6 LIVE REVIEWS: THE SLUDGELORD'S 666 PACK REVIEW (Psycho Las Vegas Special 2018)

Words & Photos: Nikos Mixas

It’s a special edition for the 666 PACK REVIEW this month!  THE SLUDGELORD attended Psycho Las Vegas recently, so this month we’re going to rate 6 bands that played the festival. Between the non-stop shenanigans and Instagram takeover, we found time to actually watch the bands. For future potential victims that submit material to THE SLUDGELORD for review, here’s some advice: This festival is where you want to be someday! If you’re new to this, each and every month we handpick 6 review submissions (this month six bands that played Psycho Las Vegas) and critique them by only using 6 words, then we rate them on a scale from 1 to 666!  Check out our Las Vegas themed rating scale below: 

1– It would have nicer if their tour bus got lost in the desert on the way to the festival.       

2– One of the Psycho Las Vegas guest DJs was Andrew W.K., he actually stirred up more excitement than the performance this band put on.      

3– It was kinda average, just like staying at The Excalibur Hotel and Casino these days…

4 – You know the feeling that you get free drinks while your gambling?  Yeahhhhh….       

5– This band deserves to have a Las Vegas casino named after them and they should be the house band. 

666– They hit the progressive jackpot (Enter ching! ching! ching! ching! money sounds here…)!  Viva Psycho Las Vegas and THE SLUDGELORD!

Caveat:  Even though the 666 PACK REVIEW is meant to offer humorous critique, there are no safe spaces here and your gripes will only make you sound like a bellyacher.  THE SLUDGELORD is a picky listener…and doesn’t care what you think of his opinions….

Goblin - Rating: 1

Horror soundtracks never sound so bad.

Sunn0))) – Rating: 4

No groove, no problem.  Drone on.

Danzig – Rating: 5

Playing “She Rides” earned this rating.

Elder – Rating: 666!

Most underrated band at this fest.

Indian – Rating: 5

This reunion was meant to be.

Batushka - Rating: 666!

Yes! Yes! Yes! Yes! Fuck yeah!!!

ALBUM REVIEW: Wychhound, "Earth Orbiter"

By: David Jupp

Album Type: Full Length

Date Released: 01/05/2018

Label: Independent

The many audio-faces that tell the story of ‘Earth Orbiter’ are proof, that if instrumental music is judged right, executed well, and arranged with craft, riffs beat words. Every damn time.

“Earth Orbiter” DD track listing:

1). Flux

2). Supercluster

3). Comet Shoemaker – Levy 9 (SL-9)

4). Aurora

5). Matter – Antimatter Annihilation

The Review:

When a band parts company with their singer, the ensuing discussion generally goes something like this. ‘Fuck! It won’t be the same man, someone else singing those songs. They might as well pack it in.’ Well in 2017 and only two years on from their debut EP, Wychhounddid just this by saying farewell to singer Jimmy Holifield. Rather than start the depressing trudge through London’s abundance of awful singers, the band decided to strike out on a new path as an instrumental four-piece. Shedding the crutches a vocalist provides in both immediacy and structure is a brave decision, and especially risky when you already have an established following who expect ‘songs.’ So, as Wychhound set forth on a new journey the question is, can they fill the yawning void left by words?

‘Earth Orbiter’sets flight to a wall of feedback. As the pressure builds and ‘Flux’ ignites, Wychhound let fly with a barrage of strings, cymbals and skins. It soon becomes clear how the wordless quartet intend on bringing their old fans with them, and to be honest it’s the oldest trick in the book. Big riffs. Lots of them. Really fast. Before you even reach the minute mark Wychhoundhave twisted their audio-rubix-cube three times. Twist one, swaggering math-groove. Twist two, euphoric chord progression. Twist again, Toolinflected grunge-swerve. As minute two lands guitarist Miles Mcdonald swaggers in with a howling solo and boots the whole metaphor out the window. Singers? Pfft.

The success of instrumental heavy music revolves around a bands ability to judge phrasing. Without lyrics to convey a message you are left with the subtle art of assembling meaning from a jigsaw of riffs. It’s like the best kind of sign language, hold a riff out for too long and the listener grows bored, take it away too quickly and the message is lost. Track two ‘Supercluster’ serves as an advanced elocution lesson in riff-annunciation. Guitarist Roberto Pini kicks things off with a superb off-kilter riff before Mcdonald laces another emotive lead into the fray. Just as the narrative begins to wane bass player Neil Neighbour and drummer Sid Nagdhi grab the track by the low-end and spread a stuttering bang all over it.

Having seen Wychhound cultivate the seeds of these songs across a variety of London’s venues in the last year I must admit that when I first saw the artwork for the record I didn’t really get it. Don’t get me wrong the art looks great but I didn’t quite see what a planet of faces had to do with the songs I had heard.

Named after a comet that broke apart in 1992 and collided with Jupiter, ‘Comet Shoemaker – Levy 9 (SL-9)’s seven-minutes of aching slow-dawn soon provide me with the artworks meaning. Wychhound are a band with many faces. Just as the opening act of the record’s focus sharpens into a prog-metal guise the second movement softens into soaring arpeggiated post-rock.

Great records are made in small increments. The stunning arpeggio that permeates ‘Comet...’sskyline progression is beautiful enough, but exceptional bands always reach for that extra percent. So, as Mcdonald’s triads arc into the records second half, Roberto Pini’s haunting e-bow adds that last extra lift and I challenge anyone not to crane their neck and sigh.

Next up is ‘Aurora.’ Until now Wychhound’ssophomore effort has worn its influences on its sleeve and that doesn’t stop here. Tool, Russian Circles, early Barrows and “Zidane”-era Mogwai have all stirred in places, but now Elder’stotemic influence on the contemporary heavy landscape looms into view. Luckily Wychhoundhave no intention of merely paying homage and as the Bostontrio’s ‘SpiresBurn/Release’ EP flickers in the distance the band re-apply their riff-sculpture and successfully carve another fresh face into the records strata.

‘Matter – Antimatter Annihilation’ brings the album to a close and makes a welcome return to the cinematic melodies of ‘Comet Shoemaker.’ As the spiralling guitar-runs that litter ‘Earth Orbiter’ arch back and dive into another surging chord sequence all fears of a loss of narrative are expelled and the record re-enters the atmosphere on a surge of hefty tone. 

In the last year Wychhound have become a staple of London’s burgeoning heavy-scene. So, by making the decision to record ‘Earth Orbiter’ live, I’m glad to say they have successfully captured the ebb, flow, movement and act that make their live show so popular. What’s more impressive however, is the successful progression from traditional stoner band into a new instrumental landscape. In music, just because a choice is brave doesn’t necessarily mean it is right, so in shedding their singer Wychhoundcould have easily gotten lost in a sea of riffs that lacked narrative. Luckily the many audio-faces that tell the story of ‘Earth Orbiter’ are proof, that if instrumental music is judged right, executed well, and arranged with craft, riffs beat words. Every damn time.

“Earth Orbiter” is available here

Band info: bandcamp|| facebook

VIDEO PREMIERE: Howling Giant deliver a brand new cosmic crusher with "The Pioneer"

Howling Giant, a progressive metal band that upped their Bostonian roots and moved out to the weird cosmos of the American South that is Nashville. No twangy guitars here and don’t even begin to think that Howling Giant are “whisky soaked” or “bluesy.” Howling Giant has a sound that is as clear and crisp as it is raw and spacey. They dive deep into the well of progressive rock as well as take off for joy rides into space. They mix these trips with a healthy dose of youthful humor and beer drinking, coming out on the other end sounding like the bastard child of Elder and Red Fang.

Their cleverly titled EP, and second release to date “Black Hole Space Wizard: Part 1,”released in August last year, was the start of a three part series and judging by songs such as “Dirtmouth,” that we premiered the video of here, Howling Giant has the discipline to take their time fleshing out riffs without losing sight of the song, their energy and passion is felt throughout, which is the glue that held that EP together. Less than a year later and Howling Giant are back and August 25, 2017 will see the release of Part 2 of their “Black Hole Space Wizard” trilogy.

So if you are one of the many that wishes Mastodonhad continued in the cosmic, crushing progressive manner of “Crack The Skye” and “Blood Mountain”, and if you’re a fan of Elder, Red Fang, Melvins, Baroness, Rush then Howling Giant is your dream band! Today we’re very excited to debut a brand new new track from their forthcoming release “Black Hole Space Wizard: Part 2”, you can check out “The Pioneer” below.

Band info: Big Cartel || Bandcamp || Facebook || Youtube || Last.FM || Instagram

INTERVIEW: "We never want to stand still in terms of songwriting": Amped & Doomed with Simon Ohlsson (Vokonis)

Vokonis Hailing from Borås, Sweden and formed in 2015 out of the ashes of stoner rock band Creedsman Arise, with a well-received EP ‘Temple’under their belts, the band became embroiled in a legal dispute over the name. Well what better way to stick it to the lesser ‘Creedsmen’ than with a new album of six psych-tinged bangers? Rising like a phoenix from the flames Vokonis released their brand new album “The Sunken Djinn” on 9^thJune via Ripple Music,  an album that has been met with almost universal acclaim, topping our own Sour 16 chart just last month.  

The Swedish doom trio, consisting of guitarist/vocalist Simon Ohlsson, drummer Emil Larssonand bassist Jonte Johansson, are hewn from the same doomy bedrock as genre titans Sleep, and with Iommi’s influence looming large, their new record is about as strong a rebrand as is possible.

The craft that afforded Vokonis such acclaim on their debut “Olde One Ascending” has been refined and renewed. Whilst being undoubtedly heavy what makes their sophomore effort stand out is the variation employed in the bludgeon. By embracing less traditional doom landscapes ‘The Sunken Djinn’ has allowed Vokonis room to demonstrate the full raft of their audio-weaponry, and in doing so propelled them to the forefront of the heavy underground. 

Today, Amped & Doomed is back and it gives us great pleasure to invite Simon Ohlsson to answer our questions.  You can check out our interview in full below. 



Simon, welcome to The Sludgelord.  Could you give us an insight into how you started playing music, leading up to the formation of Vokonis

I started playing when I was about 15 because I suddenly had this urge to play the guitar. I had just discovered grunge and alternative rock from the 90’s and was immediately smitten by the sound and feel of it. I’m very certain that to this day I am hugely influenced in my writing by Dinosaur Jr. and Nirvana.

Vokoniscame about when our previous band, Creedsmen Arise, imploded. The three of us all had Sabbath worship as the main goal with the band. But now we’re trying to incorporate a lot more in the mix than that. We never want to stand still in terms of songwriting.

Can you remember who or what inspired you to pick up the guitar and is there any bands, musicians currently on the scene that continue to inspire you and push you to try new things?

The one guitarist that made me pick it up at the first place is probably J Mascis. I was sitting around in my room and just trying to nail every Dino Jr.solo I could find tabs on. That certainly sparked my interest for everything loud and fuzzy.

Shifting attention to the now there’s a lot of bands doing great stuff right now. The new album by Elder (“Reflections of a Floating World”) have really given me a revelation on how to construct songs with different sounds and soundscapes. Nick is doing a wonderful job of always keeping it interesting with textures and dynamics in his playing. So he’s a major influence on me.

Going in a completely opposite direction, Thomas Jäger of Monolordhave been a huge influence for the past years. His no-nonsense sludgehammer approach is something I admire and get inspired by constantly.

Whilst we’re on the subject of inspiration or heroes for example, do you have 5 records that stand out as favourites, what influence did they have upon you and what is it about those record that particular resonates amongst others? 

Elder– “Reflections of a Floating World”. This is a new record but it has had such profound effect on me that I have to list it. It’s pushing the genre forward and I think it’s going to be regarded as a classic in a few years.

Monolord– “Vaenir”. They kinda perfected the Wall of sound bludgeoning doom with this record. Playing as a unit it’s always about the song and what the song needs.

Bad Acid – “Revelations of the Third Eye”. One of my favourite records of last year. It’s got a lot of cool things happening, a very psychedelic rock take on stoner and doom. But never losing its footing or direction. I appreciate when psychedelic music keeps a good flow and they managed that perfectly.

Slomatics– “Future Echo Returns”. Don’t know where to start with this. It’s something that just grabs your attention and doesn’t let go. You can’t just listen to separate songs; you have to listen to the record in its entirety to fully understand these guys vision.

Skraeckoedlan– “Sagor”. When Sagor first released I didn’t really understand it. But returning to it a few years later it have turned into one of my favourite records of all time. The way they took their influences and ran with it is outstanding.

Can remember your first electric guitar?

I think it was a no-name Jagmastercopy. Not quite a Jazzmaster not quite a Jaguar. Wasn’t very good but I loved the shape and feel of it. As previously stated I had a huge thing for Dinosaur Jr and Nirvana, so that’s why I even got it. Sold it many years ago.

I still have my third guitar though, my trusty Fender Jazzmasterthat I got as a graduation gift from my family. Last time I used it was recording clean parts for our debut album, “Olde One Ascending”. I consider this my first “true” guitar though, given the bond I have to it.

What guitar (s) are you using today and how did you gravitate towards the guitar you currently use? 

I use a variety of SGs.

For recording I have an old Gibson SG from 88 or 89. It’s supposedly from one of the first years of the 61 reissue. It’s got a thin neck and a warm sound.

I also have a Japanese Gibson knock-off from the late eighties called Burny. These are quite common in Europe I think due to them being as good as Gibson but without the price tag. I used this all over our new album, “The Sunken Djinn”, and live all the time.

For live use I have a Boult “Troglorite” which I love. It’s made of Zebrawood so it looks totally insane. It’s a very sturdy guitar and always manages to turn some heads so I use it live whenever I can.

Also I don’t want to forget telling everyone about my signature guitar over at Boult, “The Djinn”. It’s got the shape of the YamahaSGbut without the backbreaking weight. So that’s a huge honour for me. Will come in silverburst with Zombie Dust pickups that me and Willie (atZombie Dust) will design together.

What do you like about the guitars you currently use and has there been any specific modifications to it? 

I like the way the SGhangs on the body. They’re very light and easy to play. And they always sound a lot bigger than you’d imagine.

I tend not to do that big of modifications to them, mostly swap pickups or stuff if I become bored of them. I have a set of Lace Dirty Heshersin the Burny SG that is totally face-melting.

What amps and pedals do you currently use?  Do you use a combination of amps, or a full half stack? Talk us through your set up both in the studio and in the live environment? 


For guitars I use two Orange OR100 heads. They just have a big and bold sound that go well with pedals in general. I have either an Orange 4x12 with V30s or an Orange 4x12with Celestion G12 100 K speakers. We don’t play on big enough stages to warrant a full stack but we’ll see for the future.. For bass Jonte is using an Orange AD200B MKIII head along with an Orange 1x15 cab and my Orange 4x12 with G12 100 Kspeakers. This is a really menacing combination and gives us a huge low-end but a focused and aggressive mid-range punch.

I have a variety of fuzz-boxes and overdrives but I usually tend to go back to the Pharaohand Black Forest by Black Arts Toneworks. They have been really supportive of us and have been kind enough to grace me with a custom-pedal. So I’m using that for over the top insane sounds. Jonte is actually using a Pharaoh as well on bass, but I know he’s been using a DOD Boneshaker and a BossODB-3 in front just to tighten things up.

Our setup is basically the same for studio and live use. Last time we were in the studio we used an Ampeg 8x10 cab and a Sovtek Mig100for a huge clean sound along with the dirty Orangetone for bass. Turns out they complement each other in a really nice way.



What one pedal could not live without and why?

That would be the Pharaoh. Best fuzz pedal I’ve ever tried, and I’ve tried a few that have come close. The thing I like about it is that it can leave your EQ intact and deals more with the texture and gain of your sound.

What are your amp/ pedal settings?

Amp is set up just to get some break up. Mid heavy, roll off some bass and up with the treble a bit to get a cutting sound. Then blast with the Pharaoh. It’s got the volume all the way up and the gain all the way down. Think of it as the doom metal version of using a Tubescreamer with a 5150 haha..

I would say Jontes bass amp is setup fairly the same gain-wise but with almost a flat EQ. No matter what you do the AD200Bjust sounds great on its own. But it’s a great platform for dirt too. He’s very delicate with the way he tunes his pedals.

What tunings do you use and why, and as a result is there a specific brand / gauge of string you prefer?  

We play in C standard and we use D’addariostrings. I use a set with 0.13-0.56 with a wound G-string that I like. Sounds fat but it’s tight and doesn’t get too floppy. Don’t know the gauges Jonte is using though.

Do you have any advice for up and coming guitars players, bands?

Practice your instrument, challenge yourself musically as a group and while writing, always think “what’s the best for the song?”

Do feel there are deeply help misconceptions about being in a band? 

I know that when we started out I knew there was going to be a lot of work. But the extent of it, I had no idea. We spend a lot of time rehearsing and writing just to become better as a band. But in the end, with a little luck, people will notice that your hard work pays off.

I mean look at a band such as Conan. Completely D.I.Y approach to everything. They’re a band that has truly forged their own path. I don’t think I know a more hard-working band than them.

Moving on a little then,  what can you tell us about any of your current projects, tours, cds, etc you’re currently promoting, completed and anything else band related we should know about?

That would be our newly released album ‘The Sunken Djinn’ that’s out now through Ripple Music We’ve got a few shows lined up, including a Swedish iteration of Ripple Fest that will be a lot of fun.

 

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

Having just released our new record I think we’re in that mode where we can finally breathe after 6 months of holding in a lot of material. For me this record is more of a first record for us than “OOA”. That’s not a knock on our first record in any way; I just view it more of a demo than our first real offering.

And we’re looking forward to bringing this new record to a live setting. There’s some cool parts on there that I want to see how people react to.

What can fans look forward to from you over the next 12 months? How is your schedule shaping up?

Other than appearing on a as of now secret double LP compilation we hope that The Planet of Doomhave neared completion. Very anxious to see how it will turn out and how our music will complement the animations. We’re probably going to write another record this fall. But we’ll be a bit more patient with recording it this time. So don’t expect a new LP until around 2019..

Finally, do you have any final comments/word of wisdom you’d like to bestow upon us?

Just something that I try to remind myself of once in a little while, to try and sit back and enjoy the moment when you can. Life moves fast, two years ago I wouldn’t dream of doing the stuff I’m doing with Vokonis.

Thank you for taking the time for us. It’s been a pleasure.

The End

“The Sunken Djinn” is available buy here

 

Band info: Facebook || Bandcamp



TOP 16 ALBUMS: The Sour 16 June 2017

Vokonis (2017)

Yes, it is that time again O ye lover of riffs, “THE SOUR 16” returns.  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 TERR0R Headquarters.

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 since their publication are highlighted in the red)

16). Coltsblood - "Ascending Into Shimmering Darkness" (324)

Coltsblood refine their unique brand of bleak, bludgeoning doom to punishing effect on “Ascending Into Shimmering Darkness”. This is a mighty collection that marks out the band as one of the most underrated heavy acts in the world.

15). blyh - "Transparent to the World" (358)

Short, to the point, but excelling in both subtlety and savagery, blyh is a band to watch out for.

14). Iced Earth - "Incorruptible" (361)

This is the kind of album that Judas Priest should be making- and used to make. “Incorruptible” is a great metal album, it delivers on every level, with every band member excelling in their field. Time for me to get hold of the back catalogue as well, as “Incorruptible” has converted me to being a fan of the band. After nearly thirty years of albums, Iced Earth are deadlier than ever.

13). Avatarium - "Hurricanes And Halos" (395)

This is another great record from Avatarium and one which places the band firmly in the upper echelons of doom outfits operating today. There is nothing to fault here. If you enjoyed the band's previous work, don't hesitate. If you have never heard the band, then this is as good a place as any to start. Great record.

12). In Human Form - "Opening of the Eye by Death of the I" (467)

The complexity of the songwriting on all of the tracks leaves the listener discovering many layers over multiple listens. This band has some serious talent, and absolutely deserves your time. A massively unique release weaving together so many influences it’s difficult to quantify them all. This is excellent music, and I can’t wait for future releases from this band.

11). Schammasch - “The Maldoror Chants: Hermaphrodite”(EP) (471)

Schammasch have created something remarkable with this most recent artistic expression, sophisticated, complex and yet somehow, eminently accessible.  Get lost. It is worth your time to find a way out.

10). USA/MEXICO - "Laredo" (472)

This is the kind of garage rock where the car is still parked inside with the engine running, warping the bands minds with fumes.   “Laredo” is an awesome offering from USA/MEXICO, a perfect blend of dumb headbanging heaviness and tripped-out weirdness.

9). Bereft - "Lands" (490)

There are other bands creating doom in a similar style to Bereft but few do it on such a grand scale. The Wisconsin quartet’s latest release comprises  of four epic journeys into the abyss with a massive production that matches their towering ambition.  “Lands” is a fine album that is sure to win Bereft a legion of new followers.

8). Vallenfyre - "Fear Those Who Fear Him" (511)

All in all it’s another good album that sees the band dishing out shorter and faster songs than we’re used to getting from them, while not losing the razor sharp edge of that classic Vallenfyre musical mastery and might.

7). Pyreship - "The Liars Bend Low" (579)

The Houston quartet deal in a captivating brand of complex sludge with a perfect balance of melody and grit. “The Liars Bend Low” is a debut brimming with potential for a glowing future.

6). Mantar - "The Spell" (EP) (669)

Mantar’s strength lies in their ability to maintain a perfect balance of dirty, underground grit and catchy stadium-bothering rock’n’roll ambition. Opening track “Pest Crusade” demonstrates this in style. It is a complex track composed of shifting tempos and styles, encompassing shards of raging black metal, stop/start riffage and blasts of no-nonsense stoner punk.  The three flawless tracks that make up “The Spell” demonstrate that Mantar’s unique brand of heaviness is growing ever more potent.

5). Bison - “You Are Not The Ocean, You Are the Patient”(707)

“You Are Not The Ocean, You Are the Patient” is an amalgamation of everything that Bison does well. If you love anything in the realm of sludge or stoner metal, this is a must for you.

4). Beastmaker - "Inside The Skull" (762)

It's impressive that, only a year and a bit after their debut, Beastmaker have taken their sound and improved upon it with sharper song writing and an impressive grasp of what makes music of the trad doom genre tick.

3). Paganizer - "Land of Weeping Souls" (787)

Rogga Johansson shows no sign of letting up at all; another album, another line up, another master class in Swedish death metal. This is absolutely business as usual for Paganizer, possibly the finest and purest exponents of this type of metal around. Highly recommended.

2). Elder - "Reflections of a Floating World"(822)

Reflections of a Floating World’ is both a glance back and a stride forward. The direct nature of some of the riffs and the weight of their execution sit it comfortably between ‘Spires Burn/Release’ and ‘Lore.’ The expansion of ambition and variety in musical approach however, keep Elder’s eyes firmly fixed on the horizon

1). Vokonis - "The Sunken Djinn" (964)

Whilst being undoubtedly heavy what makes this sophomore effort stand out is the variation employed in the bludgeon. By embracing less traditional doom landscapes ‘The Sunken Djinn’ has allowed Vokonis room to demonstrate the full raft of their audio-weaponry, and in doing so propelled them to the forefront of the heavy underground.

A big thank you as always to our amazing writers, your dedication knows no boundaries and for that I am truly grateful.  June 2017’s “SOUR 16” features reviews by:  Richard Maw, Andre Almaraz, Charlie Butler, Conor O’Dea, Brandon Green, David Jupp & Mark Tremblay