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In the 1980s, it was a common dream for aspiring bands to move to Los Angeles in hopes of making it big. Lost Breed was among those who made the trek from New York to LA. There, they crossed paths with the legendary Scott “Wino” Weinrich. At the time, Wino already had two Saint Vitus albums under his belt, was preparing to release a third, and was reviving his iconic project, The Obsessed. Despite an already packed schedule, he began collaborating with Lost Breed, writing and jamming with the band.
Rooted deeply in the Maryland Doom Metal scene, Wino’s influence naturally steered Lost Breed into a similar stylistic direction. His contributions laid a solid foundation for the band to evolve and grow from, though his involvement was brief—limited to their first demo. With multiple commitments pulling him in different directions, Wino eventually focused on his primary projects, leaving Lost Breed to forge their own path.
For those unfamiliar with Lost Breed, their music is a revelation. Their songwriting is as unusual as it is captivating—complex and disjointed, yet somehow cohesive. It’s the kind of sound that leaves you scratching your head one moment and banging it the next. As the music settles in, you may find yourself marveling at how such intricate, seemingly chaotic elements come together to create something that just works.
So, what does Lost Breed sound like? It’s hard to pin down exactly. Imagine blending the raw energy of The Obsessed with the early, gritty experimentation of Soundgarden—playing both records simultaneously might get you close. Their debut album, The Evil in You and Me, is often hailed as the first true “Doom Rock” album. While some might label it “stoner rock” (a term that doesn’t quite fit), it’s undeniably groundbreaking in its own right. Lost Breed is a band worth rediscovering, with a sound that defies easy categorization and rewards deeper exploration.
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