DEATHCHANT are a Los Angeles based four piece band formed in 2018 blending raucous rock and roll and nwobhm with a heavy nod to the golden era of guitar harmonies and Marshall full stacks. Frontmen and dual lead guitarists T.J. Lemieux (Psychedelic Speed Freaks, Child, Babylon) & Doug Stuckey (Banquet) shift from interwoven melodic runs to noise drenched sonic raids with an energy that notoriously sticks with fans long after shows end. Complimented and grounded by a full guns blazing, thunderous and unrelenting rhythm section made up of drummer Joose (Petyr, Warish, Harsh Toke, Pharlee) and bassist Quinn-George Camacho (Child, Babylon), their wild live performances are nothing short of a full body experience.
Supported by Plattenkiste.
DEATHCHANT
“This is definitely the most honest and mature record Deathchant has ever made.”
That’s Deathchant vocalist and guitarist T.J. Lemieux talking about the band’s third and latest album, Thrones. Think of it as not just the follow-up to 2021’s Waste, but the other side of the coin. “While Waste and our self-titled album touched on similar themes, they were sort of from a problem standpoint,” he explains. “Thrones is full of reflection, self-realization, and solutions for moving forward and conquering those problems.” Thematically, Lemieux and his bandmates—bassist George Camacho, guitarist Doug Stuckey and drummer Joe Herzog—peel back the veneer of self-delusion to expose the fork in the road. “Thrones is meant to represent things that rule you, things you worship, things you rely on or think you need,” Lemieux says. “Sometimes those things make you feel in control, safe, on top of the world like you're in power—which over time often proves untrue.” Thrones was recorded live in a cabin in the remote mountain community of Frazier Park, CA, with trusty engineer Steve Schroeder (a.k.a. Schroeds). “We moved in for a week, rehearsed a bit and went for it,” Lemieux says. “Each tune got three or so takes, but we nailed ‘Mother Mary’ and ‘Canyon’ right away.” Overdubs were done at the cabin, Schroeder’s Studio 3, and Lemieux’s place. The album was produced by Lemieux and Schroeder.
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