Combining a love of old movies, the occult, psychedelia, doom, sludge, metal and weed Dopelord have managed to claw their way to the top of the killer Polish psych scene. In 2012 they dropped their first slab of destructive entropy of the world in the form of their debut album Magick Rites, and they’ve recently followed that up with another juggernaut of pain entitled Black Arts, Riff Worship & Weed Cult. When you listen to Dopelord it’s like having towers of smoking amps in your living room, the fuzzy distorted guitar trudging along like a drugged giant, dragging his club along the ground as he lumbers forward wreaking utter havoc on the landscape. Solos explode out of the fiery carnage below his feet like ember sparks in a droughted Sahara plane, spreading like wildfire and leveling everything that remains in its path while the bass thunders like Thor’s hammer tearing the skies apart with the monolithic drums steadily in tow like lightning. From the start it’s pretty apparent that Dopelord worship at the altar of the riff and that Lucifer’s along for the ride, allowing the gossamer, transparent vocals to drift lazily around inside of the songs like smoke trapped in a shaft of light, when they so wish. It’s always nice to hear a band as well versed in crafting instrumentals as writing a song with vocals that’ll melt your face off and have you banging your head in slow motion at the drop of a dime! With ties to a lot of the top psychedelic musicians I’ve talked to recently from all over the EU, Dopelord are a band that you’re going to be hearing a lot more from without a doubt. They’ve managed to flourish in the post Socialist Polish scene, where so many bands simply loose the war of attrition and starve out. Relentlessly writing, recording and releasing music Dopelord’s goals are simply and admirable, to create bad ass tunes and to spread those riffs like a nuclear cloud on the rest of the world! Doesn’t seem like so much to ask now does it? I know I’m doing my part as these albums have been on constant rotation at the house, so bow with me now to the altar of the almighty riff once more and may he long be known by one of his most holy of names, all hail Dopelord!
Listen while you read: http://dopelord.bandcamp.com/
© Pawel Wygoda
Who all is in the mighty Dopelord at this point? Is this your original lineup or have you all gone through any changes in the lineup since you started playing?
Klusek: We’re four in the band, Miodek sings and plays the guitar, Mroku plays the guitar as well, Blondyna plays the drums, and I’m on the bass. Blondyna stepped in for Pan Arek after he parted ways with the band.
My compulsive nature dictates that I try and figure out what all other bands members of bands that I dig have been in but I operate at a pretty significant handicap when I don’t speak the native language. Are you all in any other active bands or side-projects at this point? Have you released any music with anyone in the past? If so, can you tell us a little bit about that?
Klusek: Dopelord is my only band now.
Mroku: Same here.
Blondyna: I have something on the side, totally different than Dopelord. Nothing’s been recorded yet though.
© Marcin Pawłowski
Where are you originally from? What was the local music scene like there when you were young? Did you see a lot of shows? Do you feel like that scene played a significant role in shaping your musical tastes or in the way that you perform at this point?
Klusek: I’m originally from a little town, called Hajnówka, in the east of Poland. At some point I moved to Lublin, where Dopelord was formed. Now all the band members live in Warsaw. There was no such thing as a local music scene in my home town. I’ve been to, maybe, three shows in my teens. There was absolutely nothing going on. Things got a little better after moving to Lublin, it’s a bigger town. Can’t say that it’s music scene played any role in shaping my musical taste or anything though, really.
Mroku: I’m originally from Lublin, where I met Miodek and Klusek, who were at the time playing in a band called Klingonian Beauty. Miodek and I had a project of our own too, it was called Solarbabes. Both bands turned out to be short lived though. Scene? I think this word is way too big, but there may be something to it. I can't say I wasn't impressed when I first saw Fifty Foot Woman, which has now kind of transformed into Major Kong, many years ago, which actually was the first thing that put this idea in my mind, that you can play this type of music and there will even be a couple of people coming to your shows.
Blondyna: I’m originally from Warsaw. I can’t say that we had any music scene when we were young. Local bands at that time were always struggling with getting stuff to play on and venues that we we’re able to play in. We’re slowly emerging from the darkness of socialist realism.
What about your home when you were a child? Were either your parents or any of your relatives musicians or extremely involved/interested in music?
Klusek: Yeah, my dad played in a band as a teenager; he plays the guitar to this day. He’s always listened to rock music. He introduced me to The Beatles, Led Zeppelin, Black Sabbath, Budgie, King Crimson and many more. My mom also has a musical ear, always loved her singing. When I was six or seven my dad decided I should learn to play the piano. I really hated it.
Mroku: Not really, but my uncle works on merchant ships and he used to bring back all kinds of cool records that were unavailable in Poland at the time. He introduced me to Queen and The Beatles when I was just a couple of years old.
Blondyna: Not really when it comes to playing any kind of instrument, but my dad listened to Black Sabbath and Zeppelin on the tape recorder. I remember my brother and I jumping on the couch while listening to “Immigrant Song”. I was like eight years old probably.
What do you think was your first real exposure to music?
Klusek: My father giving Led Zeppelin II a spin on our home stereo. The guitar solo in “Whole Lotta Love”, that could be it for me.
Mroku: Queen's Greatest Hits. I was probably about four or five at the time.
If you were to pick a moment that changed things for you, a moment that opened your eyes to the infinite possibilities of music and altered reality as you perceived it, what would it be?
Klusek: Very important to me was realizing that it’s not the technical ability that matters, but the idea; the idea for a melody, a riff, whatever. There are guys on YouTube that can play a gazillion sounds per second. Yeah, and I heard that there’s a lady in Thailand that can smoke a cigar with her pussy. So what? There are brilliant songs made out of just one chord. That’s creativity to me.
Mroku: During my freshmen year at high school I saw a friend playing a Stratocaster and I was hooked in a matter of seconds. It was a cheap knockoff plugged into a shitty amp, but it didn't matter. When he showed me how to play power chords I felt like unlimited possibilities just opened up to me, like I could do the coolest thing possible. I guess that’s how most people feel when playing a guitar, like you're in control.
When did you decide that you wanted to start writing and performing music and what brought decision about for you?
Klusek: Since I remember I’ve daydreamed about it from time to time. You know, silly shit. To be out on stage, performing ha-ha-ha-ha! Music always was very important in my life, I just needed an impulse to actually start trying to make it happen. And then, one day, friends of mine were looking for a vocalist. Then I switched to bass.
Blondyna: There were always a bunch of guys playing in a few bands in my high school. My closest friend was playing a guitar, and I decided to give it a shot on the drums. That was it basically. I got hooked up.
What was your first instrument and when/how did you get it?
Klusek: My first instrument was a little Polish keyboard my father bought. It was called Student, had pretty shitty features, a vibrato that stopped working after a while. I remember that the greatest fun with it was making strange noises that would cause the whole thing to vibrate.
Mroku: A CASIO keyboard I got from my parents when I was eight or nine. I got bored with it and started playing the guitar when I was fifteen.
Blondyna: A drumset that my parents bought me for my eighteenth birthday.
When and how did you all originally meet?
Klusek: Miodek was looking for a band to sing in and he wrote my previous band on MySpace. That’s how we met in about 2008 or 2009, can’t remember. Then he introduced me to Mroku, cause they were playing together in another band. I met Blondyna through my wife; we worked together for some time.
Mroku: I remember I first saw these guys at an Atomic Bitchwax show in Lublin, but we didn’t actually meet until a couple of months later. I met Miodek through a common friend of ours and we started Solarbabes. Dopelord's first drummer, Arek, had a pub in Lublin called Kwadrat, which was quite a legendary place too. I think things might have gone in a different direction if it wasn't for that bar.
What exactly led to the formation of Dopelord and when would that have been?
Klusek: Dopelord was an idea Miodek and I shared. We were tired of not playing music we wanted to play, stoner doom that is. It’s funny cause we both went like, “Man, I got this riff you need to hear” and it appeared to be the main riff from “Lucifer’s Son” in both cases, ha-ha-ha-ha! Strange, funny shit. It was in November/December of 2010.
Mroku: We all shared a rehearsal place, so we jammed on occasion even before Dopelord was started. Now that I think about it, it really is hard to say when the band was actually formed. I would say our first rehearsal as Dopelord was sometime around November 2010.
I love your name and I can only assume I know what you’re referring to but I always prefer to hear it from the horse’s mouth. What does the name Dopelord mean or refer to? Who came up with the name and how did you all go about choosing it?
Klusek: We formed the band, we started to play, but we couldn’t decide what to name it. We brainstormed for days and nothing interesting came up. We were even on the verge of calling ourselves Kozorog, but then one day I checked the name Dopelord on the internet and it appeared to be available, which surprised me a lot. It was quite obvious and fit perfectly. We play what we play, man. It’s tunes to fire up a bong to, nothing more to it, really.
Mroku: We wanted a name that has either occult or drug connotations to it. No biggie, we like to play stoned and our lyrics are mostly about witches, Sabbaths and Satan. I think with Dopelord we kind of hit the sweet spot.
Is there any shared creed, code, ideal or mantra that the band shares or lives by?
Klusek: Riff is the law! Smoking a joint and drinking a beer to it won’t do no harm either.
Mroku: Just don't be a dick and don't Bogart that joint.
Blondyna: Yes there is. Groove is the law! Although everyone has a different way of perceiving it…
Where’s Dopelord located at these days and how would you describe the local music scene there?
Klusek: We all live in Warsaw now, the capital city of our beautiful country. There’re lots of bands located in Warsaw these days, many who’ve moved here just like we did. The scene in Warsaw, to me, is Belzebong (Interview here), Major Kong (Interview here) and Weedpecker (Interviewhere). At least I find those three the most important.
Blondyna: There are a lot of bands. What I dig is Weedpecker and Major Kong. The Kong is very groovy while performing live.
Are you very involved in the scene as far as booking or attending a lot of local shows?
Klusek: We don’t book shows, but I myself try to help organizing gigs when I can. I participated in dragging Ampacity (Interview here) to Warsaw last year, this year I helped Ceremony Booking with the Death Hawks gig. I try to attend as many shows I can, of both, local and foreign bands. A lot changed in the last couple of years. Great bands come and visit Poland, so I try to take the opportunity to see them perform whenever I can.
Are you involved in recording or releasing any local music at all, if so can you tell us briefly about that?
Klusek: No, man, recording and releasing our own shit’s quite enough, ha-ha-ha. Can’t say that I wouldn’t want to run a label or something, though.
Do you feel like the local scene has played a large role in shaping the sound of the band or an important role in the history of Dopelord? Or do you think you all could be doing what you’re doing and sound like you do regardless of where you were or what you were surrounded by?
Klusek: There was no stoner doom band in Lublin when we formed Dopelord. So no, the local music scene’s had no impact on us whatsoever.
Mroku: To me it's not that simple. Even though there’s still no real "scene" in Poland, there are a couple of bands that stick together more or less. We play shows together, we use similar gear and we lend it or trade it to each other, we exchange ideas and get wasted together. It's not a huge influence, but it's there.
We’ve talked a lot about where the band came from and what you are all about but I’m curious who some of your major musical influences are? What about influences on the band as a whole rather than individually?
Klusek: It’s obvious that most of us listen to lot of stoner, doom, sludge, punk, psych and so on. Black Sabbath are gods, that’s no secret. I love many of the 70’s rock band, they’re my endless void of inspiration.
Mroku: I think our initial idea for the sound was a mixture of Wizard and Sabbath. It hasn’t changed all that much since then, ha-ha.
Blondyna: I listen to a lot of different music the other guys don’t. I think it ends up well, as we try to patch it all together during rehearsals. From my point of view, it’s very difficult to say that we have one vision on how Dopelord should sound or play.
Whenever I do these interviews I inevitably have to describe the way that a band sounds to readers who may or may not have ever heard them before. I do it but I’m not always happy about it. Sometimes I feel like I can really tell what’s going on in a band, but other times I get the sneaking suspicion that I’m just putting my own perceptions and ideas of stuff onto them and doing them a real disservice when I try and describe them. Given this open forum I’d like to ask you, how would you describe Dopelord’s sound to our readers who might not have heard you before?
Klusek: Well it’s not that complicated, I guess. Dopelord sounds heavy and dirty. Sometimes it reminds me of the AT-AT Walker.
Mroku: Loads of fuzz. And then some more fuzz.
Blondyna: Groovy fuzz with a little touch of black magic.
What’s the songwriting process with Dopelord like? Does someone usually come in to practice with a riff or an idea for a song and then work that out and develop it with the rest of you, or do you all get together and just jam on stuff until something kind of comes together out of the back and forth?
Klusek: Usually Miodek or I bring in some riffs we think are worth trying to work with. We try to play them with the band, to see if they are good enough and then try to combine them with other ideas. Sometimes we bring almost an entire song idea to practice, sometimes it takes months to build up a track from a single riff.
What about recording? As a musician myself I know that recording can be difficult, but that most of us can really appreciate that end result. Holding an album in your hands, knowing it’s yours and no one can take that fact away from you, well it’s kinda hard to beat! Getting to that point though, getting everything to sound the way that it should, especially as a band can be extremely difficult to say the least. How is it recording for Dopelord?
Klusek: Well, in our case the recording of an album only takes a few days. So it all has to be prepared earlier and that’s the hardest part. If you’re prepared, the recording should be a pleasure. Of course, there’s always some struggle with time, but it’s rather motivating I guess. When we feel we’re ready to enter the studio, we just do it and record the album.
Blondyna: Recording happens very fast. We laid the basic tracks during the first evening and next afternoon. I think if we had more time a lot of things could be better, but still it’s quite fun to do it so quickly. This way, it has this unique mood when everybody’s so time motivated.
Do you all utilize a DIY approach when you’re recording where you prefer to handle things on your own, or do you head into a more professional studio environment and let other people handle the recording aspect of things?
Klusek: We decided to use a professional studio space because of the way we record. Plus, we’re not very skilled at recording, so it would make no sense for us to try and record the material ourselves. A studio gives you a lot of advantages that you can’t deny, like tons of equipment you can use, for example. We also invited Jan Galbas, known for Ampacity and other great polish bands, who was responsible for recording along with the help of Michał Anuszewski, as well as the mixing and mastering of our second album. It’s quite comfortable when you can focus all of your attention on playing riffs.
How large of a role does improvisation play in your music? Do you all spend a lot of time getting things all planned and worked out? Some people who play instrumental music, especially stoner and doom, are very into improvisation and only have a vague skeletal idea of what they’re going to do before they do it and leave a lot of it up to how they feel at the moment.
Klusek: There’s no improvisation in our tracks, really. Maybe a little bit in the guitar solos, as they're created on the go.
Mroku: Yeah, my approach to solos is more or less what you just said, a vague skeletal idea of what I’m going to do before I do it.
Blondyna: Still, improvisations happen quite a lot during rehearsals.
You all released your first album, Magick Rites last year in 2013 on basically every conceivable medium out there! It seems like the album must have been pretty well received considering how many formats it’s been released on. Can you tell us about the recording of the material for Magick Rites? Where was that recorded at? Who recorded that material and when was that? What kind of equipment was used?
Klusek: Magick Rites was recorded in November of 2011, released on CD and tape in 2012 and then, a year later, it finally got released on vinyl. We recorded it in Studnia Studio, based in Białystok, which is run by our friends from another polish band, Pokrak. The studio sounded nice, was pretty well equipped and we could afford it. The recording process was similar to the Black Arts, Riff Worship & Weed Cult recordings, we recorded the basic tracks live and then dubbed vocals and guitar solos over it. The material was recorded by Piotr Polak and Mateusz Trykozko, and was then mixed and mastered by Michał Anuszewski.
Mroku: As far as the gear goes, we used some classic amps, including my AOR and Miodek's pre-Supergroup Laney Plexi. It's actually a legendary amplifier, manufactured in Englaind in 1968. Tony Iommi used exactly the same amp to record Sabbath's debut album.
You just followed up Magick Rites this last month (April 2014) with your second full-length Black Arts, Riff Worship & Weed Cult which right now is only available digitally. Did you all try anything new and radically different with the songwriting or recording of the material for Black Arts, Riff Worship & Weed Cult?
Klusek: Yeah, the material itself is more complex, that means more riffs, more riffs and more riffs. There are pretty radical changes. We added a second vocal here and there and so on. You can hear it all as you listen to the album, man. As for recording I think it was a wise move to let one person take control over recording and mixing this time. Also the studio we recorded the album in was better sounding and better equipped, so listeners can expect some radical sound improvements.
Can you tell us about the recording of Black Arts, Riff Worship & Weed Cult? When and where was that material recorded? Who recorded it? What kind of equipment was used?
Klusek: We recorded it in February 2014 at Quality Studio in Warsaw. It was recorded by Jan Galbas and Michał Anuszewski. Jan Galbas also mixed and mastered the album. We used Laney, Orange and Fender amps, some vintage guitars, fuzzes and other shit. Even a grand piano, that was pretty crazy. For bass we used my Orange Terror Bass head and Orange cab, combined with a Big Muff. The recording formula was the same as for the recording of Magick Rites, only we had more mics and other shit this time.
Mroku: Miodek and I used a Fender Blues DeVille 4x10 combo boosted with an original Big Muff Deluxe from the 70's, an Orange Dual Terror and an orange 2x12 cab for rhythm guitars. For leads I mostly used the Laney I mentioned before. As for the guitars, I used my Greco SG for both solos and rhythm parts.
Blondyna: I used my Tama Starclassic Bubinga set. Big thanks to Grabaż from local band Spirit for lending me the Vinnie Paul snare.
Does Dopelord have any music that we haven’t talked about, a song on compilation or a split that I might not know about?
Klusek: Yeah, man. We plan to make a 7” split with this band… We recorded one extra track during the Black Arts, Riff Worship & Weed Cult session.
Mroku: The song is called "Distant Lights" and we are actually quite happy with the way it turned out. Playing it live is a lot of fun. It’s slow and kind of psychedelic, I like the way it drifts.
Blondyna: In my opinion it’s our best piece.
With the release of Black Arts, Riff Worship & Weed Cult this past month and Magick Rites last year do all have any releases in the works or on the horizon at this point?
Klusek: When the vinyl version of Black Arts, Riff Worship & Weed Cult is out, we’ll start working on releasing that 7” split, I think.
With the completely insane international shipping rates that have continued to increase over the past few years I try and provide our readers with as many possible options for picking up import releases as I can. Where’s the best place for our US readers to pick up copies of your stuff?
Klusek: Well, shipping rates may be insane, but I noticed that they are far more insane when it comes to shipping from the US to Poland than the other way around. Don’t know why, really. The best, and cheapest, way to pick up copies of our stuff is to contact the band directly at email@example.com. We’ve got some CDs and LPs left, and all of our merch. Vinyl fiends can also write our label at firstname.lastname@example.org for the lowest prices on the Magick Rites LP.
What about our international and overseas readers?
Klusek: We’ve got one international shipping rate in Poland now, so it’s all the same for everybody out there.
Are there any major goals or plans that Dopelord is looking to accomplish in 2014?
Klusek: Our goal has been the same the whole time; play the riffs and share them with people that dig it.
Do you remember what the first song that Dopelord ever played live was? When and where would that have been at?
Klusek: I remember that the very first song Dopelord ever played was “Lucifer’s Son”. But when it comes to playing a song before an audience… It could’ve been “The Pentagram”.
Mroku: It probably was. I think we played our first show in June 2011.
Do you all spend a lot of time out on the road touring? Do you enjoy being out on the road? What’s life like on the road for Dopelord?
Klusek: We spend far less time on the road than we want to. And yes, we enjoy it very much, man, that’s the fun time after all! Life on the road means tough times for my liver, lots of smoke and near deaf experiences.
Mroku: Touring’s amazing. I don't see any other way to feel tired, excited and happy all at the same time.
What, if anything, do you all have planned as far as touring goes for 2014?
Klusek: Well, we just got back from playing a few gigs in Austria and Slovakia. We play in Gdynia, Poland, on the 19th of April, and then we hit the road again on the 29th. We play in Berlin, Hamburg the day after and then we worship the almighty riff at the Heavy Days In Doom Town Festival in Copenhagen, Denmark, that should be pretty crazy. Other touring plans are a bit hazy for now.
© Pawel Wygoda
Who are some of your personal favorite bands that you’ve had a chance to play with so far?
Klusek: Ufomammut, Cough, Mars Red Sky, Major Kong, Weedpecker, Belzebong. Lately we had a great time playing with Timestone at KAPU in Linz, Austria; which reminds me. KAPU is, to this day, the best club we’ve ever played in; period.
Mroku: We also had lots of fun with the guys from Cough and Witch Mountain. Those Richmond dudes are pretty cool and I'm looking forward to meeting Windhand in Copenhagen.
Do you have any funny or interesting stories from live shows or performances that you’d like to share here with our readers?
Klusek: Well, it’s a thing with inside jokes and stories; they’re only really funny when you’re inside.
© Łukasz Piotrowski
In your dreams, who are you on tour with?
Klusek: Spinal Tap. Or Wyld Stallyns. Or Still Water. Or Kathleen Turner Overdrive. Yeah, that would be great.
Do you all give a lot of thought to the visual aspects that represent the band like artwork for flyers, posters, shirts, covers, logos and other artwork? Is there any kind of message or meaning that you’re trying to get across or convey with your artwork? Do you have anyone that you usually turn to when you’re in need when it comes to those kinds of things and if you do, who are they and when and how did you originally get hooked up with them?
Klusek: We only cooperate with people whose work we admire. And where can you find almost anything these days? The internets, man, the internets…
Mroku: Miodek is quite a talented graphic designer himself. He’s actually responsible for most of our gig posters.
With all of the various mediums of release that are available to musicians today I’m always curious why they choose and prefer the various methods that they do. Do you have a preferred medium of release for your own music? What about when you’re listening to and or purchasing music? If you do have a preference can you talk a little bit about why?
Klusek: Sure, I love vinyl. It sounds nice, the cover art gets enough exposure it looks great and I can understand how it works. That’s what we aim for in regards to our own releases. When it comes to listening, well, I listen to it all, LPs, CDs, tapes, mp3s. Every medium has its advantages and flaws. You can take your whole mp3 collection with you, CDs are still the most popular, at least in Poland, and cheaper than vinyl, so… The best way is to collect everything you can ha-ha-ha-ha.
Do you have a music collection at all? If so can you tell us a little bit about it?
Klusek: Well, I know a little bit about your collection, man, and that forbids me from calling my bunch of LPs, CDs and tapes a collection. But seriously, it’s growing record after record. One day, maybe, I’ll be ready to talk with you about it.
I grew up around my dad’s enormous collection of sweet vintage psychedelia, garage and blues and I was really encouraged to dig in and enjoy it from a young age. I loved sticking something in the player, kicking back with a set of headphones, staring at the cover artwork, reading the liner notes and letting the experience transport me away. Having something to hold and physically experience along with the music made for a more complete listening experience for me. Do you have any such connection with physically released music?
Klusek: Yeah, I had the same experiences when I was listening to tapes when I was younger. To the point I knew all of the song titles, band lineups and the song lyrics. It’s impossible to make such a connection with an mp3, that’s sad.
Mroku: That’s the best part, when you’re putting the CD into the player and you can open up the booklet, sit on the sofa and just go with the flow of the record. I noticed that when I listen to an mp3 I’m not able to dig in deep enough, and very often the records don’t get the attention they should.
As much as I love my music collection digital music has really changed things in a lot of ways for me. I’m able to really take it on the go with me for the first time and when you team it with the internet that’s when you have something revolutionary on your hand. Together they’ve exposed me to an entire universe of music that I would never have had access to, led alone heard of otherwise and it seems to have leveled the playing field to a large extent for independent bands willing to work hard and promote a healthy online presence. On the other hand illegal downloading is running rampant and with everyone being given an equal voice it’s harder than ever to get noticed in the chocked digital scene out there right now. As an artist during the reign of the digital era, what’s your opinion on digital music and distribution?
Klusek: Well, I think it’s great. I honestly see more bright sides than the dark ones. The sad part of it all is that most of the people download the same shit that’s played on the radio. Well, too bad for them I guess. But when it comes to having a band, the internet is really great. You upload your album and minutes later you see via last.fm or whatever, it’s being played in Brazil. How awesome is that?!? I don’t give a fuck if the Brazilian dude downloaded it from a Russian torrent sites or bought it legally via our Bandcamp page. The music is out there, that’s important to me. Of course, it would be nice to get paid for every single copy of an album, cause it speeds up releasing a vinyl or printing some sick t-shirts, but hey… The dude is in Brazil and he’s listening to a Dopelord album. Awesome!
I try to keep up with as much good stuff as I possibly can but there’s just so much going on out there that it would be impossible to keep up with even one percent of the amazing stuff happening right now. Is there anyone from your local scene or area that I should be listening to that I might not have heard of before?
Klusek: You’ve talked to almost all of our friends, but I’ve got a tip for you. The band’s called MOAFT and they’re on the verge of releasing a debut full-length. Check them out, they kill it live, man, mark my words. Oh, and they’re not stoner nor are they doom.
What about nationally and internationally?
Klusek: Well, I really enjoyed the Self-Titled album by the Finnish Tombstoned, definitely one of my favorite releases of the 2013. I’m also waiting for an album by Comet Control, a band that was formed after the disbanding of the Canadian group Quest For Fire; very nice psychedelic journeys.
Blondyna: As I listen to a lot of very different music than the other guys, I’d recommend sticking your nose into Nerve with Jojo Mayer. That’s electronic music but played totally live. For me that’s the thing that takes me on the out of reality trip.
Thanks so much for doing this interview, it was awesome getting to learn so much about the band and I hope it was at least a little fun for you to look back on everything that you all have accomplished as a band! Before we call it a day and I sign off, is there anything that I could have possibly missed or that you’d just like to take this opportunity to talk to me or my readers about?
Klusek: Well, smoke weed and listen to Black Arts, Riff Worship & Weed Cult! Thanks for having us, Roman!
(2013) Dopelord – Magick Rites – digital, CD, Cassette Tape, 12” – Self-Released/Can’t Tell You Records/Heavy Metal Vomit Party Records (Cassette Tape limited to 66 copies, 12” limited to 300 hand numbered copies on Black and Olive Green 180 gram Vinyl)
(2014) Dopelord – Black Arts, Riff Worship & Weed Cult – digital – Self-Released
Interview made by Roman Rathert/2014
© Copyright http://psychedelicbaby.blogspot.com/2014