Review
Coliseum / Doomriders
Not of This World

Level Plane (2005) Bob

Coliseum / Doomriders – Not of This World cover artwork
Coliseum / Doomriders – Not of This World — Level Plane, 2005

At a recent Coliseum show, vocalist/guitarist Ryan Patterson made mention that Glenn Danzig was a big influence and source of inspiration for him for years. On Not of This World both Coliseum and Doomriders pay tribute to that man. Although short by most standards, this split EP packs enough of a wallop that it shames a majority of the full-lengths that have come out lately.

Coliseum kick off Not of This World with a roaring rendition of Danzig's 'Am I Demon.' Doing justice to the song with their Black Flag meets Motorhead bulldozing sound, Coliseum shirks the normal covers from Glenn Danzig's material by reinterpreting a song from the Danzig repertoire instead of a song from the more revered Misfits or Samhain canon. They follow this blazing opening track with two quick originals. 'American Machine' is a venomous song that lashes out against the practice and perpetuation of the United States' version of capitalism and the choices that an individual makes in regards to that economic ideology. The music for the song effectively matches the hurled lyrical invective. The other original, 'Ride on Death Riders,' is a great song that effectively intimates the visual imagery that Patterson has created for the band on their earlier releases. If ever a band created a theme song for themselves, this might be a shining example for just that. Ultimately both of these songs seem to be about the choices that individuals can make.

Doomriders has the second half the record well in hand as they start their set with a noisy, righteous racket that continues the skate rock smashed into Thin Lizzy meets heavy duty elements heard on their full-length Black Thunder. The Misfits influenced 'horror' lyrics are particularly evident as Doomriders really throws down the gauntlet for pretenders to that crown, quite possibly because they are so tongue in cheek. They close the EP with a great bookend cover of "Possession." They too go with a Danzig song instead of the more obvious Misfits or Samhain one. Vocally it is closer to the original version than the way that Coliseum handles their cover, but it still maintains the vocal feel that Doomriders normally maintains.

A worthwhile EP, Not of This World has an extremely fun vibe to it. It would be more fitting as a 7' (which is due out on Auxiliary Records sometime in the near future), but here in the CD format anyone can get it instead of just us pretentious vinyl fiends. Anyone who digs either of these two bands will enjoy this record immensely.

7.5 / 10Bob • November 10, 2005

Coliseum / Doomriders – Not of This World cover artwork
Coliseum / Doomriders – Not of This World — Level Plane, 2005

Related news

Coliseum/Doomriders Danzig trib will be reborn

Posted in Records on October 20, 2016

Coliseum / Doomriders Split Release

Posted in Records on August 30, 2005

Recently-posted album reviews

Circuit des Yeux

Halo On The Inside
Matador (2025)

Haley Fohr's artistic vehicle, Circuit des Yeux, defies categorisation. Stamping the indie folk label on her was superficial, something dispelled easily once you have experienced the lo-fi distortion of "The Girl With No Name." It might be that under the layers of sonic disfigurement, a folk ethos is present in Fohr's narrative sensibility, but it is no longer the same. … Read more

ZEPHR

Past Lives
Dumb Ghost, Snappy Little Numbers (2025)

Sometimes you can just hear the passion in a voice. ZEPHR is one of those bands. They defy convention a little bit, in that I associate gravelly voices with harsher, heavier sounds, but ZEPHR use sore-throat vocals to great effect with midtempo, emotional and melodic 3-chord chugging punk rock and some DC sound. In few words, it's raw, both musically … Read more

Kreiviskai

Motinai
Infinite Fog Productions (2025)

Kreiviskai's origins are deeply rooted in the neofolk sound and ethos. Their debut record, Zemmis : supnãi, focuses on the musical lineage of Tver, embracing the traditional instrumentation to produce a somber and moving piece. Their follow-up record, Nonregnum expands outward, focusing on various historical events and introducing further influences. The pull of neo-classical is palpable, while the abrasive industrial … Read more