ALBUM REVIEW: Dead - "Untitle"

By: TJ Kliebhan

Album Type: Full Length
Date Released: 30/09/2016
Label: We Empty Rooms

 

 

“Untitle”track CD//DD//LP listing

1). Grizzly

2). Don’t Pray For Us

3). The Kid Was All Wong

4). Turning Screws

5). Line Em’ All Up

 

The Review: 

Sludge metal has not run out of ideas just yet. On its surface, the Australian duo’s latest “Untitle” could be accused of lacking color. The tones and atmosphere recall acts like The Melvins or Big Business, a sound hundreds of bands ape. What sets DEADapart is their pacing. The arrangements are exquisitely layered incrementally, so rather than relying on a droning effect DEAD elects subtle changes in sound or effects added one at a time to build an ensemble of punishing heaviness. Their latest record displays an ambitious band on a goal to prove how multi-faceted they are.

 

“Untitle” is album two of a four LP set the band is amusingly calling “The Trilogy.” It is not abundantly clear how “Untitle” relates to the first record, “Captains of Industry”, but the release continues DEAD’sbrand of sludge metal accompanied by dark abstract themes. The album opens with “Grizzly”, a track that encompasses what the band does best while foreshadowing the record as a whole. The track begins softly and treads toward a noisy climax one sound at a time. The two halves of the song could not be more dissonant. While the first half uses an eloquently picked guitar and whispered vocals the second half utilizes shouted double-tracked vocals, a buzz saw of a bassline, and booming snare. DEADhas a knack for sounding methodical for one minute and completely unhinged the next.

 

The best example of this formula is on the last track, “Line ‘Em All Up”. As the minutes pass, more and more haunting noises creep toward the surface of the mix while the vocal harmonies drone on. The track’s low frequencies grumble at the bottom while the high pitched screeching guitars aggravate any soothing repetitive qualities that the bass and vocals provide. The tracks sandwiched between the aforementioned vary with elements of drone, noise, and heavy riffs. The band transitions through these sounds seamlessly and combines them for a powerful overall sound. The arrangements on “Untitle” are so meticulously well-crafted and varied it allows all five tracks to distinguish themselves clearly while contributing to an obvious overall sonic theme.

 

On “Untitle”, DEAD attempts a little bit of everything and works to see how they can make these different sounds cohesive. Similar to a release like “Lysol” or “Amplifier Worship” there are a lot of different elements and genres explored on a track by track basis and DEADdo all of them pretty well. Ambitious releases can sometimes feel bloated or disjointed, but DEADavoid this by keeping the tracks relatively short (no track eclipses ten minutes) and track list short as well. All of the material feels essential to this release and contributes to the greater whole which is a dirty, ostentatious, diverse release.

 

“Untitle” is available here

 

Band info: facebook

ALBUM REVIEW: 30,000 Monkies - "I Ate Myself to Grow Twice As Big"

By: Jay Hampshire

Album Type: Full Length
Date Released: 16/04/2016
Label: ConSouling Sounds

Noisy, experimental and not without its moments of bristling intensity, “I Ate Myself …” is a record that piques interest with seven chaotic, constantly shifting tracks bursting with a myriad of influences, underpinned by a borderline disregard for the safe confines of genre.

“I Ate Myself to Grow Twice As Big” CD//DD//LP track listing  

1). Melæna

2). Coproliet

3). Coccinelle

4). Monuntainesque II

5). Apollo 10

6). Mountainesque I

7). Juice

The Review

Belgian noisesmiths 30,000 Monkies return with their second studio album ‘I Ate Myself To Grow Twice As Big’, seven chaotic, constantly shifting tracks bursting with a myriad of influences, underpinned by a borderline disregard for the safe confines of genre.

‘Melæna’ kicks in with hoarse, anguished vocals set in amongst cycling, fuzzed out riffing. It all seems far off, echoing, but the drums usher in a main riff composed of heavy tom work and whining, jarring chords. Muscular, overdriven bass raises its head, and the track alternates between these two patterns before dropping into a hardcore infused run that’s shaken up with heavy, frantic kick work and maddening guitar lines. It’s chaotic, a tad sloppy, but wonderfully organic.

‘Coproliet’ is a tumbling rush of density and urgency, military snare building then stopping suddenly, bright, fragile, strummed chords replacing it before being replaced in turn with a mass of groaning, feedback laden guitars. ‘Coccinelle’ is a roiling lump of sub-doom guitars and unsettling high-pitched vocals, chords growing in strength, well-spaced and threatening. The atonal chants build by layers, and it grows into a more upbeat affair, picking up pace, locked in tight, exhausting itself before lapsing into meditative noise.

‘Mountainesque II’ drives from the get go, enraged well-bottom shouts and thumping drums powering through a thicket of tremolo guitars and whining feedback, bleak and paranoid, the crescendo of a track stretched far beyond normal limits. ‘Apollo 10’ swells with ‘radio’ noise, coming in waves, spreading unease, punctured by haunting shouts, before wild, scraping guitars and clattering drums throw things for a loop, before things break apart with whining noise and echoing, overlapping vox loops.

‘Mountainesque I’ is like a man railing against being trapped in an 80’s film score, reverb drenched shouts fighting against rushing synth layers, drums and guitar occasionally raising their heads to belt out grinding chords. Closer ‘Juice’ kicks in with dreamy synth and slow, pounding drums. Strident, barked vocals come in, along with big, ringing chords, before everything falls down a spiralling rabbit hole of grinding guitars, descending drums and sweeping synths. It’s intense, dramatic, and bleak stuff, which is offset by the tracks’ zenith – layers of bright, ghostly synths that evoke the slightly unsettling climax of a psychedelic space opera.

Noisy, experimental and not without its moments of bristling intensity, “I Ate Myself …” is a record that piques interest with its cleverly constructed tracks. But, the self-same tracks struggle to find true individual identity, to stand apart from one another fully, which isn’t helped by a recording that lacks overall dynamic impact, seeing everything played safely towards an aural middle ground. A solid enough release, it sadly won’t leave a lasting impression on all but the most ardent noise fan.

“I Ate Myself To Grow Twice As Big” is available here

Band info: facebook || bandcamp

TRACK PREMIERE: Order of the Owl take a blessed "Hell Ride"

Unbroken by way of pure unrelenting tone, Order of the Owl are no strangers to pushing the boundaries of their Atlanta roots. In the years since the debut album, “In the Noon of the After Day”, they have worked to push themselves into more than one genre of talent. The trio had replaced drummer Corey Pallon, with Demonautbasher Dwayne Jones, along with Casey Yarbourough on guitars and Brent Anderson crooning his demonic vocals and bass.

Their new album, “We Have Come to Collect our Crown”opens the listener to an expanse of new atmospheric layered psychedelic brutality. Engineered by Josh Lamar, in their hometown of Atlanta, Order of the Owl have stayed true to their influences and cross into doom grooves and sludge laden riffs. The album also features Juan Montoya of Killer Be Killed on Guitar solos on “Resurrection”, “Wood Valley”, and “Golden Dawn”.

The first single, “Hell Ride”, which we are exclusively streaming below exudes a swaying groove that lurches back and forth like a pure Cocaine Super Demon. The unrelenting drums of Dwayne Jones, is a driving force laying the foundation of the song, while the shredding of Casey Yarbourough opens the gates across the river Styx. This new album has an edge that crests on their journey atop the mountain to take their crowns, as they have surely earned them with this album. Check out this mammoth track below and the album is available to preorder here

Band info: facebook

TRACK PREMIERE: Limb cover Andrew WK's "Party Hard" to coincide with Euro Tour Dates

In their first release since the 2015 album ‘Terminal’ (review here) Limb have recorded a version of Andrew WK’s‘Party Hard’ and put their own twist on proceedings. In a light-hearted and momentary move away from their doom and stoner roots Limb have put together this track to advertise their upcoming dates which have been booked for mainland Europe but start with a one off show at Hard Rock Hell’s ‘Doom vs Stoner’ festival in Sheffield this weekend. You can check  out the track below and you can Catch them partying hard here…

Saturday 1 October – Hard Rock Hell, (w/ Orange Goblin, Conan, Vodun & more), Sheffield (UK)

Saturday 15 October – Beta2300, Copenhagen (DK)
Wednesday 19 October - Hafenklang, Hamburg (GER)
Thursday 20 October - Tiefgrund (w/ Fistula, Grime), Berlin (GER)
Friday 21 October - Dynamo (w/ Monolord, Earth Ship, Zaum, Bark), Eindhoven (NL)
Saturday 22 October – Into The Void Festival(W/ loads!), Leeuwarden (NL)

Band info: Facebook || BandCamp

ALBUM REVIEW: Bright Curse - "Before The Shore"

By: Bobo Cohen

 

Album Type: Full Length
Date Released: 13/05/2016
Label: HeviSike Records

 

 

 

There are so many different influences bubbling under the surface, the album is crammed with more ideas and curve balls than many experienced bands pack in to a whole album and will undoubtedly catch many listeners of guard. For a band to be writing at this level on their second album is staggering and dare I say it bodes well for a bright future! A total gem of an album that defiantly deserves a place on anyone’s top ten list of the year

 

“Before The Shore” DD//LP track listing:

1). Lady Freedom

2). The Shore

3). Cheating Pain

4). Walking in the Graveyard (Bloody Witch)

5). Candles and Flowers

6). Northern Sky

7). Earth’s Last Song

 

The Review:

 

HeviSike Records have been active for a few years now and have slowly built a reputation for quality releases. Their latest release by Bright Curse, in the form of “Before the Shore” and their second album is a gem that lives up to, and enhances that reputation, it is made up of seven tracks of Retro Drenched Riffs. It equally lulls you in to chilled grooves then kicks like an angry mule,

 

“Lady Freedom”, starts with a shout of Ready? Before launching into a riff Uriah Heep would have been proud off. Roman Daut’s melodic yet strong vocals underline the quality of the song coupled with a strong repetitive riff, with hints UFOrunning through it and a killer guitar solo to match, this is an excellent opening statement that lays out their stall. “The Shore” opens with another stomping riff then throws a curveball as the vocals come in quiet, invoking a reflective tone to the music, with the Lyrics drawing you into the story. It then explodes briefly into a chorus that will go around and around in your head. It’s perfectly paced for another lovely solo before a rocking conclusion to the song.
 

“Cheating Pain” starts with an almost Wolfmothertype vocal melody accompanied by tasteful playing from the rhythm department. The chorus recalls a grunge vibe with some excellent backing vocals before a spoken word middle section hit you like a cross between The Doors & the “Apocalypse Now” soundtrack. The excellently named “Walking in a Graveyard (Bloody Witch)” starts with another powerful riff before a strong vocal refrain, again taking the music in unexpected directions. A Sabbathinfluenced jazzy guitar tone underlines this mood. Normal service is resumed by time it reaches the chorus as Lizzy style riffing ensues, complete with a full bore guitar solo that allows the rhythm section to open up and roar

 

“Candles and Flowers” packs an Iommi style riff and again some understated playing before kicking up a gear with a monster second riff that gets another strong Lizzy groove going. It settles into this headspace complete with excellent call & response chorus. They pull of the trick of moving between quieter moments and huge riffs and for me this is the strongest song on the album so far. “Northern Sky” starts with a subtle Hammond Organ underpinning soulful vocals and adds another flavour to an album already packed full of them. This is the most melodic song on album and perhaps the closest to a ballad, with beautiful and delicate guitar playing complemented by the Hammondwhich recalls Deep Purple at their most vulnerable, before it unleashes a Jon Lord style solo that will get your foot tapping. It has a huge chorus and will surely be a fan favourite live.

“Earth's Last Song” starts with a laid back groove and bluesy guitar playing reminiscent of the ‘Purple vibe present on the previous song. It evolves into a chorus than can only be classed as epic. It builds and builds, to a guitar solo that just lifts the song to a higher level with plenty of wah pedal abuse. The climax of song is the chorus and the eight minutes plus have gone by in flash.

Overall this is an album that on the surface sits nicely within retro stoner scene, but on repeated plays reveals much more substance than that. There are so many different influences bubbling under the surface, the album is crammed with more ideas and curve balls than many experienced bands pack in to a whole album and will undoubtedly catch many listeners of guard. For a band to be writing at this level on their second album is staggering and dare I say it bodes well for a bright future!

 

A total gem of an album that defiantly deserves a place on any one’s top ten list of the year

 

“Before The Shore” is available here

Band info: facebook

VIDEO PREMIERE: Seattle noise makers Into The Storm gives us a lesson in "Maths"

Seattle noise makers Into The Stormhave returned with their latest effort, “Where the Merfalo Roam”. The album which will be released on November 11th via Alive and Breathing Records, is a complex album containing ten compositions that have been painstakingly pieced together riff by riff.  Fans of Baroness, Mastodon and Pelican should appreciate this album since it captures the essence of those bands at times, but also contains its own unique flavour.  For example, the first half of the song “Maturin” contains a brass section and then shifts to noisy blasts of heavy for the remainder of the song.   There’s even some honky-tonk, chicken pickin’ to be found in “Truck Van Trailer” hidden near the end of the sludge infused chaotic riffing.  In conclusion, Into the Storm have created their most progressive and impressive work to date since their inception in 2010. 

Today at The Sludgelord we can offer you a taste of this monstrous record in the form of new video for the track “Maths”, which is undoubtedly one of the album highlights .  My calculations are that this track is a stonewall face melter.  “Where the Merfalo Roam” can be preordered here

Band info: facebook|| bandcamp

ALBUM STREAM: Chicago's acid soaked sludgers Faces of the Bog complete their "Ego Death"

By:  Aaron Pickford



(C) GoldilocksCG

Personally speaking, one of the strongest and prominent scenes in metal over the years is Chicago, with many of America’s most prominent bands, hailing from the windy city. Ministry and the Wax Trax scene, Big Black, Shellac, The Jesus Lizard, Trouble,Touch and Go Records are many of the names that have imprinted upon music fans and the history of the Chicagomusic scene over the last 30 years.

Today the vibrancy of the Chicago scene continues with emergence of bands past and present such as, Buried At Sea, Indian, Lord Mantis, Bongripper, The Skull, Yakuza, The Atlas Moth, Scientist the list is endless. Indeed if an album is from the doom scene, if it is heavy and it was recorded in Chicago, then one man, Sanford Parker was likely to have recorded it, which leads us directly onto today’s featured band Faces of the Bog.

A psychedelic tinged, doom influenced, sludge/prog four piece Faces of the Bog, hail from Humboldt Park, home of Emperor Cabinets and continue the tradition of excellent bands rising from Chicago underground and their acid soaked blend of sludge was recently put to tape by Sanford at Electric Audio in the form of their debut album “Ego Death”, which is a fantastic blast to the senses.  “Ego Death” is set for release on 4^thOctober, but today in order to whet your insatiable appetite for crushing music, we are streaming the album in full below.  You can Pre-order “Ego Death” here

Band info: facebook

ALBUM REVIEW: Winterfylleth - “The Dark Hereafter”

By: Richard Maw
 
Album Type: Full Length
Date Released: 30/09/2016
Label: Candlelight Records |
Spinefarm Records

 

 

With only five tracks, the band have placed all their energy into creating an album of depth without any meandering. The real centrepiece of this album is “Green Cathedral”, though. Indeed it is as good a piece of music as you will hear this year.  “The Dark Hereafter” marks Winterfylleth's continuing trend of excellent albums, Superb and atmospheric stuff- savour it.

 

“The Dark Hereafter” CD//DD//LP track listing:

 

1). The Dark Hereafter
2). Pariah's Path
3). Ensigns of Victory
4). Green Cathedral
5). Led Astray in the Forest Dark

 

The Review:

 

Winterfylleth are certainly my favourite UK black metal outfit. They return here with an album that takes in both focused blasts of darkness and epic sprawling soundscapes. With only five tracks, the band has placed all their energy into creating an album of depth without any meandering. The band sticks to the task at hand and make every second count.

 

The rather ferocious opening title track recalls more Scandinavian outfits, while the familiar “Pariah's Path” is given an extra something here. Naturally, this being a Winterfylleth release, the record is best digested through headphones and whilst undertaking some kind of journey (preferably in an area of natural beauty) but it works fantastically as a mood piece played on my front room stereo and much like its predecessors it takes you on a  journey even if you don't set foot outside.

 

“Ensigns of Victory” is a stirring and triumphant sounding track, utilising time changes aplenty and a surprising dynamic range (not easy in BM). The real centrepiece of this album is “Green Cathedral”, though. As good a piece of music as you will hear this year and encapsulating all that is great about the band and all that is great about nature- while highlighting how it gets further away from many of us in our daily lives. The track is epic in scope and performance and it crystallises the bands raison d'etre beautifully. It shifts sounds and moods to great effect and is a perfect soundtrack to the coming changing seasons.

 

“Led Astray in the Forest Dark”  (a cover of Ulver's "Capitel I: I Troldskog Faren Vild") closes this impressive set with some interesting and effective choral type vocals and an excellent mix allowing the bass to shine through. Overall, this marks Winterfylleth's continuing trend of excellent albums- now at number five, discounting the three CD box set of a year or so past. Superb and atmospheric stuff- savour it.

 

“The Dark Hereafter” is available here

 

Band info: bandcamp|| facebook

 

FFO:Wodensthrone, Drudkh, Fen, Wolves in the Throne Room

ALBUM PREMIERE: “Vol. II: Organic Emotions,” by A Constant Knowledge of death

A CONSTANT KNOWLEDGE OF DEATH is a collective from both sides of the United States – from sunny Southern California to chilly Boston, Massachusetts. ACKOD was founded by James Goldmann (Vocals, Drums, Bass, Guitars) and Aaron Gutierrez (Guitars) in 2012 as an outlet for their more experimental metal work, but eventually expanded to include Connor McCullough (Guitars, Bass, Engineering, Mixing, Production) and Mark Rivas (Session Drums). The collective is a labor of love between these four that transcends distance and time to create truly astonishing records that cannot be summed up in one genre.

“Vol. I: Enculturation”was released in November of 2015. The album was met with high praise, with reviewers and listeners alike complimenting the diverse song writing, sonic and vocal styles, ranging from driving progressive metal to ambient electronic instrumentals.

“Vol. II: Organic Emotions,”the new album from ACKOD, takes this even further by expanding their influences into the realms of symphonic metal, acoustic post-rock and sweeping landscapes. Produced and mixed in-house by Connor McCullough, Magnus Lindberg (Cult of Luna, The Ocean) provided his mastering services to make the record truly reach its full potential. Between the destructive guitar riffs, unrelenting drums and piercing lyrics, “Vol. II”sets itself apart as one of the most dynamic records of 2016.

“Vol. II: Organic Emotions”will be released digitally on September 30TH, 2016 and available to order here.  You can stream the album in full below

Ban d info: bandcamp || facebook

ALBUM REVIEW: Mouth of the Architect - "Path of Eight"

By: Charlie Butler

Album Type: Full Length
Date Released: 07/10/2016
Label: Translation Loss

“Path Of Eight” is a fine demonstration of a band evolving their sound without losing sight of what made them great in the first place. Mouth of the Architect have come into their own with this record and hopefully it will gain them some much deserved attention.

“Path of Eight” CD//DD//LP track listing:

01. Ritual Bell
02. Fever Dream
03. The Priestess
04. Sever the Soul
05. Drown the Old
06. Stretching Out
07. Fallen Star
08. Path of Eight

The Review:

It’s been a while since I checked in with Mouth of the Architect, my last contact being their 2008 grand opus “Quietly”. Their new LP “Path of Eight” demonstrates that the Ohio post-metallers have undergone quite a metamorphosis in the intervening years.

The shimmering haze of “Ritual Bell” opens the album in subtly hypnotic style. Faraway vocals draw you in, alternating with restrained bursts of distortion to provide a quietly ominous start to proceedings. From here, the album begins to slowly unfold with the heavy psychedelia of “Fever Dream” and “The Priestess”. The bands post-metal roots are still evident on these tracks but the prominence of keyboards and cleaner vocals bring a more distinct character to their sound.

Things take a heavier turn with “Sever The Soul”. An intense combination of intricate guitar lines and outbursts of gnarly riffage, it brings to mind “Red”-era Baroness and sees “Path of Eight” shift up a gear. The second half of the album sees Mouth of the Architect ramp up the distortion while maintaining their new exploratory tendencies to great effect. “Drown The Old” wrings maximum results from the classic quiet/loud dynamic, tender melodic verses giving way to skull-crushing choruses, culminating in a punishing riff onslaught. The double header of “Stretching Out” and “Fallen Star” sees them hone their cosmic post-metal attack to perfection before signing off with the glorious title track. A four-minute distillation of this awesome album, it sees the band really cut loose and unleash some unhinged fretboard mangling.

“Path Of Eight” is a fine demonstration of a band evolving their sound without losing sight of what made them great in the first place. Mouth of the Architect have come into their own with this record and hopefully it will gain them some much deserved attention. 

“Path of Eight” is available here

Band info: facebook || bandcamp

FFO: ISIS, Cult of Luna, Neurosis, Minsk

ALBUM REVIEW: Meshuggah - "The Violent Sleep of Reason"

By: Chris Markwell

Album Type: Full Length
Date Released: 07/10/2016
Label: Nuclear Blast

Trying to describe Meshuggah’s sound is a challenge.  The only way I can put it is that they’re a musical cascade: a never-ending barrage of sound and heaviness pounding down upon you.  Don’t expect or ballad or moments of levity here, this is a relentless tide which you will not escape from.  Tracks like ‘MonstoCity’ and ‘Our Rage Won’t Die’ are pummelling tracks of new material which can easily be slotted in to their live setlist and not seem out of place.  In fact, the same could be said for any of those songs on display here: like a chain forged by Vulcan, there’s not a weak link present.  It all hits, and hits hard.

“The Violent Sleep of Reason” CD//DD//LP track listing:

1. Clockworks (7:15)

2. Born In Dissonance (4:34)

3. MonstroCity (6:13)

4. By The Ton (6:04)

5. Violent Sleep Of Reason (6:51)

6. Ivory Tower (4:59)

7. Stifled (6:31)

8. Nostrum (5:15)

9. Our Rage Won't Die (4:41)

10. Into Decay (6:32)

The Review:

In all honesty, there is one band that should spring into the mind of every metalhead when the word ‘djent’ is uttered.  In fact, if you believe there is a hierarchy among prog and djent bands, then Sweden’s Meshuggah is king: hell, the term itself was coined from the sound made by these guys.  Irrespective of whether you like or loathe the term, you can’t help but marvel at the uniqueness at which these people decided to create music.  Innovative, gifted, heavy, these guys make heavy music like ordinary people make toast.  Seriously, it’s almost annoying how easy they make it all look.  2012 saw the release of Meshuggah’smost commercially successful album to date (“Koloss” and, seriously, get yourself a copy if you haven’t already); October 7^th, 2016 sees their return to your speakers with “The Violent Sleep of Reason”.  Best warn those things in advance, because it is going to get heavy. 

Trying to describe Meshuggah’s sound is a challenge.  The only way I can put it is that they’re a musical cascade: a never-ending barrage of sound and heaviness pounding down upon you.  Don’t expect or ballad or moments of levity here, this is a relentless tide which you will not escape from.  Fans of earlier releases like “obZen” and “Nothing” will find themselves comforted by the fact that Meshuggah’score groove has not been changed, which gives a good foundation in the familiar, but is then built on with track after track of great and vibrant new music, building something you can truly marvel at. 

Considering 2017 will be the 30^thanniversary of Meshuggah’sinception, their sound feels more contemporary than classic.  Their rabid desire to explore and create means each album seems to advance upon the previous album, rather than rigidly stick to ‘safe’ boundaries and go no further.  Tracks like ‘MonstoCity’ and ‘Our Rage Won’t Die’ are pummelling tracks of new material which can easily be slotted in to their live set list and not seem out of place.  In fact, the same could be said for any of those songs on display here: like a chain forged by Vulcan (the Roman God of metalworking, not the Star Trek dudes), there’s not a weak link present.  It all hits, and hits hard. 

Meshuggah released ‘Nostrum’as a preview for listeners and, personally speaking, it was a great bit of bait to put onto the hook.  Once you took a bite of that dissonant, eerie, polyrhythmic slab of raw sound, that was it.  Reel you in, gut you, cook you, eat you.  Meshuggah had me on a plate.  “The Violent Sleep of Reason” is made by a band that is the same age as me, yet shows no sign of strain or weakness.  Their sound has never been a more vital alternative to the mainstream than now, and this latest offering will no doubt be hailed as one of the pivotal albums of 2016.  Wake up and get yourself a copy as soon as you can. 

“The Violent Sleep of Reason” is available here

Band info: official|| facebook

FFO: Gojira, Fear Factory, Strapping Young Lad, Xerath