INTERVIEW: "If Carlsberg did dynamic power doom duos, Monte Luna would probably be the best in the world"

By: Aaron Pickford

As I am sure some avid followers of THE SLUDGELORD can attest too, it is our mission to present the very best heavy music the underground scene has to offer and recently I commissioned Andrei Moose from our Russian chapter to painstakingly sift through the very best albums released via bandcamp and compile the best into a chart.   For me and I am sure many of you agree, if you’re not at least attempting to release your music via this musical platform then you’re fucking up and you ain’t in the game.

Now hitting the no 1 spot back in October, were a band previously unknown to me, but holy shit does THE SLUDGELORD most sincerely approve? Hailing from Austin, Texas Monte Luna deliver towering molten riffs, bucketloads of groove and hypnotic vocals, in fact this two piece are so fucking awesome, their self titled debut album  is one of the most captivating and downright fucking monstrous records I have heard this year.  Clocking in a hefty 71 minutes, “Monte Luna” never suffers from lag, never repeats itself and just as Alice peered through the looking glass, you have no idea just what a fantastical journey is ahead of you when you press play.

Now despite releasing the album back in September, “Monte Luna’s”official album release is this Saturday November 18^th, so with the band prepping for this show, I managed to hook with band members James Clarke (Guitar, Bass, Vocal) and Phil Hook (Drums, FX, Synth) to get the low down about the roots of the band, the recording of the new album and amongst other things how they managed to score one Chris Fielding, he of Conan to master their debut record.  So check it out below.  

Guys, welcome to THE SLUDGELORD, the new album rules, but before we get to that. Can you give us an insight into how you started playing music, leading up to the formation of Monte Luna?

James: I started playing music when I was around 18. For years up to then I had always enjoyed singing but playing had intimidated me. I tried drums when I was 11 and it was just too loud for my parent’s house so it deterred me. Eventually I started playing guitar because I really liked singing along with my friends who played music. My first band I was in was this terrible band I made with some friends in the Navy. We played a few shows in Virginia Beach and we sucked. After I got out of the Navy I went back up north and started a band called Chronoscope. That is where I really started to make some cool noise. I was much more serious about playing guitar and singing. I did that for about 3 years until I got a job in Buda Texas building Aquaponics systems and green houses. I really wanted to find an area that is accepting and much more into heavier music than the area I was in. Austin drew me in and I never looked back. Ha ha

I actually met Phil via craigslist. I posted an add asking for a drummer who was into Neurosis, the Melvins, Shrinebuilder and the likes and he was the first to respond! Who would have thought!

Phil: I taught myself to play drums in the early 90’s and was in a bunch of different bands in the Indianapolis metal scene.  Around 2009 I moved to Austin, TX and started doing a lot of drummer for hire work, recording and touring for many bands and artists. A couple years ago I was feeling burnt out and stagnant artistically and knew I had to play heavy music again. So I creeped craigslist looking for some people to jam with, typed “Neurosis” on the search and the rest is history. Haha!

For folks unfamiliar with your band, are there any bands on the scene past and present that you would use as a reference point to describe your band, and who or what continues to inspire you and push you to try new things?

James: For me I have always admired the work ethic of the Melvins. I look to them on how a band should perform and run a business. I have also learned a lot of band business knowledge from our friends in Destroyer of light.Both the Melvins and Destroyer of Lightput on phenomenal shows, and to me, it is all about keeping your audience engaged and hungry. As far as sound I really don’t have a specific point to reference. I like Matt Pikes tone but I didn’t really mold my tone to anyone. I just tried things until I felt it filled enough room. I’m influenced in general by bands like Eyehategod, Neurosis, The Melvins, The Beatles, Funkadelic, Black Sabbath and Rob Crow.

As far as who inspires us to try new things. I would say most of my peers in Austin and San Antonio. I love the bands we are playing with and coming up with and I could not be more thankful! Cursus for sure! And our friends in Spain, Ground.

Phil: My music influences are all over the place… I pull from Godflesh to Howlin Wolf to Sade. The whole creative process is what pushes me to try new things for sure. When I composed the instrumental segways at the end of “6000 Year March” and “Inverted Mountain”, I sampled multiple records on my turntables, added drones and synths.

What can you tell us about your new record “Monte Luna” and where do you feel it sits within the context of current metal scene?

James: The concept of the album revolves around a story I created based on this crazy universe that is loosely inspired by things such as H.P. Lovecraft, Bloodborne/Dark Souls, Kingdom Death Monster, Berserk, The Thing and Dungeons and Dragons (which I love by the way! I dungeon master! I’m a huge nerd).

 Let me just pull an excerpt from my lore here “Long ago in a distant time, unnatural pestilence consumed a world of peace. Father Arbitor has called upon the forces of the old ones to set this tranquil land a flame. After the burning of Elohim, a once great and powerful city, the people of the Nameless City are called upon as the only warriors brave enough to face Father Arbitor’s hellish army. Through their journey the warriors of the Nameless City will face perils the likes they have never seen. A 6000 year march across arid, decaying, plague lands. Climbing the impossible, the Inverted Mountain, reaching the Nightmare Frontier and facing the end. The orb of power glowing green with madness. What will end the cycle? Is the orb the true evil? Or does evil lie within?”. And yes the “Hound” EP does tie into the full length.

It sets in motion the events as the hooded warriors kill father Arbitors faithful dog, thus starting the war leading up to the burning of Elohim. For those wondering, yes we sampled Bloodborne on 6,000 year march! I love that game!! Where does it sit? To be honest I don’t know, we aren’t really trying to be just one genre. We both love so much music we couldn’t say, but it’s certainly heavy meditative music. We want you to turn it up, smoke it up and feel the sound. Like you would live.

Does anything spring to mind when you think about the completion of your new record and how is the mood in the camp at present?

James: I think I’m just glad to be done with it and I am ready to move forward as a band. The concept of the album was a long and difficult process. We tried to capture as much live magic as possible on the recording because we feel that to experience us fully is to see us live. For the mood band wise I know I’m loving it. We just played some awesome shows in Indianapolis and I got to meet some of the guys in Coffinwormand Gates of Slumber so that was an awesome fan boy moment!!

We have received a lot of positive feedback for our album and we beyond humbled at the reception. I think that Austin has a phenomenal group of musicians that I am proud to call my brothers and sisters. We are all doing so much right now and trying to grow this into something for all of us. It just takes time, but it is a wonderful time to be playing heavy music in ATX and the surrounding area. The Lost Well is our home away from home and we are thankful for it.

Phil: We’ve always respected what each of us brings to the table as artists and humans and I don’t see that changing anytime soon….no matter what life shit happens.

What stands out as your overarching memory from the recording sessions?

James: I think what stands out most for me was how amazing the environment was. We recorded at Tommy Munter’s studio in San Antonio (Matador studios). He is a good friend of Phils and an excellent musician. We did 3 days in the studio and crushed it. I think the moment I knew we were doing something right was that within the first day, at like 6 p.m. the cops came and told us we had to turn down. I almost lost my shit! I couldn’t believe it was really happening, and it just happened to be the night of a crazy storm. My mind was racing and I was thinking well that’s that, were screwed. But the next day we woke up early, moved the bass cab into the bathroom and ripped that puppy a new one.

We recorded all the instrumentation in about a day and a half. Also, what really stood out was how receptive Chris Fielding was to mastering the album! And for him to say he loves the vocals made me swoon! Haha! I run a Matamp GT2 into a Worshiper 4x12and ABY it with a GK 1001 RB into a Worshiper 2x15. I was happy to lay that down as we would live. Phil and I were able to be in the same room while recording so it allowed us to capture the energy we have. We did very little overdubbing.

Phil: The album opener, “Burning of Elohim” had a pretty cool moment in the studio. James and I tracked the album in the room together as we would for our live show and I have a pretty big drum configuration…Ludwig maples, 26 inch kick, 14, 16, 18 toms and a 14x8 steel snare. On the opening tom pattern I’m just beating the living shit out of my floor toms and the air pushing off the drums carried into James guitar pick-ups and created this cool guitar part. We didn’t even realize what happened until playback and James was like, “what the hell guitar part is that”? Of course we kept that magic on the album!

With you new record in the bag, how is your schedule shaping up over the next 12 months?

James: We are planning a 2 week, potentially 3 week tour in April/may (East Coast) and a smaller run with some friends overseas (They want to come here though, we will be in EU asap!) We are going to book a week for the studio this time and that should be right after we come off our 2 week tour. We want the album to really crush, keep some elements of what makes us Monte Luna but always evolve the sound forward and have fun with it! If we aren’t having fun we aren’t a band. We played a great show with Omotai and it felt great to be back home! We hadn’t played TX since June. Our album release shows are coming up on Saturday and we are doing a few dates in December with our friends in Forming the Void!

This year is going to wrap up nicely into a hectic but fun new year. Lets get to Europe sooner rather than later shall we?

Finally, do you have any last words?

James: I’d just like to say that we aren’t trying to reinvent the wheel here. More so, trying to invent an interdimensional space ship.

Phil: I’m going to borrow a quote from my friend Karl Simon (Wretch, Gates of Slumber)…the music’s not too slow, you’re listening too fast. 

The End

Band info: bandcamp|| facebook

ALBUM REVIEW: Incantation - "Profane Nexus"

By: Ernesto Aguilar

Album Type: Full-length

Date Released: 11/08/2017

Label: Relapse Records

Incantation makes it clear this war is a take-no-prisoners affair. Hammering sound comes at you from all angles, until retreating just enough to let you see your fate. Then it is back in for more ground and pound. Incantation deserve a great deal of appreciation for "Profane Nexus." Alone, it is a superior release, one that represents the genre exceedingly well, with extra recognition given for the fact this band has been making death metal this excellent for so long.

“Profane Nexus” CD//DD//LP track listing

1. Muse

2. Rites of the Locust

3. Visceral Hexahedron

4. The Horns of Gefrin

5. Incorporeal Despair

6. Xipe Totec

7. Lus Sepulcri

8. Stormgate Convulsions from the Thunderous Shores of Infernal Realms Beyond the Grace of God

9. Messiah Nostrum

10. Omens to the Altar of Onyx

11. Ancients Arise

The Review:

What more can be said about a band that has been literally killing it for close to 30 years, 10 albums, four EPs and countless live shows? No one can seriously argue with that level of consistency, longevity and success. And though the world may try, is anyone on the Internet really going to offer any real critique of a pioneer of not just death metal but of tempo variation techniques now part of the extreme music canon? Really, you just can't, particularly when the group in question is Incantation.

Over the course of their history, the New York band has undoubtedly withstood the test of time and remained a respected voice in the game. In spite of lineup changes over the years and a new singer in the mid-2000s, Incantationhas not missed much at all. With "Profane Nexus," the trio – Incantation adds members for its touring show – remains dense, explosive and unfaltering.

From the opening of "Profane Nexus,""Muse," Incantation makes it clear this war is a take-no-prisoners affair. Hammering sound comes at you from all angles, until retreating just enough to let you see your fate. Then it is back in for more ground and pound. Incantation is 20 times better than your other favorite band at creating the ambience of disquietude. The guitar work is abnormally coarse. The bass feels like a sledgehammer being dragged across the floor in your direction. The drums are the loudest dirge you may ever feel.

Among the album's highlights is "Messiah Nostrum" followed by "Omens to the Altar of Onyx." The pair of songs are absolutely pummeling. The lyrics add to the feeling of claustrophobia and fear. The introductory act to these, "Stormgate Convulsions from the Thunderous Shores of Infernal Realms Beyond the Grace of God," is atmospheric and instrumental, devoid of guitar or anything else that had since worn you down on "Profane Nexus." Such does not make the song any less effective, however.

Incantation deserve a great deal of appreciation for "Profane Nexus." Alone, it is a superior release, one that represents the genre exceedingly well. Extra recognition must be given for the fact this band has been making death metal this excellent for so long.

"Profane Nexus" is available here:

Band info: bandcamp || facebook

RIFF REWIND (08/06/2012): Generation Of Vipers - 'Howl And Filth'

Hailing from the Appalachian mountains of East Tennessee, GENERATION OF VIPERS are a band that has always operated outside the normal trappings of "extreme" or "heavy" music. Following the release of 2011's "Howl and Filth", which gained the band a sizable cult following, they their fourth opus and latest release “Coffin Wisdom” an honest and unique collection of songs that furthered the bands own legacy of creating boundary-pushing music that comes from a truly genuine and vulnerable place. Fans of bands such as Unsane, Thou, Yob and other forward thinking artists of that ilk will be pleasantly surprised. Josh Holt and Billy Graves also feature as members of Neurot Recording artists U.S. Christmas, A Storm of Light and Mustard Gas and Roses.

Today we’re rewinding back 5 years to the day, with our original review of a review of GENERATION OF VIPERS phenomenal debut “"Howl and Filth"”. So join us, as we continue on our quest to trawl through TERR0R archives to present the best albums you may have missed.  So if you overlooked this band/album, be sure to remedy your error by checking out our review and the record is streaming in full below. 

By: Aaron Pickford

Album Type: Full Length

Release Date: 5/06/2012

Label: Translation Loss,

Red Witch Recordings

Howl and Filth is one of parasitism, a relationship that is mutually beneficial to one and destructive to the other, meaning that Generation of Vipers co-exist in a symbiotic relationship in which they are the parasite feeding on you, the listener (the host), causing you unspeakable harm in the process.

‘Howl & Filth’ CD//DD//LP track listing

1). Ritual (7:52)

2). Silent Shroud (6:32)

3). All Of This Is Mine (2:55)

4). Eternal (4:08)

5). Slow Burn (7:57)

6). The Misery Coil (9:09)

The Review:

So to start this review, a little history lesson for you.  Jesus, yes Jesus, used the expression "offspring (or generation) of vipers" in reference to the religious leaders of his day. Jesus was simply using this characteristic of a snake to help his listeners understand that they needed to use caution and discernment when preaching, since there were many enemies of the good news at that time.  Anyway, you may asking yourself, do I really care?  The reason I mention it, is because, before you start the record, I have to advise you, to use caution and your own judgement when you approach this record, and those people with a nervous disposition, stop reading now, because ‘Howl and Filth’ engenders a feeling of foreboding or dread within you, a feeling of impending evil or fearful expectation or anticipation.     

Let us be clear, the first time I listened to this album, I was in my car, on the motorway/highway, and I have to say I was blown away, gob smacked or godsmacked.  This record is some of the tightest, heaviest and most powerful metal you’re likely to hear this year.  Yes! I have probably said this before, however the main difference is the drumming.  It is a central feature and the foundation of the record, a watershed in heavy metal.  B.J. Graves on the drums is at the forefront of everything that is good on this album and that is a rare thing.  If there was a man of the match award for performances, he’d be the recipient.  He is a fuckin’ beast of a drummer. 

Kicking off the album with a passage of tribal drumming reminiscent to that of Neurosis and building to an ungodly crescendo, the tone and mood of the record is set from the very first minute of the record.  What we have is tons of atmosphere and spine chilling ambience, on top of heavyweight guitars, low end bass and guttural, menacing vocals.   The album envelops you with its holistic approach, emphasising an organic feel to the record and the functional relationship between the band members as individuals and their undoubted talents, but also meaning that when they come together, Generation of Vipers are a truly terrifying proposition.  ‘Howl and Filth’ emphasises the band’s interdependence, or symbiosis, meaning that when they unleash the full force of their sound, you are literally knocked on your arse, making this an album of true power and muscle. Howl and Filth is one of parasitism, a relationship that is mutually beneficial to one and destructive to the other, meaning that Generation of Vipers co-exist in a symbiotic relationship in which they are the parasite feeding on you, the listener (the host), causing you unspeakable harm in the process. 

Howl and Filth is a juggernaut, a crushing force that destroys and demands your complete self sacrifice.  The payoff is that if you do, you are rewarded in spades!!  This is a stellar record, which demands your complete and full attention.  A definite 10 out of 10 for me. I love this record and I am confident you will too.  Buy it now!

‘Howl and Filth’ is available here. 

Band info: Bandcamp ||  Facebook

RIFF REWIND: (24/05/2012): Stoneburner - 'Sickness Will Pass'

STONEBURNER is one of the mainstays of the Portland, Oregonunderground scene. Formed in early 2008, the bands’ familial roots reach back twenty years. Drummer Jesse McKinnon (ex-Buried Blood) and guitarist Jason Depew (Buried At Sea) have rocked together in many incarnations. Their other bands had similarly earth-choked names (a stone burner is a subterranean weapon from the novel Dune), but it gets even more incestuous — Jesse went to school with bassist Damon (Heathen Shrine) Kelly’s step-mother. Years later, Jesse’s father would be Damon’s high school government teacher.

To describe Stoneburner’s music one need only look to the list of bands with whom they’ve shared the stage: Yob, Sleep, EYEHATEGOD, Neurosis, Buzzov-en, Weedeater, Saint Vitus, Watain, Tragedy, Noothgrush, Graves At Sea, Lord Dying, Drop Dead, Whitehorse, Wind Hand, Bastard Noise and etc. It’s all about domination through amplification and soul-cleansing catharsis. Stoneburnerdoes not put on airs for anyone. The shows are not "rituals". According to guitarist Eli Boland, playing in Stoneburner “…takes care of the thing inside us that would otherwise lead to serial murder. It cleanses my soul, eases my demons, and fills my heart in a way that keeps me high for a good long while.

Upon receiving their debut album “Sickness Will Pass”, I remember being absolutely  blown away and had heard nothing like at the time.  “Life Drawing” (review here) their second album would follow in 2014 via Neurot Recordings, however today we’re going to rewind back through The Sludgelord archives to this day 5 years ago (24/5/2012) and give you guys another opportunity to check out, what I believed to be at the time, one of the albums of the year in 2012.  Make up your own mind by checking it out for yourselves below.   

The Bio was pinched from here  


By: Aaron Pickford

Album Type: Full Length

Date Released:22/5/2012
Label: Seventh Rule

‘Sickness Will Pass’ is an ugly, visceral and truly terrifying beast of an album. It sounds monumental and is herculean in scale and is the benchmark of which all future releases this year will be judged.  It is quite possibly the ultimate sludge metal album of the year.  I urge you to buy this album, you will not be disappointed.

‘Sickness Will Pass’ DD//LP track listing:

1). Christian’s Charity 6:00

2). Marriage 7:15

3). Run Boy... 6:40

4). Elesares 8:38

5). We Have Failed 5:55

Stoneburner is:

Jesse McKinnon | Drums, vocals

Damon Kelly | Bass, vocals

Elijah Boland | Guitars

Jason Depew | Guitars

The Review:

Have you ever seen the movie Hellraiser, the excellent British horror movie?  The premise of the movie is about a puzzle box, which can open a portal to a realm of new carnal pleasures. Instead, it opens up a portal to the realm of the "Cenobites,"who take people as prisoners and subject them to extreme, sadomasochistic torture.  ‘Sickness Will Pass’ reminds me of that movie, because this record is that puzzle box and once you push ‘start’, the listener is subjected to an explorative cerebral experience so extreme that it transcends the boundary between pain and pleasure.  The record is like an atomic weapon, with the desired effect being an explosion of music, intent on destroying all that stands in its path; to the very core of the earth. 

‘Christian’s Charity’ is a ferocious opening, the colossus that is the opening burst of sound is like a sonic boom, an explosion to the senses, with a public health warning decree from the band to ‘Please, make yourself scarce’? The song is incredible, sitting somewhere between the sound of Yob and ‘Remission’ era, Mastodon.  It is a song of unparalleled density, the riffs are beautifully disgusting, and it is as if the band is intent on turning the thumbscrew, until you surrender.  In truth this song and indeed the album feel like a torture test, begging the question.  Is this a puzzle box you wish to open?  Despite the pummelling riffs, discordant bass and the gut spewingly psychotic  Djinn like vocals, the song is layered with variety too, but remains volatile and savagely malignant, until a minute from the end when they tone things down to a moment of acid fused psychedelia.

‘Marriage’ begins with an almost processed chugging guitar riff, perhaps enhanced by the use of flanger? You can hear the two guitars in unison.   Then we’re back to the heaviness of the scarifying riffs, this is certainly not a marriage made in heaven.  Essentially an instrumental track, showcasing the awesome musicianship of the band, the song is structured around the opening riff, with slight variations, until around 2:30, when things are slowed down to that trippy post metal psychedelic breakdown, with clean sliding notes from bass and guitar, then we’re back to black bile spewing vocals and the booming sickening din of the riffs, till we’re back to the opening riff, further augmented by an unorthodox almost C.O.C lead guitar with squealing pinched harmonics.  ‘Run Boy’... starts with the fade in of drums, leading into a two minute grooving instrumental passage, Neurosis esque in tone, and then you’re hit like a fist in the face by the prerequisite pummelling riffs; based around a terrifying chord progression of which Mike Scheidt would be proud, this track for all intents and purposes is another instrumental track.  The listener’s ears are then lacerated by the piercing sound of a ‘March Of The Fire Ants’type riff in tone, at 4:40 the vocals are back in with vehement fury and then we’re subjected to a further barrage of filth.  The final 2 minutes of the song, engages the kill switch , with loathsome revulsive intent and begs the questions, ‘Do you ask the Djinn for a wish to end this torture’? 

If you’ve chosen to continue, ‘Elesares’ is up next and the penultimate noisome, offensive to the point of arousing disgust, it’s 8:36 of virulent toxicity, with a predominant thrash like galloped riff for much of the song, interchanged with a slow sludgy dirge, it is another startling example of consummate sardonic perfection.  The track feels like a game from the Saw movie, trapping the listener to test their will or resolve to live through physical or psychological torture, with the reward being your life. 

‘We have Failed’ is the final lysergic acid test, with the band seemingly intent on inducing the derangement of your personality, before your return to normal social functioning.  If you thought that the track was going to ease off the vituperation, then think again.  The track is as abhorrent as the first note of the album.  It is possibly the most intricate song on the album, opening with an exchange of heavy chords, hammer offs, slides and deafening chord progressions, it is a measure of the band that they remain inventive till the end. At 1:43 they slow things down again to an eerie, almost horror movie inspired soundscape.  Then for the last decisive minutes of the record, the band end things with one final sneering and derisive outpouring of morally objectionable dirt.  The sickness has passed.

‘Sickness Will Pass’ is an ugly, visceral and truly terrifying beast of an album. It sounds monumental and is herculean in scale and is the benchmark of which all future releases this year will be judged.  It is quite possibly the ultimate sludge metal album of the year.  I urge you to buy this album, you will not be disappointed.

Band info: Bandcamp| Facebook

RIFF REWIND (17/5/2012): ÆGES - 'The Bridge'

ÆGES (pronounced “ages”), ambitious rock n’ roll soundscapes and melodies the size of mountains are the electrifying result of four men from diverse musical backgrounds united by their shared love of loud guitars, big drums and catchy songs. Since joining forces in Downtown Los Angeles, guitarists/vocalists Kemble Walters and Cory Clark, drummer Mike Land and bassist Tony Baumeister have concocted a thrilling sound that’s both nostalgic and forward thinking.

ÆGES has made the improbable marriage of massive extremes their hallmark, steering beyond the simple combination of sonic crunch and melodic hooks into a hypnotizing and enchanting lane occupied by pioneering acts like Queens Of The Stone Age and Soundgarden.

Their debut album “The Bridge” (2012) was a guitar driven affair whose singular focus gave way to the even bigger sonic tapestry found on “Above & Down Below” (2014) (review here), cementing ÆGES as four players with distinctive strengths that combine to make something virtually unrivaled today, as clearly evidenced by every single song on their latest release” Weightless” (review here)  Today, however we cast our minds back to their 2012 debut, which I proclaimed was a ‘truly brilliant record’.  So let us rewind the riffs to  this day 5 years ago and 17/5/ 2012.  Check out the brilliant ÆGES.

Source: Another Century here

"The Bridge" By: Aaron Pickford

Album Type: Full Length

Date Released: 17/04/2012

Label: The Mylene Sheath

 

‘What makes ‘The Bridge’ so great and so different is that ÆGES have produced an album unlike anything else out there and as a result this should be applauded.  ‘The Bridge’ is a truly brilliant record’

'The Bridge' CD/DD/LP track listing:

1. Wrong (4:00)

2. My Medicine (2:36)

3. Southern Comfort (5:03)

4. Doesn’t Feel The Same (2:48)

5. Sent From Heaven (Rest In Dirt) (4:18)

6. The Bridge (5:45)

7. Roaches (3:07)

8. The Words We Say (3:57)

9. I Believe In Ghosts (2:17)

10. Fade Out (5:18)

The Review: 

Hailed in some quarters as a ‘Super Group’ of sorts, ÆGES are a breath of fresh in the genre of heavy music, in so much as they remain startlingly heavy whilst retaining a strong element of melody and a tantalising blend of screamed/clean vocals.  The most obvious comparison I could draw upon to describe their music would be ‘Antenna’ era Cave In, indeed Kemble Walters’ vocals reminds me a lot of Stephen Brodsky from the aforementioned band.

So what is on offer with ‘The Bridge’ and why should readers part with their hard earned cash?  Basically ÆGES have produced some of catchiest songs I have ever heard and incorporate the best of elements of metal, e.g. ‘Nasty Riffs’ alongside a staggering vocal performance courtesy of Kemble Walters.  The album is jam packed full of hooky, tantalising Helmet esque riffs, with a hint of that trademark Henry Bogdan bassline.  The twin guitar delivery on opening track ‘Wrong’, is juxtaposed with intricacy and simplicity, with ample amounts of cool phrasing, supported admirably by a solid rhythm section.  The riffs are to die for and at the centre of it, with breathtakingly raw and pure vocal performance. If only medicine could taste as good as this record sounds and the track ‘My Medicine’ chips in with some wonderously floaty guitar fills, bass heavy riffs with hybrid of tonality somewhere between KoRn and Kyuss, with added desert rock spice.  Again the song is just plain catchy, leaving the listener captivated and mystified as a result of spontaneously bursting into song.  This is a big plus point for the album, in that you feel yourself being compelled to sing, seemingly unconsciously and spasmodically. 

The songs just get better and better, one memorable song after another, ‘Southern Comfort’ with its acoustic intro, then into another banger of a riff, the simplicity of which are another source of the albums strength. Bucket loads of thick dirgy riffs and incorporating layers of guitar fills to add variety and texture, keeping the listener engrossed as a result.  ‘Doesn’t Feel The Same’, turns on the 90’s alt metal style, with bursts of influence from Helmet or say Handsome, coupled with aggression, punchy drums and that Henry Bogdan bass tone.  The track is just mouth watering, with a raw groove aesthetic, which is beguiling and mesmeric.  Indeed it’s a track that could been written by Page Hamilton himself. The record is just loaded and brimming with riffs that leave you beaming from ear to ear. 

‘Sent From Heaven (Rest In Dirt)’ has a very sludgy vibe, with a post metal esque opening riff and the vocals on this track are majestic, with a nod to Cave In sdding further dynamics to the record with thrashy galloped riffs at times.  The fuzzy production creates a massive “wall of sound” which only serves to strengthen the tone of the sludgy guitars and the drum work.  ‘The Bridge’ is an assault on the senses, due to the battery of the drums and the layers of riffs that reminded me of the band Zozobra. The track is a big tune, with a strong traditional vibe to it with an amazing hooky chorus and slight variations on the same riffs, which are driving and crunchy.  Kemble Walters is on fire at this point and gives the track his strongest vocal performance, with an almost falsetto type vocal at times.  ‘Roaches’ with its Big Black esque intro is just plain aggressive and bombastic, incorporating the use of background vocals to accentuate the song.  It is the most straight forward track and most aggressive on offer.  Added to the track are hints of distorted bass and a strong bouncy groove. 

The final 3 tracks on the album continue the general tone of the album and each one could easily be big singles for the record and should rightly propel this album into becoming ‘The Feel Good Metal Album Of The Summer.’  What makes ‘The Bridge’ so great and so different is that ÆGES have produced an album unlike anything else out there and as a result this should be applauded.  ‘The Bridge’ is a truly brilliant record

Band info: Bandcamp |Facebook