Also known as the “heaviest band within the universe,” England’s Electric Wizard have regularly redefined the preconceived thresholds of the detuned electric guitar chord making use of their peerless doom metal achievements — this despite an frequently interpersonally troubled, if musically triumphant, career. Produced in darkest Dorset by vocalist/guitarist Justin Oborn (previously with Lords of Putrefaction), bassist Tim Bagshaw, and drummer Tag Greening, and originally referred to as Thy Grief Eternal (briefer still, merely Eternal), Electric powered Wizard produced their debut with 1993’s “Demon Lung” one — a divide discharge with fellow doomsters Our Haunted Kingdom (who afterwards advanced into Orange Goblin). Released by Cathedral linchpin Lee Dorrian’s doom-specialized GO ABOVE Records, the one paved just how for Electric powered Wizard’s eponymous debut a calendar year later, and, though it didn’t quite revolutionize the genre (in fact, it contained quite regular doom fare for enough time), the record still designed for a rather amazing begin. Released in 1996, sophomore record Come My Fans… was another matter completely, however, successfully rewriting the doom guideline book using the sheer quantity and distortion within its planet-sized riffs, and rattling the underground metallic picture to its primary along the way. Regrettably, its seismic aftershocks would also become experienced by the users of Electric powered Wizard, who, because of various poorly described accidental injuries (Greening was dealt a damaged arm, while Oborn 1st dropped a fingertip inside a home accident and, much less surprisingly, later experienced a ruptured eardrum!), handled only a couple of EPs — 1997s Chrono.Naut and 1998’s Supercoven — within the next three years. Additional sources recommended the band’s lack had far more regarding crippling weed usage and/or simple insufficient inspiration, but all speculation was duly obliterated from the long-awaited introduction from the band’s third magnum opus, 2000’s superlative Dopethrone. Like its forerunner four years prior, Dopethrone was a surprising rvelation with regards to absolute mass put on amazingly unforgettable songwriting. Actually, it so very easily bridged the stylistic spaces between doom, sludge, stoner, horror, and, sometimes, even space steel, that 2002’s unusually effectively recorded follow-up, WHY DON’T WE Prey, frequently felt such as a assortment of outtakes from this. And yet, WHY DON’T WE Prey was not a throwaway work, and helped additional Electric powered Wizard’s cause world-wide even while the group was crumbling from the within. Tensions had been mounting as well as the trio’s ill-fated American tour that summertime pushed the developing animosity between Oborn and his cohorts towards the breaking stage, and their last time in Philadelphia was in fact billed as Electric powered Wizard’s farewell present. This, since it turned out, became a premature promotion stunt, however the band’s following tour from the U.K. (to get Cathedral) would discover Greening changed by previous Iron Monkey drummer Justin Greaves, and finished with Bagshaw’s long-rumored departure aswell. Curiously, he quickly reconnected with Greening in a fresh group known as Ramesses, while, for his component, Oborn took several a few months off to ponder his following move. With time, he made a decision to progress with a fresh, expanded lineup offering former mate-13 and Sourvein guitarist Liz Buckingham, bassist Rob Al-Issa, and these Greaves, as well as the reborn Electric powered Wizard released their 5th full studio room record in 2004’s aptly called We Live. Electric powered Wizard experienced another lineup switch in 2006 when Greaves was changed by Shaun Rutter, who produced his debut on the sixth recording, 2007’s Witchcult Today. The musical seats would continue in 2008 when Al-Issa remaining the music group and was changed by bassist Tas Danazoglou. Making use of their lineup once more solid, Electric powered Wizard released Dark Masses this year 2010. Electric powered Wizard experienced another lineup switch in 2012 when Glenn Charman and Simon Poole arrived on board to displace Tas and Rutter, respectively. After a thorough tour to market the documenting, Oborn and Buckingham produced more personnel adjustments and undertook documenting sessions at their very own studio room. Original drummer Tag Greening was earned to displace Poole. Charman remaining before the documenting sessions started and Oborn (beneath the moniker “Count number Orloff), performed bass within the studio room. Soon after completing the recording, formally entitled Time and energy to Die, Greening was changed by a coming back Poole. Time and energy to Die premiered in Steptember of 2014.
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