PRESS

Decibel (featured track):

…just try imagine only two people pulling this off. This bass and drum duo sound like a goddamn legion of troops attacking over land, sea and air.

-Shane Mehling

Heavy Planet:

…beautifully aggressive and brutally honest.

Number of the Blog:

Olde Growth are a vicious two-piece who don’t write riffs as such, more rumbles, they create what sounds like tectonic plates having a punch up. Their 2011 Meteor City rerelease of their self-titled record is a dose of unadulterated groove, lurching to and fro, whilst injecting an air of good ol’ fashioned rock and roll. They are a powerful rhythm section that can ably stand on their own marvellous merits. Olde Growth deserve you at your most stoned or at least at your most rock and roll.

Metal Sucks:

Thrashy doom with bass, drum, and vocals only. Strong riffin’, dope smokin’, pit slammin’ metal that will make fans of St. Vitus very, very happy. Ten-minute-plus closer “Awake” is easily one of the best songs of the year.

-Corey Mitchell

Pop Matters:

Boston-based doom metal duo Olde Growth only needs bass guitar and drums to generate its massive wall of sound, which is thickly layered and textured on their self-titled debut album. The dense, complex production values give this album a very traditional doom metal feel in the old style of Electric Wizard and Kyuss. There is also a lot of crunchy grind in the album’s heavier sections, showing plenty of influence from High on Fire. For all their heaviness, though, Olde Growth certainly know how to throw melodic, catchy hooks into their songs. The clean-sung refrains and bridges would fit in perfectly on material written by Nebula or Fu Manchu. Despite such disparate elements, the compositions flow together surprisingly well, albeit with some lack of direction. Overall, Olde Growth is a good start for this young pair of musicians trying to make their mark in the doom metal scene.

-Chris Colgan

The Obelisk

Of the seven tracks on Olde Growth, only the feedback interlude “Red Dwarf” is under five minutes long, but the cuts nonetheless move quickly one to the next, and no matter what tempo they’re working in – thrashingly fast, drearily slow or somewhere in between – Olde Growth pull off an immediacy in the music that might be their greatest asset. Parts abound in the songs, and there are both chorus-based and more linearly-structured passages (the third track is a three-parter), but as complex as bassist/vocalist Stephen Loverme and drummer Ryan Berry get, they don’t lose sight of either the thickness of tone or the subtle melodicism that finds its way into sections of Olde Growth, and that works much to the album’s benefit.

The Sleeping Shaman:

Together the duo barrage through a desolate landscape of distorted, and intricate, heaviness, whilst never straying too far from the well-beaten path laid down by the great desert architects, Kyuss. Armed with just bass and drums, LoVerme and Berry have clearly studied ‘Blues For The Red Sun’ well and rebranded it with their own unique take on the misery of the natural world.

-Pete Green

Pittsburgh Daily News:

Meteorcity has been one of the leading purveyors of doom and stoner metal for more than a decade now, and their two latest finds – New Keepers of the Water Tower and Olde Growth – should contribute to that smoky heritage and carry it into the future.

Olde Growth have more of  a YOB/Electric Wizard style, meaning the songs are nastier, heavier and longer, and the centerpiece of the Boston duo’s bass-and-drums-only debut is the three-suite “Cry of the Nazgul/The Second Darkness/To the Black Gate” that mixes Tolkien, bloody battle scars, and outright Armageddon.

Boston’s Weekly DIG:

Boston drums and bass duo Olde Growth packs a psychedelic punch with their self-titled debut. From the first track to the last, the album launches us into outer space and leaves us there to die.

Most of the tunes are over seven minutes long, allowing the duo to build up their space jams with slow-rolling riffs that often turn into fast-paced psychedoomlic freakouts. Melodic whispers from bassist Stephen LoVerme break into ear-pummeling screams as drummer Ryan Berry smashes his ride cymbal into oblivion, causing even the most seasoned heavy rock veteran to pay attention. What will keep this album on constant rotation on your stereo is their unique way of switching up vocal styles, along with the heavy-hitting bass that makes it way up from the deep depths of earth’s core. Drill down.

-Matt Couto

Anti Music:

Melodic and doom aren’t descriptors that you’ll find together often but Olde Growth manages to do a pretty good job of mixing the sludge and the soaring on “The Grand Illusion” which is certainly not a reference to Styx. The ultimate in muddiness here comes oddly enough from the album’s only lyrically-positive number, the lumber-loving “Sequoia,” maybe not too surprising coming from a band named Olde Growth.

-Kevin Wierzbicki

CVLT Nation:

Whoa! Black Flag soaked in whiskey, mud, voodoo ashes, and honey-drenched feedback is the foundation of OLDE GROWTH. On the real, just get your favorite bud kindness, light it up & play this super sick Boston band loud! Then you will find yourself floating off into DOOM BLISS…

Disorderly Conduct:

Olde Growth came together in 2005 but wouldn’t release their debut slab of excellence until this year. It’s self-titled, displaying vocals that vary from the more brutal, sludge variety to a melodic, groovy stoner rock approach and they merge them seamlessly with riffs and pounding drums that carry the entire experience. The band only features two members creating this noise in Stephen LoVerme on bass and vocals and Ryan Berry handling drums, but the sound they deliver is thick enough to make you think they’d have an army behind them pummeling away. For a debut release, this thing is nothing but solid.

Piradical Productions New Music Blog:

Although Boston’s Olde Growth’s music is firmly rooted in the sludge/stoner/doom metal sound of recent years, their DIY ethos and minimalism are often more in line with 80′s hardcore. The combined effect sounds like the sci-fi obsessed love child of Shellac and Motörhead. Comprised of bassist/vocalist Stephen LoVerme and drummer Ryan Berry, the duo creates a wall of sound and fury that bridges the gap between hardcore’s simplicity and directness and metal’s heaviness and triumph. There are no guitar solos, no moments of virtuosic wankery, or pompous posturing; none of the features that often turn me off of metal. Instead the band makes a feature of the dynamic interplay between drums and bass, milking every inch of tone and variety LoVerme can summon from his bass.

Using a combination of pedals and multiple amps, LoVerme wields his bass like the proverbial axe. It’s easy to forget, or not care, that there’s no guitar. Berry meanwhile keeps a fluid control of the rhythm sliding seamlessly in and out of tempos and time signatures. The effect gives the music a natural pulse, creating a sense of emotional subtlety and depth that is often lacking in metal’s heavier subgenres. LoVerme’s lyrics take influence from sci-fi, and fantasy. Their 3 part epic “Cry of the Nazgul/The Second Darkness/To The Black Gate” accomplishes the rare feat of a Tolkein-inspired song actually matching the epic scale and scope of its’ source material. While songs like “Sequioa” evoke the same imagery of ancient forests and overwhelming natural phenomena from which the band takes its’ name.

-Nathan Leigh

Doommantia:

From the opening track the absence of a guitar is barely noticeable within the wall of rolling, crushing sound this two-piece band creates. “The Grand Illusion” doesn’t loose any of its power or its in your face attack throughout the close to 7 minutes, it’s a gargantuan, pulverizing tour de force of raw energetic Sludge Metal with a solid, infectious Stoner Rock groove.

“Awake” takes you on a ten minute trip…mood and tempo changes keep you guessing and keep you locked into the vibe which is slightly haunting. Melodic, almost whispered vocal lines blend with hollering vocal parts while the music switches back and forth between the melancholic to the downright nasty. “Awake” is a great piece of epic songwriting that never drags or loses your attention.

The playing slays throughout the entire album, the production is full and its almost impossible to find any weaknesses in the sound. It’s pretty rare when you hear a two-piece band as sonically charged as Olde Growth. I highly recommend you get yourself a download of this album before they become the next big superstars in the world of Sludge, Stoner and Doom.

-Ed Barnard

Aristocrazia (translated from Italian):

Full of groove, “Nazgul” is pure doom, building in dizzying escalation of fast passages with added melody and catchy hooks.Olde Growth’s greatest strength is their ability to combine the genres fluidly, moving between styles that befit the sound with a prowess well above many of their peers.

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