TOP 16 ALBUMS: THE SOUR 16 (January 2018)

Hooded Menace

It has been hectic to say the least during the last 7 weeks or so of 2018, so forgive for the delay in our usually presentation of the 16 most popular album from January, but here it is your SOUR 16. 

You know the drill by now, each month you the reader are unwittingly compiling a list of the top 16 records of the month, covering all genres of metal.  Is it not a chart, in which reviewers or contributors extol their opinion about their favourite music.  To put it simply, THE SOUR 16 are the records that have been trending the most at SLUDGELORD HQ.

The results are compiled based on the amount of page views the reviews have received and are then calibrated into the list below.  All reviews can be viewed by clicking the artwork and we have included album streams wherever possible. (Total views are highlighted in the red)

16). Greber - “Cemetery Preston” (704)

 
Greber’s pursuit of intricate heavy music pays off immensely, creating a consuming sonic experience. “Cemetery Preston” will be one of the most unique and layered experiences of this year.

15). Corrosion of Conformity - "No Cross No Crown" (751)

Dissipated is the more prevalent punk and thrash of "IX" in favor of the sound that made CoCits name, but done in a contemporary way. As such, this is Corrosion of Conformity'sfinest work in many years.  "No Cross No Crown” is something Corrosion of Conformityfans can rejoice in.

14). Greyfell - "Horsepower"(786)

 

“Horsepower” is an interesting and accomplished album – a wonderful piece of doomy, gloomy, ritual rock – which should please fans of Greyfell’sprevious work, and no doubt introduce many new listeners to the band.

13). Agrimonia - "Awaken" (805)

 
 'Awaken' is a tour-de-force of genre hopping doom. It should see the band gain ground on their contemporaries and even surpass them.

12). Haunt - "Luminous Eyes" [EP] (826)

 
 Fitting in squarely with the likes of Cauldron, this is heavy metal of the old school done correctly and with affection. If you want traditional sounds with a dark edge to the songs, this is most assuredly for you.

11). Possessor - "The Ripper" (872)

     

"The Ripper" is one of the most pleasing releases to wrap 2017 and open up 2018. Possessor's massive sound and brutal composition make it one of the more intimidating listens on the scene, and one you should get to know now, if you aren't already down.

10). Come to Grief / Fistula & Fistula / -(16)- [Splits] (946)

   
9). Druid Lord - "Grotesque Offerings" (956)

   
Fans of Hooded Menace, Serpentine Pathand traditional Florida death metal like Obituary or Malevolent Creation can't go wrong here; this is a great example of the doom/death genre and surely one of the musically darkest albums you could pick to play out the winter.

8). Watain - "Trident Wolf Eclipse" (999)

“Trident Wolf Eclipse’ is an album that’s both diverse, but also does a better job of staying within the band’s established wheelhouse.  The album’s opening track is a perfect statement of intent: “Nuclear Alchemy” is the sort of thrashy, high-energy hellstorm that sets the stage for the rest of the album

7). King Buffalo - "Repeater" [EP] (1397)

 
 The band sounds confident as they play through the dreamy plucking of the guitars, the perfectly enunciated vocals, and that sweet meditative groove that drummer Scott Donaldson brings with him. The tunes are mellow, meditative, groovy, and best of all, heady. As a short release, “Repeater” does what it’s intended to do and offers the hungry fans just a taste of what the main course is going to bring. Bring on that sophomore release!

6). Black Label Society - "Grimmest Hits" (1665)

“Grimmest Hits” is a Sabbath-esque listen with bluesy inflections and is chock full of riffs and solos.

5). Wolftooth - "Wolftooth" (1723)

   
If you were disillusioned by The Swordafter their first three albums, and if you loved Earth Witch then don't delay and get hold of this album as it is a riffing stoner metal delight.

4). Tribulation - "Down Below" (2074)

I’ll stop short of calling this Tribulation’sdefining masterpiece, if only because the band seem to keep outdoing themselves. For that same reason, it’s hard to imagine the band won’t have even more to show us as the years go by, and that’s a thrilling prospect.

3). Somali Yacht Club - "The Sea" (2388)

   
Basking in sonic emersion and drawing from an Elder influence, Somali Yacht Club succeeds in taking the listener on that well-known ride of warm tones and meandering melodies. In the world of progressive psych-rock, confidence is key and these Ukranians hold that key and open every door with it that they can.

2). Witchcryer - "Cry Witch" (3676)

 
The riffs are infectious, the grooves hit you right in the gut and their well written songs are accentuated by climatic dynamics and impassioned performances by all members of the band. Witchcryerhave created something really quite special on “Cry Witch”, a debut surely worthy of addition to the doom metal cannon.

1). Hooded Menace - "Ossuarium Silhouettes Unhallowed" (5645)

Hooded Menace, is the quintessential death-doom metal band and this album is a crawling behemoth with so much gloom and doom that it feels like a slimy dense fog is pouring out of your speakers and into your unsuspecting lungs.

A big thank you as always to our amazing writers, your dedication knows no boundaries and for that I am truly grateful.  January 2018’s “SOUR 16” features reviews by:  Richard Maw, Andre Almaraz,Daniel Jackson, Ben Fitts, Ernesto Aguilar, Mark Tremblay &Victor Van Ommen

REVIEW: Come to Grief / Fistula & Fistula / -(16)- [Splits]

By: Ernesto Aguilar


Album Type: Split

Date Released:29/12/2017

Label: PATAC Records

 

“Come to Grief | Fistula” & “Fistula | -(16)-“ Split 7”//CS//DD track listing

1). Come to Grief – “Take Me In My Sleep”

2). Fistula– “Confusion”

1). Fistula– “Mongoloid” (Devo)

2). -(16)- “Complications” (Killing Joke)

The Review:

In a year of conflict and uncertainty, one thing came out clear as anything: legendary Ohiosludge crew Fistuladid not piss away the end of 2017 binge watching garbage on Netflix. Nope. In fact, the band dove headfirst into creating new music. It is featured as part of a new seven-inch series, where the band is paired up with other veteran acts – Maine four-piece Come to Grief and Los Angeles long-timers -(16)-for sonic adventures aplenty.

The pair of singles begins with Come to Grief's entry, a dense and dangerous cut built around Jonathan Hébert's searing vocals and the brawny guitar of Terry Savastano. "Take Me In My Sleep" is deceptively powerful. From the slow climb of its opening, Come to Grief maintains a thick and ominous rhythm throughout this song. As fans may recall, the quartet arose from the ashes of the 1990s group Grief, reconstituting to some range the songs for that group written by Savastano, and which include former Griefdrummer Chuck Conlon. However, it was evident even early on that the new incarnation is not a tribute band, but an altogether intriguing evolution of the progenitor's classic sound. Much credit for this growth is to some degree owed to the presence of Hébert behind the microphone. His voice demands your attention and obedience, with a wiry snarl and dexterous attack. With a foundation ballasted by Conlon and bassist Tim Simpson, "Take Me In My Sleep" is a lethal selection for this seven-inch.

Speaking of veteran experience, -(16)- makes their presence felt on the second seven-inch, employing its renowned sludge prowess with slicing riffs, grave soil dark bass and vocals that rattle you like kicking a pile of spent bullet shells across a concrete floor. In the hands of -(16)-, a song by iconic post-punk clan Killing Joke is not just a particularly savage cover, but a fearless reimagining of some of the English band's best work. The showcase player here is Bobby Ferry, whose guitar plows through this originally brisk paced song with a hint of speed yet still faithful to what -(16)- does best. Similarly Cris Jerue's singing takes a page from Jaz Coleman, yet blows open the doors to put his band's stamp on this rendition. With Barney Firks on bass and Dion Thurman at the drum kit, -(16)-shows new and stalwart fans just how effectively the group is able to rejuvenate this material.

These tracks – and the sheer quality of the performers – taken in, it is evident that Fistulahas quite a high bar to meet on what is a marquee placement for the band.

If you are familiar with the Devo song Fistula covers on that split with -(16)-,the 1994 track is one of those sublime post-rock/electronic hybrids that made the band innovators so visionary, as well as one of the best known Rock & Roll Hall of Fame snubs. It is a bold choice; its early-math rock guitar and slinky synths could be hard to pull off for a band loved for its sludge. Where it works best is when Fistula are faithful to the original, with just that hint of vacant eyed stare that made them such a musical terror. With a similarly terse beginning, it's into a straight-ahead mashing of guitars and boiling-over vocals. Fistula are wildly accurate with their strikes – a driving rhythm section is met at flourishes by effects, growls punctuate the mood with urgency, and, in less than three-and-a-half minutes, the squad owns the song.

It is its original music, however, where Fistula delivers its real coup de grace. "Contusion" is its selection from the split with Come to Grief, and it delivers a delicious mix of sludge, with a hint of hardcore and doom. A pulsing bass courtesy of Greg Peel undergirds the impenetrable riffs, while Dan Harrington's anguished vocals command your focus. As a quintet, the group uses all its instruments to their fullest potential; dual guitars, drums and bass stretch out across the nearly six-minute track and set a pensive mood, only to recoil with fury again and again as the song cranks up and finally down. You have a lot to look forward to in the next release from one of sludge's best.

Both Splits are available here

Band info: fistula || -(16)- || Come To Grief