Biography

An enigma shrouded in the chaotic cosmic haze of the Endtyme, bathed in virginal blood, craving the plunge of our nearest celestial neighbour into oblivion.

Well, actually, no. I may have fudged the truth just a little bit there.

For over 15 years I have enveloped myself in the sounds laid out by the riff, navigating the channels carved out by (almost) every subgenre of heavy metal since its inception. Doom, and all its subsidiaries, has always felt like home and no matter how far I explore I also come back; my love for the sound has only matured with age and since dipping my toes into its more intoxicating waters I have seldom looked back. Stoner rock, desert rock, acid rock, fuzz rock, heavy psych, whatever you choose to call any of them, have now become my homes away from home. It is here where the name of the site you are currently on was birthed: the sound of V-twins cruisin’ down desert highways with the wind blowing through your hair, the roar of sun-kissed Challengers and Impalas speeding down the two lane blacktop, the hum on the horizon as you hitchhike to the end of the Western world (or to wherever your hallucinogenic journeys take you). And the Ibex? Though not native to America they’re simply an awe-inspiring species of goat known to exist on the mountainous fringes with horns that put Black Phillip to shame! As goats have become so synonymous with our branch of music since what feels like forever, why not go one step further? Ibex are doom!

Since 2014 I have been published in the likes Destructive Music, The Metal Observer, Metal Recusant, New Noise Magazine, JaME-World, and Electric Bloom Zine. Since 2018 I have reviewed for Kerrang! Magazine where I covered Desertfest 2019 for their website as well as reviews for Alunah, High Reeper, Monolord, Oreyeon, Garganjua, Gurt, Lord Vicar, and more. I like to believe I have cultivated a unique approach not just to writing but to what I aim my reviews to be: in an age where the internet has made music more accessible than ever before – and where writers are either fixated on telling you “this record is good/bad because…” or telling you what the music literally does (“this song starts with this but moves on to this riff” and so on) – I attempt to tap into the music’s atmosphere, adapting my words to what is evoked and stirred up. At the end of the day, you decide what you like. For me, it’s more about having fun writing something that may help a band reach more people as opposed to me telling you what is good – at the end of the day you decide what you like, but if reading one of my reviews leads you towards supporting someone you’ve never before (or, heck, if you find your new favourite band) then bonus! It is an attitude that has changed since I started and is one I am more comfortable emanating; so long as I can play even a minuscule role in supporting artists promoting their work then I am content. I am forever honing and improving my craft, a rite of passage I do not foresee ending anytime soon!