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Weakling
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Weakling was an American black metal band from San Francisco. The band never toured and released only one album, Dead as Dreams, recorded in 1998 and released on Tumult Records in 2000.
Key Information
History
[edit]The name Weakling, according to founding member John Gossard, came from the title of a song by the band Swans from their album Filth.
Weakling was initially started by guitarist John Gossard and guitarist/drum programmer Robert Williams of Ubzub. The two ended up releasing an early version of "No One Can be Called As A Man While He'll Die" on a compilation tape Wintergrief released by Nahitfol Productions in 1996. Briefly, Gossard and Williams continued with Weakling adding Jim Mack on bass, and Antoine Reuben Diavola on drums. Dissatisfied with the dedication of the members, Gossard left the band while the rest of the lineup continued on as Black Goat. The one idea contributed by Mack for the song "This Entire Fucking Battlefield" was later discovered to have been 'borrowed' from the Norwegian band Demonic's song "Nar Morket Faller".[1]
Prior to the release of the album, a few odd tales sprung up about the possible ways it could be distributed, including printing a single copy to be given to a single fan in Europe or burying copies of the album in the ground and giving maps to fans who wanted to find them.[2] Band leader John Gossard has since decried the spread of these stories as a publicity stunt pulled by the band's record label noting that the ideas were never intended to be more than a joke between the band members.[3]
Initially, Weakling was mainly noted for featuring guitarist Josh Smith of The Fucking Champs (fellow Champ Tim Green served as producer), but a recent reissue of their material has brought their work some more attention, and the album has been hailed in some circles, and by musicians including Fenriz of Darkthrone, as a masterpiece.[4] Weakling's sound displays inspiration from the works of Scandinavian bands like Bathory, Burzum and Darkthrone, as one might imagine it filtered through the lens of '70s progressive rock: all five songs on the 76-minute album run at least 10 minutes in length and each is composed of at least 2 distinct sections.
Gossard and bassist Sarah Weiner later played together in the similarly short-lived doom metal band The Gault (although Weiner was the drummer of that outfit); after that band's demise, Gossard went on to join established funeral doom outfit Asunder, and formed a second black metal band, Dispirit, in the wake of Asunder's dissolution. Keyboardist Casey Ward currently plays drums in The Husbands. Drummer Sam Foster currently plays drums for death metal band Saros.
Although Weakling has never officially announced a split, they broke up in 1999.[5]
Members
[edit]- John Gossard: guitar and vocals
- Josh Smith: guitar
- Sarah Weiner: bass
- Casey Ward: keyboards
- Sam Foster (a.k.a. Little Sunshine): drums
Discography
[edit]References
[edit]- ^ "Earth-Dog :: View topic - THIS ENTIRE FUCKING INTERVIEW- [w/ John Gossard]". Archived from the original on July 10, 2011. Retrieved March 19, 2010.
- ^ York, William. Biography for Weakling at AllMusic. Retrieved 2012-04-16.
- ^ Episode 6: John Gossard of Dispirit, Asunder, The Gault, Weakling, retrieved October 8, 2023
- ^ "tUMULt { w e a k l i n g - t h o u g h t s }". Archived from the original on February 5, 2017.
- ^ "Interview with WEAKLING :: Maelstrom :: Issue No 25". Archived from the original on March 10, 2007.
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Weakling
View on Grokipediafrom Grokipedia
Weakling was an American black metal band formed in San Francisco, California, in 1997 by guitarist John Gossard and guitarist/drum programmer Robert Williams.[1] The group, which consisted of Gossard on guitar and vocals, Josh Smith on guitar, Sarah Weiner on bass, Sam Foster on drums, and Casey Ward on keyboards, drew inspiration from the Swans song "Weakling" and blended elements of black metal, death metal, post-rock, and progressive influences in their atmospheric sound.[2][3]
Active only until 1999, Weakling disbanded before the release of their debut and only full-length album, Dead as Dreams, which was issued in 2000 by tUMULt Records and features five extended tracks ranging from 10 to over 20 minutes each, exploring themes of war and death.[2][4] The album's production involved buried cassette rumors that were later revealed as a band joke, contributing to its cult status despite limited distribution.[2]
Though the band never toured and produced only demos and rehearsals alongside their single album, Weakling exerted significant influence on the evolution of U.S. extreme metal, inspiring acts such as Wolves in the Throne Room, Deafheaven, Leviathan, and Xasthur through their innovative, brooding, and expansive compositions.[1][3] Post-breakup, members pursued various projects, including Gossard with the goth metal band The Gault and Smith with The Champs, while the band's legacy endures as a pivotal, if brief, force in atmospheric black metal.[5]
History
Formation
Weakling was founded in 1997 in San Francisco, California, by guitarist John Gossard and guitarist/drum programmer Robert Williams, drawing inspiration from the song "Weakling" by Swans on their 1983 album Filth.[1][2] The project emerged from an earlier collaboration that produced a single song but quickly dissolved, with the remaining members briefly continuing under the name Black Goat before Gossard revived the effort later that year.[3] The band's lineup underwent initial shifts as it stabilized, transitioning from early demo contributors to its core configuration by 1998, which included Gossard on guitar and vocals, Josh Smith on guitar, Sarah Weiner on bass, Casey Ward on keyboards, and Sam Foster on drums.[3][2] This assembly reflected the fluid nature of the San Francisco underground metal scene in 1997, where the legacy of 1980s thrash metal was fading amid the rise of grunge, yet pockets of extreme metal persisted through informal networks of local musicians experimenting with heavier, more atmospheric sounds.[6] Weakling formed rapidly without ambitions for live performances or extensive touring, prioritizing studio-focused creation within this niche environment.[3] The group's first practices were informal jam sessions, primarily between Gossard and Smith, which shaped their departure from traditional black metal's emphasis on speed toward a more expansive, atmospheric approach influenced by post-rock and progressive elements.[3] This direction solidified the band's identity early on, setting the stage for their sole full-length album as the culmination of this formative phase.[1]Early recordings
The initial collaboration between John Gossard and Robert Williams contributed a track, "No One Can Be Called As A Man While He'll Die!!", to the 1996 compilation Wintergrief, a cassette released by Nahitfol Productions that featured underground black metal acts from around the world.[7] This early demo recording, captured late in 1996, showcased their emerging atmospheric black metal sound in a raw, unrefined form and marked the precursor to Weakling's first exposure beyond local circles. In 1998, the band produced the Live Practice Demo, an informal rehearsal recording dated May 25 in San Francisco, California.[8] Captured without vocals and emphasizing a gritty, unpolished production that prioritized immersive atmosphere over studio refinement, the demo included proto-versions of future album tracks: "No One Can Be Called as a Man While He'll Die" (14:36), "Disasters in the Sun" (13:19), "This Entire Fucking Battlefield", and "Cut Their Grain and Place Fire Therein".[8] The full lineup—John Gossard and Josh Smith on guitars, Mike Molnar on bass, Bayden Williams on drums, and Robert Maller on keyboards—participated, with Gossard's guitar work and vocal sketches driving the extended structures that experimented with song lengths exceeding ten minutes.[9] That same year, Weakling recorded the Rehearsal Demo in San Francisco sessions, serving as a foundational blueprint for their album by refining core riffs and arrangements.[10] The cassette featured a single untitled instrumental track lasting 9:34, performed by a core group including John Gossard on guitars, Casey Ward on keyboards, and an uncredited drummer referred to as "Little Sunshine".[11] These sessions underscored the band's collaborative dynamic, with Gossard's multi-instrumental input on guitar and occasional bass elements fostering an experimental push toward prolonged, layered compositions.[12] Limited details on equipment survive, but the raw tape quality reflected home-based rehearsal setups typical of the Bay Area underground scene. These pre-album efforts naturally progressed into the structured recording of Dead as Dreams.Dead as Dreams
Recording process
The recording sessions for Weakling's sole album Dead as Dreams took place in December 1998 at Louder Studios in San Francisco, California, under the engineering of Tim Green, a prominent local figure in the underground punk and metal scenes known for his work with acts like Nation of Ulysses.[13][14][15] The album comprises five extended tracks totaling 76 minutes, emphasizing sprawling, immersive compositions that evolved from the band's earlier demos as preparatory material.[16] The opener "Cut Their Grain and Place Fire Therein" (10:28) builds gradually with layered riffs, while the title track "Dead as Dreams" (20:39) opens with feedback and develops through sublime melodic phrases into revelatory crescendos; "This Entire Fucking Battlefield" (14:47) serves as a dynamic centerpiece amid the set, flanked by "No One Can Be Called As A Man While He'll Die" (13:09) and the closing "Desasters In The Sun" (17:06), each featuring myriad meters and teeming harmonic progressions for an epic scope.[17] Instrumentation centered on dual guitars from John Gossard (also vocals) and Joshua M. Smith, delivering dissonant, buzzing tones with meaty distortion; Sarah Weiner's bass provided a dynamic but somewhat buried foundation; Casey Ward's keyboards contributed diaphanous, atmospheric melodies; and drummer "Little Sunshine" (Sam Foster) emphasized slow, doom-inflected tempos with percussive flair.[18][17] The production achieved a raw yet balanced sound through extensive dynamics, highlighting the interplay of guitars, drums, keys, and Gossard's eccentric vocals—marked by grunts, screams, and minimal lyrics—to forge a suffocating, desperate atmosphere.[17][19]Release and initial reception
Dead as Dreams was released in 2000 by the independent label tUMULt Records, available initially on CD and a limited vinyl edition pressed in 500 copies.[20] The album's artwork utilized a dark, abstract print from Francisco de Goya's 1799 painting Buen Viaje, evoking a shadowy, foreboding nocturnal journey that complemented the record's thematic intensity.[13] Promotion for the album remained confined to informal word-of-mouth networks within black metal communities, as Weakling undertook no tours or produced any music videos to support the launch. Pre-release bootlegs of the material circulated among enthusiasts, contributing to early buzz prior to the official distribution; rumors of burying limited cassette copies with treasure maps for fans later surfaced but were revealed by the band as a joke, enhancing the album's mythic aura.[16][2] Initial critical reception was positive among niche outlets, with notable endorsement from Darkthrone's Fenriz, who lauded the album's ambitious scope as an "odd masterpiece." Underground zines, such as Blastitude, covered the release, emphasizing its sprawling 75-minute runtime and overwhelming sonic density as hallmarks of innovative American black metal.[21][22] In terms of sales and availability, the limited pressing achieved underground acclaim but sold out gradually over several years through specialty outlets like Aquarius Records, without achieving any mainstream chart recognition or broad commercial traction. The album has seen subsequent reissues, including editions by Transcending Obscurity in 2010, Eternal Warfare in 2020, and Charlatan Records in 2025, broadening access while preserving its cult status as of November 2025.[23][16]Disbandment and aftermath
Breakup
Weakling disbanded in 1999, shortly after completing the recording of their sole album Dead as Dreams, without issuing a formal announcement or holding any farewell performances.[1][24] The dissolution stemmed primarily from internal burnout and logistical challenges, including drummer Sam Foster's demanding job as a postman in San Francisco, which conflicted with his commitments to Weakling and another band, ultimately leading him to quit. Guitarist Josh Smith's waning interest in the band's black metal direction, as he shifted focus to his math rock project The Champs, further eroded the group's momentum.[3] Key tensions arose during the band's final rehearsals, where these personal and professional pressures manifested as conflicts over availability and creative direction, exacerbating a lack of commitment to touring or promotion despite the completed album.[3] Guitarist John Gossard expressed reluctance to promote or continue the project without the original lineup, citing fears that replacing members would destroy the band's unique chemistry; he later described feeling disconnected from Dead as Dreams even as it represented their final output. The San Francisco-based members' day jobs and the absence of external support for live performances contributed to this quiet unraveling, aligning with Weakling's consistently low-profile ethos throughout their existence.[3] In the immediate aftermath, the master tapes for Dead as Dreams were stored without further activity from the band, while unreleased rehearsal riffs and demos remained in private hands, occasionally surfacing as sporadic bootlegs among underground collectors. This unceremonious end left no public statements or events, simply fading into inactivity as the members pursued individual lives amid the Bay Area's demanding urban environment.[1][3]Members' subsequent projects
Following the disbandment of Weakling in 1999, guitarist and vocalist John Gossard pursued several projects rooted in doom and black metal aesthetics. He co-founded the short-lived doom metal band The Gault around 2000, alongside bassist Sarah Weiner, releasing the album Even as All Before Us in 2005, which blended psychedelic and death rock elements.[1][25] Gossard then joined the funeral doom band Asunder in 2004, contributing guitars and vocals to albums like A Clarion Call (2005) and True Solomon's Seal (2010), emphasizing slow, atmospheric heaviness.[25] In 2001, he formed Dispirit as a primary outlet for experimental black and doom metal, releasing material such as Extraversion (2012) and incorporating ideas originally intended for a Weakling follow-up; the project remains active with sporadic releases.[26][27] Additionally, Gossard provided guest guitar on Consummation's 2016 album Diablerie, a collaborative death-doom effort.[28] In 2010s interviews, Gossard reflected on Weakling's intense creative process, noting its influence on his later works' layered structures while expressing relief at moving to more improvisational formats.[26][25] Guitarist Josh Smith continued with the instrumental math rock and heavy metal trio The Fucking Champs, with whom he had already been active; the band released albums like V (2002) and Greatest Hits (2007), showcasing intricate riffs and shifting time signatures that echoed elements of Weakling's complexity.[29][30] Bassist Sarah Weiner collaborated with Gossard in The Gault before contributing percussion, piano, and drums to the neoclassical darkwave project Amber Asylum starting in the early 2000s, appearing on releases such as Frozen in Amber (2004) and emphasizing ethereal, filmic soundscapes.[31][32] Keyboardist Casey Ward transitioned to drums in the garage rock band The Husbands, active in the Bay Area scene from the early 2000s, contributing to their raw, energetic output including the album Cooning (2001).[1] Drummer Sam Foster (also known as Little Sunshine) joined the death metal band Saros around 2008, providing drums on albums like Acquiesce (2010) and Galantamine (2013), which featured technical aggression and psychedelic undertones; Saros went on indefinite hiatus in 2014.[33][34] Weakling's dissolution marked a pivot for its members toward more localized, collaborative endeavors in the Bay Area underground, often prioritizing improvisation and genre experimentation over the ambitious, high-pressure songwriting that defined the band's brief tenure, as Gossard later described in reflections on the era's burnout.[3][25]Musical style and influences
Core characteristics
Weakling's music is characterized by its extended song lengths, typically ranging from 12 to 20 minutes per track, which allows for the development of epic, immersive narratives that unfold through layered compositions rather than concise aggression.[21][1] This structural approach creates a sense of vast, unfolding desolation, drawing listeners into prolonged explorations of thematic intensity without resolution.[3] The band's sonic identity fuses the raw aggression of black metal with slower, doom and sludge-influenced tempos, emphasizing deliberate pacing over relentless speed. Dissonant guitar riffs, often delivered in tremolo-picked patterns, intertwine with atmospheric keyboard swells and synth drones to build depth and immersion, evoking a psychedelic haze that blurs the boundaries between ferocity and abstraction.[21][1] These elements prioritize a wall-of-noise aesthetic, where guitars and keyboards merge into swirling, dreamlike textures that heighten the music's emotional weight.[19] Vocally, Weakling features John Gossard's raw, screamed delivery, characterized by unintelligible howls that are layered with reverb to produce a haunting, distant effect, integrating seamlessly into the instrumental maelstrom rather than dominating it.[3][19] This approach underscores the band's focus on collective atmosphere over individual expression, with vocals serving as ethereal echoes amid the dissonance. In terms of production, Weakling employs a lo-fi yet deliberate mixing style that evokes a profound sense of isolation, contrasting with the high-fidelity norms of contemporary black metal acts.[21] The raw clarity allows each layer—guitars, drums, and keyboards—to remain audible within the dense soundscape, fostering an intimate, claustrophobic immersion without polished sheen.[3] This choice reinforces the music's themes of despair and detachment, as if recorded in a remote, echoing void. The band's name itself draws from Swans' song "Weakling" on their 1983 album Filth, serving as a distant root for their experimental intensity.[2]Key influences
Weakling's musical foundations were deeply rooted in the Norwegian second wave of black metal, particularly the raw intensity and atmospheric aggression of bands like Burzum and Darkthrone, which provided a blueprint for the band's aggressive riffing and lo-fi production aesthetic, though adapted into slower, more expansive structures influenced by American doom traditions.[35] Guitarist John Gossard explicitly cited Burzum and Darkthrone as key inspirations.[35] This adaptation reflected a broader 1990s U.S. black metal underground trend, where bands eschewed the overt Satanism of Norwegian scenes in favor of themes centered on war, death, and existential despair, as evidenced by Weakling's lyrical focus on conflict and mortality.[9][17] Beyond metal, non-genre influences played a significant role, notably the industrial noise and emotional weight of Swans, from whom Weakling directly took their name—the band's moniker originates from the Swans track "Weakling" on the 1983 album Filth, evoking themes of vulnerability and torment that resonated with their sonic palette.[9][21] Gossard's influences extended to punk and goth acts like Black Flag, Mighty Sphincter, and The Cure, infusing a sense of raw urgency and melancholic atmosphere.[35] The San Francisco Bay Area's experimental metal scene profoundly impacted Weakling's development, with local pioneers Neurosis exemplifying the region's emphasis on lengthy, immersive tracks and atmospheric experimentation, which encouraged the band's epic song structures and integration of drone-like passages.[35][36] This local ethos, combined with funeral doom influences from acts like Thergothon and Unholy—also named by Gossard—allowed Weakling to blend black metal's ferocity with prolonged, introspective builds, setting them apart in the late-1990s U.S. underground.[35]Discography
Studio albums
Weakling released its only studio album, Dead as Dreams, in 2000 through tUMULt Records.[16] Recorded in December 1998 at Louder Studios in Grass Valley, California, the album was engineered by Tim Green and produced by the band itself.[37] The lyrics, written by vocalist and guitarist John Gossard, evoke themes of desolation and existential despair, drawing from imagery of war, ruin, and emotional barrenness.[37] The album comprises five tracks with a total runtime of 64:48, emphasizing sprawling compositions that build atmospheric tension. The tracklist is as follows:- "Cut Their Grain and Place Fire Therein" – 10:28
- "Dead as Dreams" – 20:39
- "This Entire Fucking Battlefield" – 14:47
- "No One Can Be Called as a Man While Laughing" – 15:16
- "Rape and Ruin (The Gentle Art of Motherhood)" – 3:38[13]