Hailing from Álftanes, Iceland The Vintage Caravan, this trio of immensely talented musicians are set to hit the road again, instruments in tune, in hand and ready to astound with their new record “Gateways”, officially released today Friday 31stAugust 2018 via Nuclear Blast
This delightful trio appeal to every part of THE SLUDGELORD’S blackened heart, their bluesy classic rock, their psychedelic leanings, their prog and doom twists and slants, all of it works harmoniously with a heavy enough sound that even the most diehard metal heads can rejoice. Today to celebrate the release of “Gateways”, you can check out an exclusive acoustic version of album track “On The Run”, which you can check out below. “Gateways” is available HERE
Called an "enormously toned groove engine," Hollow Leg's train just keeps on a' rollin.' Now on the eve of their fourth full-length release since 2010, as well as a tour run with Witchkiss this October, the band is poised to raise their profile further still with the release of “Civilizations”, featuring nine tracks of sludge vitriol akin to Crowbar, Weedeater, and Eyehategod, the album will be available late 2018/ early 2019 via Argonauta Records.
Whilst the new album may be way off yet, today we can exclusively debut a brand new track entitled “Mountains of Stone” and for those of you who are familiar with the band, the heaviness and brutality of previous albums continues, built upon a foundation of dirty riffs, heavy bass and the assault & battery of the drums, this track demonstrates that there will be no stopping Jacksonville's finest over the next 12 months. Tune in and Let your speakers die.
Forming The Void channel the best of Monster Magnet through a heavy psychedelic doom filter, alternating between massive riffs and passages of cosmic grandeur
“Rift” CD//DD//LP track listing:
1). Extinction Event
2). On We Sail
3). Arcane Mystic
4). Transient
5). Arrival
6). Ark Debris
7). Shrine
The Review:
It’s hard not to get excited by an album cover that depicts a woolly mammoth jumping over a mountain in space. Fortunately the contents of Forming The Void’snew LP “Rift” deliver on these weighty cosmic expectations.
The Louisiana quartet waste no time getting down to business with the crushing groove of “Extinction Event’. The track channels the best of Monster Magnet through a heavy psychedelic doom filter, alternating between massive riffs and passages of cosmic grandeur. This is a trick Forming The Void hone to perfection over the course of “Rift”. The middle section of the album finds the band recreating the thunderous majesty of self-titled LP era Torche, particularly the monstrous opening to “Arrival” and the smouldering sky-kissing solo that rounds off “Transient”.
“Ark Debris” and “Shrine” provide a powerful end to the album with Forming The Void at their slowest and most hypnotic. The former is a particularly absorbing slow-motion voyage into the beyond with huge, lush layers of sound giving way to bursts of triumphant doom. These tracks particularly highlight the importance the production plays in the success of this record. Chris Munson’s recording has captured the interstellar scale of these compositions with the smoothness of a classic rock or prog album but with more than enough dirt that no-one forgets this is a doom album at heart.
“Rift” is a strong collection from Forming The Void. These massive tracks sound like they could take the band to a wider audience while maintaining enough low end crunch to satisfy underground riff aficionados.
OnFriday31 August 2018, Sweden’s Wheel In The Skyare certain to turn some heads with new album, 'Beyond The Pale', a concept album about darkness and death. Formed in 2014, their urge to create something ostentatious and grand in scale was conceived. Debut album “Heading For The Night”, was eight tracks of pure rock energy combined with the fury and drug-induced psychosis of sixties garage. Spiced with the anger of punk, the haunting sadness of post-rock and the epic sounds of seventies classic rock.
Fast forward to the present and now almost 3 years later Wheel in the Sky’s journey continues with an album that overflows with melody and a dark gothic energy, while tracks such as 'Burn Babylon Burn' and 'The Only Dead Girl in the City' also contain catchy pop hooks. More importantly Wheel In The Skytells stories and “'Beyond The Pale'” is certain to take you on a journey and today at THE SLUDGELORD were offering you the chance to take that journey with us as we premiere the album in full below. Orders are being taken HERE
“Lux Tenebris” is absolutely terrifying in its delivery and atmosphere, by the time the slower riff of “Cupio Dissolvi’ cascades into the ether, you’ll begin to wonder whether you’ve listened to an EP or been sacrificed to a dark entity.
“Lux Tenebris” DD//LP track listing:
1). Vertigo
2). The Sorrowful Void
3). Cupio Dissolvi
The Review:
Italians The Secretare a band that are difficult to pigeonhole. Equal parts blackened hardcore, sludgy crust and nihilistic grind, with a pinch of apocalyptic doom for good measure, they seem to get heavier...and indeed better, with each new release. So it comes as no surprise that ‘Lux Tenebris’ the new 3 track EP is a maelstrom of hell fire and fury.
From the slow build of 'Vertigo' with its evil melodies penetrating the methodical black magic ceremony within, it switches gears as it struggles to contain the raging beast that is 'The Sorrowful Void'. Absolutely terrifying in its delivery and atmosphere, the track takes no prisoners and the blastbeat halfway through is almost a respite from the oppressive nature of the music.
Closer ‘Cupio Dissolvi’ is probably the blackest and nastiest the band have ever sounded; the tremolo riffs, blasts and d-beats create a magnanimous and utterly filthy piece of music that stands out among this year’s releases. By the time the slower riff cascades into the ether, you’ll begin to wonder whether you’ve listened to an EP or been sacrificed to a dark entity.
Black Tusk, as the title of the album suggests, are taking care of business in the most direct and ferocious way. No fat, no let up- just pure high energy rock n roll.
“T.C.B.T.” CS//CD//DD//LP track listing:
1). A Perfect View of Absolutely Nothing 2). Closed Eye 3). Agali 4). Lab Rat 5). Scalped 6). Ghosts Roam 7). Ill At Ease 8). Rest With the Dead 9). Never Ending Daymare 10). Orange Red Dead 11). Whispers 12). Burn the Stars
The Review:
Punk rock fury. That's what Black Tusk are bringing with them to this particular party. Corey Barhorst of Kylesa fame has taken over from Athon (having seen the band live with both line ups, no one could replace Athon, per se) and he holds down the low end and his portion of the vocals impressively and never without anything less than 100% conviction.
Through their previous records, the band has channelled stoner, sludge, metal and rock n roll to go with the punk element, but it is the band's punk tendencies which shine here. The album is raw and angry and the first three tracks after the intro clip by at an astonishing intensity. The sound expands with “Scalped” and “Ghosts Roam”, but the band really are taking care of business in the most direct and ferocious way. No fat, no let up- just pure high energy rock n roll. To say that if you crossed Sick of It All with Mastodon you might get Black Tusk... well, it's not wide of the mark.
I confess to being a big fan of the band and this album was never going to disappoint. Their finishing statement with Athon, “Pillars of Ash”, was reviewed by me for THE SLUDGELORD a couple of years ago and that still stands as a vicious and rocking slab of primal screams- “T.C.B.T.” is different but no less good. Through releases such as “Tend No Wounds” and “Taste The Sin”, Black Tusk have always put their own personal stamp on their approach and sound and have never really sounded like the other Savannah bands (Kylesa, Baronesset al) by virtue of their directness and energy. They remain a different proposition here and perhaps can be viewed as the Motorhead of the Savannah scene: cool, uncompromising and having a good time, all the time- even through the worst times.
Through the twelve tracks here the band are intense and on fire. Sure, not every riff is memorable and not every hook is golden, but the band make up for this with shear commitment and will. Equally, picking stand outs is tricky here as every track has something to offer and every track is bursting with energy. “Never Ending Daymare” is a fine example of what the trio do best; and the energy with which they do it, but I couldn't argue with any listener picking out “Closed Eye” or “Ill At Ease” or... pretty much any song here.
The final three tracks on the record burn just as brightly as the first three and with that, the record is over. If there is any criticism to be levelled here, it is not at the band themselves but the cover art leaves a little to be desired. To go from the beautifully haunting imagery of John Baizley's art work on previous releases to the stark black and white dullness of the cover here, well, it should have been better.
That said, Black Tusk, as the title of the album suggests, are taking care of Black Tusk(“T.C.B.T.”) in the only way they know how: with full on enthusiasm. The album is a joy to hear and shows that triumph can come from tragedy and can happen without compromise. I for one am very glad that the band are still around. We are lucky to have them.
it is absolutely clear that Famyne will be both leading the way for British doom in the years to come and also may well become a band apart from the genre and the “scene.”
“Famyne” CD//DD//LP track listing:
1). Wearthless
2). Faustus
3). Slave Ship
4). Ghosts
5). Tremor
6). Dreamweaver
The Review:
The UK is the de facto home of doom- what with Black Sabbath kicking off the genre (and heavy metal in general) way back when. In recent times, though, Maryland in the US, Sweden and Germany have all had thriving scenes going on and the UK's fortunes faded with the demise of Cathedral. Not any more, though.
The UK can boast several first class doom bands- that's doom, not sludge. Famyne have placed themselves neatly into the upper echelons of the current (and the “been around for donkey's years”) crop of bands. This is traditional doom; low slow and weighty. The vocals are clean, the guitars and bass distorted, the drums pound (and drummer Jake Cook uses a fair amount of subtlety with his snare grace notes as well) and the songs sprawl and soar.
Epic opener “Wearthless” sets the tone with an impressive rhythmic foundation and no small amount of Doors inspired psychedelia in the vocal production and delivery. The band tackle the big subjects in “Faustus”- big in the realms of metal, that is- and provide appropriately big riffs to go with it. Convincingly double tracked vocals are a nice touch and the overall production job is worth noting for its weight and clarity.
“Slave Ship” utilises dynamics effectively, introducing a diversity of sound not too often found in the trad doom world. Tom Vane's vocals are a defining stamp on the band's sound- they lend it an ethereal quality. As the album progresses through “Ghosts” and “Tremor”, there are numerous influences that can be picked out here and there; maybe some AIC, maybe even some shoe-gaze type stuff? This is certainly not an average, meat and potatoes Sabbath rip off; even if the Sabs are audible in the witches brew the band have concocted.
The touches of violin, the soaring vocals and the rock solid instrumental work of all band members add up to make this record both engaging and even surprising. It is very accomplished stuff; streets ahead of most band's debut records and with a unique sound.
As the album progresses through the nine and a half minutes of “Dreamweaver”- no, not that “Dreamweaver”, so beloved of Crowbar and Wayne's World- it is absolutely clear that Famyne will be both leading the way for British doom in the years to come and also may well become a band apart from the genre and the “scene.”
There is no way of knowing how far the band is going to go, but if they get the right cards dealt to them it will be a lot further than opening band status. They are young, they are unique and they are undoubtedly going to give all the UK doom bands a run for their money. Sabbath are gone, Cathedral and Iron Man likewise, Pentagram are headless, Saint Vitushave lost one original member already and Wino won't be around forever. If you were placing bets on who was going to carry the torch from here... Well, check out this superb debut and hear for yourself as we stream the sublime “Faustus” below
Following the release of their debut full-length album “Fuel! Flames! Blast!”, a thrilling experience that THE SLUDGELORD recommend very highly. Indeed until the new High On Fire album is releasedthen this band’s new sophomore release“Horde”is your next must have album. High praise, you might say, and rightly so, but it is most definitely justified. One play through of "Horde" will have you chanting “Hail Satan”, whilst watching your speaker melt because of the sludgy, waxy build-up their riffs will leave on the speaker material.
“Horde” sees The Crotals going for a heavier route, combining the raw and corrosive riffing of Entombed, Motörhead and High On Fire with the groovy vibes of Kvelertakand Black Cobra. “Horde”is set for release on CD and LP on September 7th via Tenacity Music(available HERE) and today at THE SLUDGELORD, we're excited to debut their heavy as balls new video for “Falling”. Check it out below and let your speakers die!!!
Formed in 2012, Mantar perhaps first exploded onto the scene in 2014 (they released a 7" in 2013) with their lauded debut album “Death By Burning”, which was hailed by fans and writers alike as the standout record of the year. Like any band attempting to make their mark, few could have predicted (the band included) what would happen next. Originally released via Svart Records, “Death By Burning” would eventually sell out and see at least 3 repressings, by Svart Records (twice) and via the American imprint Brutal Panda Records, an understatement then to say that Mantar had exceeded what expectation they may have had, however their nifty amalgamation of Melvins-esque sludge, twinned with the grim black / punk attitude of Darkthronewould see the band court the attention of label heavyweight Nuclear Blast Records,and in 2016 the band would release their follow up “Ode to the Flame”, soon to be followed up by the EP “The Spell”, a year later.
THE SLUDGELORD is proud to say that we have followed the band from day dot and Mantar’s strength lies in their ability to maintain a perfect balance of dirty, underground grit and catchy stadium-bothering rock’n’roll ambition, and on their new album “The Modern Art of Setting Ablaze”Mantar’sunique brand of heaviness is growing ever more potent. With the release of the new record set to hit the shelves this Friday, 24 August 2018, we hooked up with Mantar riff dealer Hanno to discuss some of his favourite records. Welcome to Records of their Years, with guitarist/vocalist Hanno Klänhard
SL: Favourite album from the year you were born?
PETER SCHILLING, “FEHLER IM SYSTEM”(1982)
It’s super weird German new wave (?) stuff. Peter is the guy who also wrote “Major Tom”. There is an English version of the title track, as well as a whole English version of the album (‘Error in the System’) as he also had some success in the US and UK, as far as I’ve been informed anyway. That single is a little played out, but as a matter of fact, the whole album is just pure magic. His soothing but spooky voice together with this early 80s synth layers... it’s still haunting. You can even hear parallels to some weird ass Pink Floyd shit. Just crazy. The whole thing, especially the lyrics influenced me a whole lot. The lyrics were much underrated. With his apocalyptic future visions he was ahead of his time, and somehow punk as fuck in a new wave sound. Epic. The best song is “Die Wüste Lebt”.
SL: First record you bought with your own money?
AC/DC, “LIVE AT DONINGTON VHS” (1992)
I saw it in a record store somewhere on vacation with my parents when I was 10 or 11 years old. It was my first self-bought AC/DCalbum ever. Many albums followed, mainly on cassette tape as they were so much cheaper than CDs. I bought “Live at Donington” on VHS because I thought: “Why buy the record when you can HEAR and SEE the music at the same time??” And as my first record (cassette as well) was “If You Want Blood...” I had a thing for live records. Also I knew what to expect as that particular Donington Live show was screened in our local small cinema in Bremen, Germany for ONE DAY only. I saw the advertisement in the local newspaper, so I went with my best friend. Only one other person was in the cinema that day back then. But I totally remember every second... the goosebumps... the excitement of seeing the people who are responsible for this wonderful music for the first time... it was an intense moment. My whole room was covered in AC/DCposters ‘till the day I moved out.
SL: Favourite non metal / rock album?
PORTISHEAD, “DUMMY” (1994)
I got this record from a friend when I was a teenager. His parents had it, they’d bought it after seeing their song “Roads” being featured in the shower scene of “Tank Girl”. They didn´t seem to pay further attention so I just grabbed that record. I remember that I never ever felt that kind of sadness and desolation in music before. Teenage depression and booze, that record was a dangerous mixture. I remember spending whole nights drinking by myself, listening to that record and literally just staring at the walls of my room. There was something about the sadness that was captivating. I thought I was the saddest kid in the world. The whole record is beyond awesome. Later I tried using it as the soundtrack for my first sexual experiences which made them also very sad of course. But I thought that the ladies probably didn´t wanna listen to Anal Cunt (little did I know) while being seduced by sexy Hanno and I had no further non-metal/rock records. Later I found out that all that doesn´t mean shit and just gave up sex music for good.
SL: Album that most disappointed you?
SEPULTURA, “ROOTS” (1996)
I just didn´t get it. I was confused. Especially as “Chaos A.D.”meant the world to me. I know it might be not be the coolest and truest album from this band to start with, but when you make your Mom go to the local record store and buy it for your 12th birthday, it is. I saw a cool ass commercial on German MTV back then (when that was still a thing) and I knew I had to have it. Once I had it in my hands I was shocked by the booklet and the gruesome pictures inside. It scared the shit out of me. But at the same time I was hypnotized by the insanely heavy music and groove. After my birthday I didn´t leave my room for days listening to that record, being scared by the artwork and eating candy. I still LOVE that record. It is Sepultura´s “Nevermind“. The song writing is perfect, without losing any heaviness and focus. A masterpiece. But yeah... back to the actual question... even though I know it´s good, “ROOTS” didn´t do anything for me. Sorry.
SL: Favourite album of all time or if you prefer album (s) you’d run back into a burning building to rescue
AC/DC, “IF YOU WANT BLOOD (YOU`VE GOT IT)”(1978)
When I was about six years old my dad used to make some money with any kind of stuff next to his main job, so any kind of flea market shit would be good business for him. One day he got two big boxes of old cassette tapes second hand, ready to flip. He never got rid of them so I listened to every single tape in these boxes, which was 99% horrible trash. But there was ugly old orange tape in it with a guy with a guitar sticking in his belly. That cover got me curious and that´s how I discovered the most important record of my life. From the first second, I was hooked. That energy, the volume of the crowd screaming, I couldn´t believe it. EVERYTHING about this was great and it was EVERYTHING I have been looking for in my six year old ‘till then meaningless life. After the first listen I was 100% sure what I wanted to do with the rest of my existence. Be like them.
SL: Favourite album (s) of 2018?
DEATHRITE, New Album soon
I am a very ignorant person when it comes to new music and rarely ever pay attention or go see new bands. I neither read music magazines nor do I check out new stuff on the internet. I also don´t collect records. Back home in Florida I usually listen to AM radio and that´s mostly Bluegrass that I enjoy quite a bit, sitting on my porch. I am sorry. But our dear friends in DEATHRITE are about to release a new record and I don´t expect anything less than face melting craziness. So that thing will be good for sure.
SL:..and finally The last album you bought?
URSUT, “KÖP DIG LYCKLIG” (2016)
It’s already a year ago that I got this thing, but it’s still great! It’s hardcore punk from Malmö, Sweden. And as with everything that Swedish people do, of course it´s fucking awesome. If you like your D-Beat high quality but still fucked up in a good way, this is your jam. It also has Swedish lyrics which is kinda cool. Not that I get a single word, but neither would I if it was in English. I think I saw them live in Hamburg, back in 2012 and was smitten right away. I never saw them again. I think we have to invite them to tour with us at some point. But they probably think that we are mainstream capitalist fucks. Which is true. But maybe they still wanna come along.
The End
‘Mantar’snew album ‘The Modern Art Of Setting Ablaze’ will be released on 24th August via Nuclear Blast, available HERE.Mantar will be touring the UK in December alongside Skeletonwitch.
Welp, it didn’t take long, but life got in the way and I missed several weeks worth of “Sludgecamp”. I don’t believe this is going to be a recurring thing, so hopefully I’ll be a lot more consistent from here on in! This week is another largely black metal affair, with a bit of death thrown in for some balance. It’s also heavy on new pre-orders as opposed to albums released this week. As always, I hope you find something to love here!
Released this week:
1). Rebel Wizard, “Voluptuous worship of rapture and response”
This album is garnering plenty of praise and hype, and with good reason! The music is an infectious blend of NWOBHM and black metal, housed within the harsh, fuzzy production B. Nekrasov has favored from the project’s inception. With wild song titles (“Drunk on the wizdom of unicorn semen”, for example) and brilliantly crafted riffs, Rebel Wizardfeels like something of a sure bet, with each new release improving over the last. When you combine this kind of excellent songwriting with flashy lead guitar work, and then wrap it in this kind of bat-shit crazy exterior, the appeal seems so obvious that greater success feels like an inevitably at this point.
2). Ladnah,“Within Dark Realms”
Coming to us from Greece is Ladnah, with the two tracks available offering two very different experiences. “The Awakening”has a very strong Emperor vibe, circa ‘Wrath of the Tyrant’ and the self-titled EP. The other song, “Belial Rises From The East” has much more of a current day Sargeistkind of feel to it, but both are well done. This is a total throwback, and would have fit in amazingly well as one of the super underground bands featured in one of those old Blackened compilations back in the 90s. This is well worth checking out if you have an affinity for that mid to late 90s symphonic black metal sound.
New Reissues on Bandcamp:
3). Mactätus, “Provenance Of Cruelty”(Napalm)
In something of a fun coincidence given the previous band’s similar stylistic choices, underrated symphonic black metallers Mactätus have made their way to bandcamp via their old label home Napalm Records, and they’re ready to rouse your late 90s symphonic black metal nostalgia as only they can. Released originally in 1998, this album strikes a nice balance between the early Emperor material and pre-Galder Dimmu Borgir.
New Pre-Orders:
4). Dödsrit, ‘Spirit Crusher’(28th of September)
Prosthetic Recordshas been on something of a tear this year with well-regarded albums from Skeletonwitch, Monotheist, and now this week’s Rebel Wizard all under their belts this year. They’re coming back very quickly with another can’t miss album. This time, they’re presenting us with a brand new Dödsrit album; less than a year following their remarkable debut, and the preview song plain old fucking kills. Their last album was on my year end list, and by the sound of this, they’re damn well likely to be there again this year. If you have any interest in atmospheric black metal, crust, or both: buy this. Immediately.
5). Mutilated by Zombies, ‘Scripts of Anguish’(5th of October)
Awesome old school death metal, though of a different sort than you might be thinking. This one should appeal more to the Morrisound, Florida death metal devotees of the world, offering that early Deicide viciousness with the rhythmic chops of prime Dying Fetus and Deeds of Flesh.
6). All My Sins, ‘Pra Sila - Vukov Totem’(23rd of September)
Raging melodic black metal out of Serbia, and self-described as “South Slavic Black Metal Mysticism”. The relentless blasting here is paired with icy tremolo riffs with a touch of folk sprinkled in throughout, with the end result approaches something like the current day Finnish black metal sound, only at hyperspeed and with a cleaner production. “Vetrovo Kolo”, the song available to preview, rarely stops long enough to let you catch your breath, but the ride is well worth the exhaustion.
Kurokuma prove once again, that trends in heavy music never last, but creating something unique and personal within the boundaries of heavy music, undoubtedly will.
“Dope Rider” CD//CS//DD//LP track listing:
1). Dope Rider Part 1
2). Dope Rider Part 2
The Review:
I'm always drawn towards bands that tread their own path, so it's rather fitting that I get to review the phenomenal Kurokuma's latest EP, 'Dope Rider'. While the concept maybe based on a comic strip from marijuana themed publication High Times, fans of traditional stoner will be shocked at the lack of copy and paste pentatonic riffs and banshee wails.
Part one of this 2 part release teases the eardrums with Joe E. Allen's always hypnotic, tribal drumming while feedback and droning guitars build slowly. The verse riff is superb showing just how unique the band are in their approach to song writing and riff crafting. Driven by Allen's drumming, vocals are traded back and forth between guitarist Jacob Mazlum and bassist George Ionita to accentuate the rhythmic flow and as the track draws to its natural conclusion, awash with gritty psychedelic textures, it's Allen's use of the mighty cowbell that closes.
Part Two starts off meatier than a caveman barbecue with devastating, muted riffs amid drumming that seems off kilter but is nevertheless absolutely on point. The tremolo riffing caught me off guard and had me gurning and nodding in definite approval. By the time the most accessible closing riff bleeds out to some droning, notes, listeners will want to press play all over again. At least I did...about 6 times...
Kurokuma prove once again, that trends in heavy music never last, but creating something unique and personal within the boundaries of heavy music, undoubtedly will.
“Dope Rider” is available digital here. Cassette and CD available at www.doomstew.com/store/. Vinyl coming September 2018.
Hi, you wanna know about us?
