious bands in the world.”

The band previously supported fellow Philly band Sheer Mag on an East Coast tour and is about to embark on a tour accompanying another Philly headliner and Epitaph labelmate, Mannequin Pussy.

“Preparing for the performance and playing in that office was a challenge that we are grateful to accept considering how many legends have and continue to grace the room,” the band said in a statement.

The band went on to call the performance “unforgettable,” thanking friends, its label, NPR, and even Telfar — the trendy Black-owned luxury brand named in the band’s song “Driponomics.”

About halfway through the band’s Tiny Desk set, vocalist Pierce Jordan crouched atop the desk with a smiling crowd in front of him.

“I can’t say thank you enough,” Jordan said. “This is very, very special. Very surreal.”

Soul Glo closed with its single “Gold Chain Punk (whogonbeatmyass?)” and a joyous and laughter-filled mosh pit broke out within the office. It was a first, according to Tiny Desk producer Gotrich — “I’m still smiling about it.”

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