Dopethrone: Filth, Crust, and ‘Broke Sabbath’ – An Inside Look
Dopethrone’s new album ‘Broke Sabbath’ is the kind of record that’ll punch you in the gut and leave you grinning like a maniac.
If you’re into crusty riffs, filthy tones, and a sound that feels like it’s been dragged through the mud, this one’s for you. It’s heavy. It’s raw. It’s got that perfect mix of sludge and punk that’s been their trademark since day one. The band’s not here to mess around. They’ve taken everything that makes their sound so monstrous and cranked it up to eleven. The guitars are gnarly, the drums are relentless, and the vocals are pure chaos. ‘Broke Sabbath’ is the soundtrack to everything that’s wrong with the world, but in the best possible way. The vibe’s darker than ever, and it’s clear they’ve been through some shit to get here. But that’s what makes it all so real. It’s not just about making noise. It’s about making a statement. If you’re tired of the same old, same old, and you want something that’ll slap you in the face, Dopethrone’s here to deliver the goods.
“We were really determined to inject a lethal dose of punkish hatred in people’s eardrums”
Let’s kick things off with a bit of history. Before Dopethrone, what kind of music were you all into, and what were your early bands like? Where did you first connect with the heavy underground scene?
Vincent: I started with the basics. My dad had good taste—Elvis, Chuck Berry, Little Richard, even cool shit like ZZ Top. Then Sabbath came along like acid and opened a door that couldn’t be closed. I was now on a quest for the extreme, the shocking, the heaviest sounds and visuals I could find. We’re talking punk, heavy metal, industrial, death metal—the whole spectrum, you name it. Back then, buying underground music was like gambling. It wasn’t airing on the radio, so you had to pick records with cool artwork and cross your fingers.
I met Vyk in high school (former original bassist), and we were always on the hunt for the next thrill. I skipped school as much as I could because I always felt there was something wrong with the “9 to 5” day-to-day bullshit, but I just couldn’t put my finger on it. Until I found metal, it spoke to me. That was IT. My way out.
I couldn’t understand people who listened to commercial “happy” music. I was like, “Do you motherfuckers have eyes? Look around! WTF are you smiling about?” It didn’t make sense. I had teachers telling me my t-shirts were “obscene,” meanwhile, over every fucking door, they had a half-naked guy bleeding on a torture device called a “cross.”
Every band has those formative hangout spots. Where was the place you and the crew would be when you weren’t playing? Did you have a spot that felt like your home base, like some grungy basement or a dive bar?
The Dopethrone Headquarters were at my place for more than a decade. Our jam space was right next to my kitchen. I could literally flip burgers in the middle of a fucking song. We didn’t need anywhere else. The jam space became our place of worship. We would have BBQs, drink around a firepit in the yard, do all the drugs you can think of, and have a blast until dawn.
Was heavy music always a part of your lives? Was it a certain album, a show, or a moment that flipped the switch for you guys?
Motörhead.
So, we all know that Dopethrone emerged in the 2000s, but what exactly led to the formation of the band? How did you guys go from jamming in your garages to recording ‘Demonsmoke’?
I was out drinking by myself at this tavern and ran into good ol’ Vyk (who I hadn’t seen since high school because I was in jail, but that’s another story). And he recognized my pickled ass sitting at the bar. We had about a dozen Irish car bombs and decided we should play music since we shared the same tastes at the time (Iron Monkey, Acid Bath, EyeHateGod… and other heavy shit). So, what seemed to be a drunken pact that never happens, ended up actually happening.
The early albums like ‘Demonsmoke’ and ‘Dark Foil’ have this filthy, gritty sound. Was that always the vision, or did you just hit record and let the chaos happen? What was the vibe in the studio at the time of recording?
‘Demonsmoke’ started as a fucking joke. We named it after Darkthrone (because we listened to shit-tons of it). We played ‘NOLA’-inspired heavy riffs with that black metal touch, and yes, we knew ‘Dopethrone’ was the title of an Electric Wizard album (that we loved), but unlike popular belief, the band name wasn’t named after it. We just thought it would be funny to name it that. Keep in mind that we had no fucking clue people were gonna dig our material this much and end up touring.
‘Dark Foil,’ on the other hand, was recorded on a much darker path. You want to talk heavy? I was dating someone who ended up being a heavy heroin user (I also fell in that tar pit for about a year and managed to climb the fuck out). I never mainlined, unlike her. I was smoking H on thin foil—that’s why the album is called ‘Dark Foil.’ Looking back, it’s a sonic testament about the fact that dark, sinister entities exist, and yes, they will take over your body if you leave it for the taking. I’ve been around heroin long enough to know this. It’s bad. So bad. It makes The Exorcist look like an episode of Teletubbies.
So, yeah, from what I can recall, the vibe was dark as shit, and it took a while to record because we were always fucked up on a cocktail of uppers and downers, not to mention the occasional hallucinogens and the non-stop drinking.
Let’s talk songwriting—what’s the fuel behind your music? Are you pulling inspiration from the darker corners of life, or is there more of a tongue-in-cheek, almost nihilistic sense of humor to the madness?
I write all the lyrics, and you’re absolutely right, the answer to your question is “All of the above.” All the grim, malevolence, greed, abuse, and atrocities that humans are capable of, we try and compress it into this nightmarish sonic diamond of drug-fueled human filth. And yes, humor is crucial—the best jokes always come from tragedy. We don’t ever take ourselves seriously and laugh at the world as it burns. (Was that too soon?)
It’s been six years since your last release, and you just recently surprised us with ‘Broke Sabbath.’ That’s a pretty long gap, so what’s been keeping you busy in that time? What’s changed for Dopethrone since then, and how did you approach making ‘Broke Sabbath’?
We had to take a break from jamming for a while because of the pandemic. While schools started opening again and people could go to work, for some fucking reason, “having a band and jamming” wasn’t considered “work,” so we had to find a loophole in the matrix, and you bet we did. After having enough material, we headed to the studio and were really determined to inject a lethal dose of punkish hatred in people’s eardrums. Lots of internal changes happened also, but I won’t elaborate. We don’t dwell on the past, we move forward.
Where was ‘Broke Sabbath’ recorded? Tell us more about that experience—where’d you record, and how did that space influence the sound of the album? Was it a different vibe than before?
Like I mentioned earlier, the vibe got even more in the “fuck you” area than ‘Transcanadian Anger.’ Since Shawn (destroyer of drumkits) joined the band, we took a more energetic turn, combined with our hatred and contempt for humanity. It was a great recipe.
We recorded ‘Broke Sabbath’ in a gymnasium, had mics on the walls all over to capture natural reverb. In conclusion, it wasn’t really the place that defined the sound, but more our attitude, approach (we were more laid-back and comfortable with each other). We went through hell and back and wanted to make it a soundtrack.
If you had to compare ‘Broke Sabbath’ to your earlier records, where would you place it?
On a shelf somewhere.
I never listen to my albums after they come out because I spend so much time working on them—sound, samples, mixes, etc. So it’s good to take a step back. Sometimes you don’t see the forest, even if you’re in the middle of it, because your face is against a tree. All you see is fucking tree bark.
“For us, it’s not even a “passion”—it’s an “obsession.”
You’re known for being one of the heaviest hitters around. But let’s get real: how do you manage your day jobs and the band? Does it ever feel like you’re stretching yourself too thin, or do you guys just power through the chaos?
It’s like juggling with knives sometimes. I, personally, always put the band FIRST. So it’s hard to find someone to hire your ass when you leave on tour often. Lots of people don’t understand the difference between a “job” and a “career” because all they’ve ever had is a job. They’ll think music is a “hobby.” They’re wrong. For us, it’s not even a “passion”—it’s an “obsession.”
That being said, as a musician, it’s always good to have your eggs in different baskets and always have some sort of (ethical) side hustles because employers eventually get sick of you leaving whenever you please, and co-workers (the stupid ones) can get jealous.
The music’s getting a little crustier, a little more raw over the years. What’s behind the shift towards crust punk and a more abrasive sound? Was it a natural evolution, or did it just feel right in the moment?
Like I mentioned earlier, we wanted to raise the bar in terms of abrasiveness and had a lot of demons to get out of our systems. So I guess it just happened naturally, and yes, it felt right.
Let’s talk gigs—what’s the live show looking like for Dopethrone these days? Are we still expecting those chaotic, sweaty, loud sets you’ve become known for? Got anything new in the setlist?
Expectation is the mother of disappointment. In doubt, bring a helmet.
What’s next for Dopethrone in the next year or so?
Lots of touring, writing new songs, conquering new turf, annihilating people’s eardrums, making new friends, and having a shit-ton of fun.
Who’s in the band right now, and how’s the chemistry between you all? Has the lineup changed much over the years, or has it always been the same crew?
We started in 2008. I’m the only original member left (It’s my baby). Shawn joined me and Vyk (also an original member), and we put out ‘Transcanadian Anger,’ toured some more, wrote ‘Broke Sabbath,’ and the three of us hit the studio after that. Following this recording, Vyk was faced with a choice and had to leave the band for professional reasons. It was a sad state of affairs, but that didn’t slow us down one bit. At the beginning of 2024, our friend Mike joined us on bass. It was an instant match, and we’re really proud to have him in the team.
What are some of the latest records you have been listening to lately?
It’s hard to say because we listen to so much stuff, and no, we don’t listen to heavy/doom/sludge all fucking day long. It would be way easier to tell you what we DON’T listen to, honestly.
Thank you for your time. The last word is yours.
Thanks to everyone who supports the underground. You are the true heroes. We’re here because YOU make it possible. I know everyone’s eating a giant shit sandwich financially, and we all tend to lean on what’s convenient. But if you REALLY want to make a difference and keep the underground alive, BOYCOTT SPOTIFY. Support artists directly through platforms like Bandcamp, go to shows, and get you some merch instead of financing a parasite billionaire’s private jet.
STAY REAL.
CHEERS!
Klemen Breznikar
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