ALBUM REVIEW: Un, "Sentiment"

By: Richard Maw


Album Type: Full Length

Date Released: 28/09/2018

Label: Translation Loss

For listeners prepared to take this grim journey, there are impressive rewards to be had. Not for the faint hearted, but certainly this album is one of the best releases this year in doom or any other genre. The whole album is a grim steed, plodding inexorably towards its own fate. Fantastic.

 

“Sentiment” CD//DD//2LP track listing:

1). In Its Absence

2). Pools of Reflection

3). Sentiment

4). A Garden Where Nothing Grows

The Review

Well, there are four tracks here, nothing much under twelve minutes in length and there has been a sizeable buzz surrounding this record for many weeks prior to me sitting down to review. So what is going on with Un's “Sentiment” album- their sophomore release?!

For starters, melancholic clean work opens up and then gives way to a truly huge and crushing passage of music. Obviously, from the song lengths alone, it is reasonable to assume that this is an album that is in the arena of the doom genre- and it is, loosely. This is nothing really like Sabbath, Vitus, Trouble, Candlemass et al- it is not trad doom by any stretch. It does fit into the more modern interpretation of the genre label- think Conan, Yob and so on.

The vocals are of the growled variety (not on every track though, so keep an ear out!), the sound is absolutely enormous and the mix is excellent. This is very, very weighty stuff indeed and by the time opener “In Its Absence” has finished, the tone has been set. There is nothing uplifting here: only the darkest and murkiest riffs and sounds are to be found here. It's a downbeat listen, as song titles such as “Pools of Reflection” suggest. The title track is just as sprawling and epic in approach and utilises the same clean opening (yielding a promise of something sweeter than the bitterest of fruit which is actually then served up).

There are echoes of Paradise Lost at their gloomiest, echoes of Yob at their trippiest and there are hints of death metal, psychedelia and even shoe-gaze here and there. The closing statement of “A Garden Where Nothing Grows” is a dark and bleak vision and it really sums up the whole record very well. Any track here would sum up the release as a whole as it is a very strong whole and is nothing if not consistent.

Yep, “Sentiment”fits into the doom bracket, but there is a great deal going on here. For listeners prepared to take this grim journey, there are impressive rewards to be had. Not for the faint hearted, but certainly this album is one of the best releases this year in doom or any other genre. The whole album is a grim steed, plodding inexorably towards its own fate. Fantastic.

“Sentiment” is available HERE

Band info: bandcamp  || facebook

ALBUM REVIEW: Iron Void, "Excalibur"

By: Ernesto Aguilar

Album Type: Full Length

Date Released: 25/05/2018 (Digital)

Label: Shadow Kingdom Records

"Excalibur" is going to win over a lot of classic doom fanatics. Iron Void should be on the radar of the scene for a revivalism that it owns wholly and proudly.

“Excalibur” CS//CD//DD//LP track listing:

1). Dragon’s Breath

2). The Coming of a King

3). Lancelot of the Lake

4). Forbidden Love

5). Enemy Within

6). The Grail Quest

7). A Dream to Some, A Nightmare to Others

8). The Death of Arthur

9). Avalon

The Review:

Veteran doom peddlers Iron Void have had plenty of fits and starts over their career. After forming in 1998, the band disbanded for a decade before roaring back with a vengeance, dropping 2010's "Spell of Ruin," 2014's "Iron Void" and "Doomsday" in 2015. Now at their creative peak, Shadow Kingdom Records will issue the European vinyl of "Excalibur," Iron Void'sArthurian themed nine-song release tracking at just over 45 minutes.

Vinyl has been the financial shot in the arm to the music industry that few ever expected to make the comeback it has. Partially such success can be credited to bands like Iron Void. "Excalibur" offers rich, earthy sonics that seem made for wax. As the LP kicks off with "Dragon's Breath," Iron Voidis inescapably catchy as it is dense. The band is also deceptively elegant in how its songs are constructed; the Sabbathesque "The Coming of A King" boasts a holistic duty to the story it's telling, while not breaking the power of the song itself, its guitar or rhythm section. Thus, lyrics inject themselves into just the right points, while not interfering with the structure of the cut. You hear similar instances on "Forbidden Love" as well.

Those who love fantasy in metal are going to appreciate the story immensely. Without spoiling anything, just know that Iron Void set out and succeed at telling an effecting tale. The vocals throughout are quintessential doom and even transcendent at turns. As the album builds, it is impossible not to be swept up in how massive the sound comes across.

In addition, what doom and sludge devotees may most appreciate with "Excalibur" is its fidelity to providing a new varnish to classic doom in the vein of Saint Vitus, Pentagramand the like. As you know, there's been a major renaissance in the old-school sound of black metal and death metal, hastened surely by the number of derivative bands in more modern takes on these subgenres. Doom, stoner and sludge undoubtedly have these bands as well – The Sword may have been the most popular and prescient of the revamp – and Iron Void stakes its flag admirably. Even songs like "Enemy Within," with clear influences from "Electric Funeral," feel rejuvenated and original. Iron Void deserve a lot of credit for having the courage to make an album that is inevitably going to draw tons of comparisons, yet doing so in a way that feels like a modern makeover of doom metal. Steve Wilson's riffs are heavy, Iron Void's lyrical themes are solidly mystical and medieval, and its ultra-thick drums by Richard Maw and bass by Jonathan "Sealey" Seale compose a ridiculously good foundation for it all.

"Excalibur" is going to win over a lot of classic doom fanatics. Iron Void should be on the radar of the scene for a revivalism that it owns wholly and proudly.

“Excalibur” is available here

Band info: bandcamp|| facebook

ALBUM REVIEW: Hooded Priest - "The Hour Be None"

By: Richard Maw

Album Type: Full Length

Date Released: 01/12/2017

Label: I Hate Records

This is doom metal that will appeal to anyone with a sense of theatre and anyone who wants to bang their head as well; there is some great metal on offer here. Huge and sprawling in its ambition, “The Hour Be None” is a doom tour de force and I recommend it highly.

“The Hour Be None” CD//DD track listing:

1). Dolen – Exiting The Real

2). Call for the Hearse

3). These Skies Must Break

4). Herod Again

5). Locust Reaper

6). Mother of Plagues

The Review:

Dutch doomsters Hooded Priest return with their second full length album and now with the backing of the I Hate label. There is no need for a full track by track breakdown here: this is epic trad doom. If Candlemass is your thing, Hooded Priest will be too. If you are looking for the more street end of the trad doom spectrum (The Obsessed, Saint Vitus, R.I.P) then this may be too far towards history and fantasy for your liking- but that said, the music here is top notch so why not give it a go anyway?!

Six tracks of epic scope and sound are on offer, one track well over ten minutes and two well over nine! There are huge riffs here too- “Mother of Plagues” is just massive, with an expansive sound. My stand out track would be “Herod Again”- great riffs, themes and performances of biblical proportions- top quality doom with just a measure of traditional metal thrown in. Every track is a winner, the sound is suitably massive and the vocal performance is perfectly matched to the musical ideas. There are time changes aplenty as well; it keeps the tracks interesting and allows the song lengths to be worthwhile exercises in quality as well as quantity.

This is doom metal that will appeal to anyone with a sense of theatre and anyone who wants to bang their head as well; there is some great metal on offer here. Huge and sprawling in its ambition, “The Hour Be None” is a doom tour de force and I recommend it highly. 

“The Hour Be None” is available here

Band info: facebook|| bandcamp

ALBUM REVIEW: Sorcerer - "The Crowning of the Fire King"

By: Richard Maw

Album Type: Full Length
Date Released: 20/10/2017

Label: Metal Blade Records

Fantastical, epic, dark, heavy and doomy are all words that describe the record appropriately. There are not too many doom bands ploughing this traditional furrow these days, but Sorcerer represent the very best of them. This is another excellent album by an excellent band

“The Crowning of The Fire King” CD//DD//LP track listing

01. Sirens
02. Ship Of Doom
03. Abandoned By The Gods
04. The Devils Incubus
05. Nattvaka
06. Crimson Cross
07. The Crowning Of The Fire King
08. Unbearable Sorrow

The Review:

Sweden's Sorcerer return, a mere two years after the excellent “In The Shadow Of The Inverted Cross”. In my review of that album, I noted the Dio-esque lyrical themes and stylings, the Sabbath weight and the epic nature of real doom. Well, I am able to report that all those elements are present and correct on “The Crowning...”

From the rolling drum intro, to the first riff, to the first vocal- everything you would want from a doom album is here. The sound is suitably epic, as are the song lengths. There is some excellent lead work in opener “Sirens” as well. With both the second and last track here clocking in at close to ten minutes, this is not a doom record for the casual doom fan- or the “doom” fan who thinks that sludge is doom. This is true doom for true doom heads- start with Sabbath, go to Saint Vitus, Pentagram, Trouble, Candlemassand The Obsessed and then... Sorcerer would be a logical next step.

The album is dramatic, textured (acoustic guitars shimmer here and there, melodies are plentiful, riffs are massive) and as heavy as lead. The likes of “Abandoned By The Gods” feature riffs that you would swear were from the hands of Iommi himself. Indeed, the solo backed by rhythmical bass is straight out of the Tony Martin era. An acoustic instrumental bridges the record and the final three tracks are as strong as the first three; the band save the title track for next to last, showing that the record is not front loaded.

Fantastical, epic, dark, heavy and doomy are all words that describe the record appropriately. There are not too many doom bands ploughing this traditional furrow these days, but Sorcerer represent the very best of them. This is another excellent album by an excellent band. Doom on.

“The Crowning of the Fire King” is available here

Band info: bandcamp|| facebook

ALBUM REVIEW: Blackfinger - "When Colors Fade Away"

By: Richard Maw


Album Type: Full Length

Date Released: 15/09/2017

Label: M-Theory Audio

 

I cannot find anything to fault here. Blackfinger have delivered nine tracks of trad doom with style and finesse. Eric Wagner has put his name to another excellent doom album and this is recommended to any fans of Trouble, The Skull, Saint Vitus, The Obsessed and so on out there

“When Colors Fade Away” CD//DD//LP track listing:

1). When Colors Fade Away

2). Can I Get A Witness

3). All My SorrowType O

4). My Old Soul

5). After-now

6). Crossing The River

7). Beside Still Water

8). Waiting for the Sun

9). Till We Meet Again

The Review:

Blackfinger's second album once again has Eric Wagner at the helm on vocals and comes three years after their self titled debut.  The band is split between Illinois and Pennsylvaniaand certainly brings the Autumnal melancholy that one associates with those states. The first album was a mixture of doom and classic rock influences and reminded me of Type O Negative in some ways. This second offering, to my ears has ramped up the doom leanings.

The title track is up first and makes an effective statement of intent- it delivers downbeat and downcast doom in the Sabbath vein, while “Can I Get A Witness” also has the blood of Iommi running through its veins. The nine tracks here all sounds great; the drums are boomy and big sounding, the bass rumbles, the guitars suitably thick. Wagner is on good form as ever (when is he not?!) and he keeps his plaintive wail pitched just right- both in terms of lyrics and technical singing. References to obscure darkness, the illusion of choice and so on abound. The nursery rhyme reference in “My Old Soul” works, surprisingly, but it is the atmosphere of the album which really makes for more than the sum of its parts.

Even when the band grooves, as it does on “Afternow”, there is still an undercurrent of menace and despair- which is exactly as a doom record should be! The track is a great example of a slow groove, it features a cowbell and the solo, which is excellent. With none of the tracks exceeding six minutes and most around the four minute mark, the band has their style of arrangements down. This is not epic doom, but it is doom in the most traditional form- please note, sludge is NOT doom.

From the crawling likes of ”Crossing The River Turmoil” to the more creepy “Beside Still Water” the record does cover a fair bit of ground- but only within the sphere of trad doom. This is not a heavy metal record, it does not feature thrash inflections and has stripped away the classic rock feel of the self titled album.

By the time of the melodic “Waiting For The Sun”, the album is most definitely set in stone- melancholy vibe in terms of clean sections, lyrics and vocals, riffs that are thick and heavy with emotional weight rather than aggression. Only on the closing “Till We Meet Again” does the band press the pedal slightly closer to the metal and a fine groove it is too. Really, I cannot find anything to fault here. Blackfinger have delivered nine tracks of trad doom with style and finesse. Eric Wagner has put his name to another excellent doom album and this is recommended to any fans of Trouble, The Skull, Saint Vitus, The Obsessed and so on out there. Try to get hold of it before winter really hits as it suits the atmosphere of Autumn perfectly.

“When Colors Fade Away” is available here

Band info: bandcamp|| facebook

ALBUM REVIEW: Blessed Realm - “Doomography 1993-2002”

By: Richard Maw


Album Type: Compilation

Date Released: 14/07/2017

Label: At War with False Noise

This is a lengthy and worthy collection from one of the unsung bands of British doom- from an era when doom was not in anyway commonplace.  This is an essential and extensive release, which will fit nicely onto the shelf right next to your Sabbath and Cathedral albums.

“Doomography 1993-2002” CD//DD track listing:

1). Red Dawn

2). Where Winds Whisper My Cry

3). Lost Horizons

4). Circle of Misery

5). Wasted (Rehearsal ’99)

6). Bleeder

7). Black Hole

8). Two Time Loser

9). Crawl

10). Jezebel

11). Before My Eyes (Rehearsal ’99)

12). Spiritual Solitude

The Review:

Blessed Realmhailed from Northern England, emerging as a doom band in a time when doom bands numbered in single figures in the UK. Going for the classic doom line-up (you know the one) of Sabbath, Vitus et. al. This compilation brings together all the band's studio recordings from their nine years of existence.

As a document of British doom in that time, it is as genuine as it gets. This is a band that never made the big leagues and remained underground, but with a keen influence on the genre (much like, say, Unsilence from the North West) and other bands who sprang up in their wake. Naturally, as this is a compilation of demos from a time when Pro Tools was not the standard recording methodology, the sound quality here is varied. The “Redemption” demo of 1995 has plenty of hiss for all you old schoolers who remember it on tape from twenty years ago not to mention epic song lengths which would become standard for the genre.

“The Chasing The Dragon” Demo of 1996 features a drum machine- the material is worthy, but the feel is lost for me as the mechanical element of using a machine takes some of the life out of the songs- for me, anyway. That said, the performances of the rest of the band are strong and the programming is solid- particularly for its time.

“The Return To Zero” demo of 1998 is a step forward for the band and features live drums once again with strong songs such as the sinister “Bleeder” and the punchy “Two Time Loser”. “The Crawl Demo” of 2000 is the strongest selection here for  me- I note that it may be a little further from their pure doom roots, but this takes in an almost Iron Man/Trouble sound along with the dark moods of earlier material.

Alongside the official demos there is a sprinkling of rehearsal tracks from different eras and the superb finisher “Spiritual Solitude” from 2001. This is a lengthy and worthy collection from one of the unsung bands of British doom- from an era when doom was not in anyway commonplace (remember the snide comments Cathedral used to get for playing slow and “looking 70s”?!).

This is an essential and extensive release, packaged in a luxurious digipack with photos and liner notes, which will fit nicely onto the shelf right next to your Sabbathand Cathedralalbums.

“Doomography 1993-2002” is available here

Band info: facebook

INTERVIEW & TRACK PREMIERE: Take a trip to “The Island Where Time Stands Still” with doom pagan sons Cardinals Folly

Cardinals Folly refer to themselves as a “Finnish doom metal cult with dark desires & heavy metal incantations,” who have been “laughing at stoner/retro trends since 2004.” 13 years later and Finland´s dark princes of the riff, are back and set to unleash their 4th album “Deranged Pagan Sons”through Nine Recordson CD and Topillo Recordson LP around September 2017.

As we have referenced previously Cardinals Folly are a band who will garnish extreme reactions from listeners. People will either be instantly turned off with their sluggish riffs and at times varied delivery by front man, Mikko or they will instantly proclaim them as their new favorite band, what is certain though, is that they are definitely a highly recommended group for when you find yourself at your most dejected and misanthropic.

Dabbling in the world of occultism, weird tales, pagan rites and luciferian depravity, the band has recorded 8 powerful, even wild anthems of heavy doom and metal mastery, that never let their savage grip go, their only rule is to doom in, drop out, rock hard & stay true.

Laughing off the shackles of the latest trends or retro gimmicks, Helsinki trio Cardinals Folly bring an energy and inventiveness to the genre that is authentic and unique. Drink from this chalice and give your body and mind to the old gods, as we debut another track from the album, so take a trip to “The Island Where Time Time Stands Still” and whilst you’re at it, check out our exclusive interview with bassist/vocalist Mikko Kääriäinen.  Pre-orders of “Deranged Pagan Sons” are available here

Mikko, welcome to THE SLUDGELORD. Can you give us an insight into how you started playing music, leading up to the formation of Cardinals Folly?

My first actual band experience was starting an early version of Folly in October 2004. This is my brainchild and my only active legit band ever. Lots of bogus projects on the way, though. So I´ve played doom for 13 unholy years... it´s not much, but it´s a good start, heh heh! 

Although you are set to release “Deranged Pagan Sons” (your fourth full length), for those people unfamiliar with your band, is 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?

We're open to everything that inspires us, but we do not see much to follow in the current scene of downer metal. Most are bandwagon hoppers, trend followers and arsekissers. Cardinals Folly is all about keeping it true and passionate. Pure impact and catchiness. We're all about the glory days of heavy metal; our main influences are very much in the past. Everything from groovy and fast New Wave of British Heavy Metal to the muddy slowness of Sabbath and Vitus. 

I´m often more inspired by weird stories, occult books & theories, B-movies, epics, any kind of sleazy/weird/vintage/exploitation horror stuff and things associated with those. Better and less well-known relics like Dennis Wheatley, Robert E. Howard, H.P Lovecraft, Aleister Crowley, Marquis de Sade, Jess Franco, Jean Rollin, the list is endless... fruits in the vine for deranged pagan son. Also my own creativity, foolhardiness and stupidity is sometimes a great inspiration and the method to my madness. 

What can you tell us about your upcoming record and where do you feel it sits within the context

of current doom scene?

This album is an energetic, groovy, catchy yet solemnly epic 48-minute slab of traditional doom and heavy metal. With slight extreme & epic metal and punk influences. There are bands who still play this old doom metal style, but I would say that no other band in the current downer scene dominated by things like stoner, psych and sludge influences plays diverse and entertaining metal like we do. Think how Reverend Bizarremight've sounded like, if they were formed by Angel Witchmembers, haha! That might be close. Add Cathedral and Motörhead there and put up a fist fight on that cobble-stoned back alley, and you might get Cardinals Folly. We combine slow & low with fast & hard. And no hesitation involved.

It's our best record so far, and the whole production of composing, rehearsing, demoing, recording, negotiating deals and creating visuals was handled pretty professionally this time around. We honed our chops down nicely and knew exactly what we were doing. And also worked with the right people who knew what's up. We're all proud of the album, and very happy to have it out in several formats - finally a vinyl too, thanks to Topillo Records! Playing heavy metal is still exciting to us and we keep evolving. Gotta love that mentally 18-year old's feeling of blasting fine riffs and banging your body while slightly intoxicated. Maybe we were pro this time around - but we're still more deranged than ever. 

Does anything spring to mind when you think about the completion of your upcoming record and how is the mood in the camp at present? What stands out as your overarching memory from the recording sessions?

I guess the thing worth mentioning is, how incredibly smooth it was. I hardly need to tell any vocalist how unpleasant it can be to record vocals in a studio. Or let other people hear the process. But nowadays I actually confide in my band mates as extra ears and all is very professional and focused. I can honestly say that this was a very pleasant session and I felt very confident and strong in regards to recording my vocals. I almost enjoyed it, ha! Also we've worked with our sound engineer for several records since our first EP, so we know exactly how recording with him is like, it fits us perfectly. We want to hone our methods and nowadays only work with people who we can count on, and know what we will get. Cardinals Folly is pretty DIY, so any extra individual involved must be a legit freako who knows what´s up. 

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

Bunch of live rituals coming this autumn, next one is with Count Ravenhere in Finland. Hoping to play more abroad too. Interesting shows coming with really good bands... also, we will record a split with Australia´s finest, Lucifer's Fall, around next winter. We're writing and jamming new stuff still all the time in our ritual cellar, and it just keeps getting better and better. Blasty!!!!

Finally, do you last words

Drink beer, worship Satan, fuck like a beast, be a suicide commando & buy our new album "Deranged Pagan Sons". Out this September. CD is out on Nine Records and Vinyl LP - Topillo Records. Blues for Satan & Doom to all men! VIVA LA MUERTE!

INTERVIEW & ALBUM PREMIERE: Hull Noise Collective Battalions unleash pure sludge fury with "Moonburn"

Hull, jokingly referred to in some quarters as “hole” and viewed by others as perhaps the worst place to live in the UK, it is perhaps best known for its sea life centre “The Deep”, rather than home to some of best upcoming UK bands, enter Battalions. 

A four-piece band, formed in 2010, Battalions have forged their own sound, playing local shows with great vehemence, sometimes to many, sometimes too few and in spite of original members leaving the fold, Battalions are attacking the underground scene with a renewed strength with their new album ‘Moonburn.'Recorded at the renowned Skyhammer Studios with Chris Fielding of Conan, the band would have to deal with further setbacks, with members once again leaving and potential label support not forthcoming  ‘Moonburn’, will hit the streets on August 5th 2017 via  their own ‘Hull Noise Collective’ imprint once again.

Today ahead of the albums official release, we hooked with front man and bearded gent Phil Wilkinson to discuss the bands formation, influences and the recording of the new album.  Not only that, we’re stoked to be able to present the first exclusive stream of “Moonburn”in full all, of which you can check out below and remember  in SLUDGELORD you can trust.  

Can you give us an insight into how you started playing music, leading up to the formation of Battalions?

I first started playing music when I was around 15, me and a few friends started a bedroom band covering Raging Speedhorn songs, it never made it out of the bedroom. After that my first proper band was a band called Centurions, followed by a stint in Introrectalgestation before a few years of doing nothing. Battalions came about from me and our original drummer being bored of not playing gigs and wanting to start a band that stood out in the local scene in Hull, big bass heavy riffs with tortured vocals. A formula that stands to this day!

Although you are set to release “Moonburn” (your second full length), for folks unfamiliar with your band, is there any bands on the scene past and present that you would use as a reference point bands to describe your band, and who or what continues to inspire you and push you to try new things?

There’s the obvious, that’s evident in most of our songs – Black Sabbath, AC/DC & Clutch, we are also heavily influenced by the likes of Raging Speedhorn, St Vitus, and my personal influence and vocal idol, Iron Monkey. Bands currently about pushing us to excel are all the bands we’ve toured with this year, each band playing at the top of their craft, and when you play with them each night you only want to do better yourself – most notably, 1968, Ritual King& Regulus.

What can you tell us about your upcoming record and where do you feel it sits within the context of current metal scene?

“Moonburn” is 7 tracks of pure rock fury, with a little more diversity than our first album ‘Nothing to Lose’. Written and recorded within a year of releasing our first album, to us it is an advancement of our sound, bringing the big bouncy riffs to the forefront, whilst also keeping the song short and snappy, keeping with our members punk and hardcore roots. We feel it sits comfortably straddling various heavy genres, from sludge and stoner, with nods to classic rock and big riffs!

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

We are just excited to finally get it out there, a lot of hard work has gone into releasing this record, especially so as we are doing it completely DIY. The mood is one of pure excitement, things are stepping up a gear and it’s great to be involved with something that people seem to appreciate and enjoy.

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

Having Sam Orr (of the amazing 1968, if you haven’t already, we implore you to check them out!) come down and hang out for a few days around recording his solo for “Amazonian Woman” was great, and helped the mood stay very positive. Other than that, I must say the biggest memory is the morning after the night before, when our Dennett drank a bottle of gin to himself, and had a few hours sabbatical to pray to the porcelain god.

With a solid gold album in the bag, how is your schedule shaping up over the next 12 months?

Firstly, thank you for calling it solid gold! We are extremely proud of the record and the songs. We have a very busy schedule, starting with headlining the Rock Stage at Humber Street Sesh, a local festival that last year saw 35,000 people attend. Following that we have just been announced for the New Blood stage at Bloodstock festival. After that we have a short Scottish run with Psychotic Depression, along with a tour in the works with California’s Armed for Apocalypse. Other than that we just aim to tour the album as much as possible!

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

Give everything you do 110%, the rewards are there, its hard work going it alone, but worth it when you have something you can truly be proud of. Be friendly, make friends with the bands you play with, enjoy every minute of the ride.

“Moonburn” is available to preorder/buy here

Band info: facebook || bandcamp

ALBUM REVIEW & TRACK PREMIERE: Eternal Black - "Bleed The Days"

By: Richard Maw

Album Type: Full Length

Date Released: 08/08/2017

Label: Independent

The sheer weight of the riffs will indeed threaten to pull you under, as they deliver just the right amount of menace to go with the fuzz. There is a hefty dose of soul in the music here, along with a pervading blackness.

“Bleed The Days” CD//DD track listing:

1). The Lost, The Forgotten and The Undying

2). Snake Oil and Coffin Nails

3). Sea of Graves

4). Into Nothing

5). Stained Eyes on a Setting Sun

6). Bleed The Days

7). All Gods Fail

The Review:

Proper American doom! There's your starting point for this review. Their three track EP from a couple of years back got my attention, so this record was anticipated by me as hopefully being a good one. The band have made good on their early promise and delivered a real beast of doom. Think The Obsessedand Saint Vitus as reference points- with a hefty dose of Sabbath in the background of course.

There are not too many bands around like this, not just any more, but ever. Eternal Black, as my last review noted, till the same soil as Scott Weinrich and his sundry projects- that is to say that there is a hefty dose of soul in the music here, along with a pervading blackness. There are concise riff chargers like opener “The Lost, The Forgotten and The Undying” and the band open up and get loose with jazz-like bass work and rhythms on second track “Snake Oil and Coffin Nails”. The sheer weight of the riffs on “Sea of Graves” will indeed threaten to pull you under, as they deliver just the right amount of menace to go with the fuzz. Ah, this Brooklyn band know how to channel the spirit of Dave Chandler, that's for sure.

The haunting instrumental “Into Nothing”progresses the record's dark feel and acts as a bridge between the first and second half. Naturally, things are just as dark for the following three tracks. “Stained Eyes on a Setting Sun” is a slithering festival of murk, with some seriously fuzzy riffing. The title track is a real stand out in terms of atmosphere and vibe- pure Vitus worship in the riffs and sound.

The album closes with the close to eleven minute track “All Gods Fall”, which is a rather epic finisher to this fine doom album. Just as with the 2015 EP, the band are not reinventing the doom wheel, but they are making fine classic doom in the proud American tradition. This is low, slow and as dark as the band's name suggests. For anyone looking for that Vitus/Maryland vibe, this is absolutely for you. If you don’t belief me, check out the stunning title track “Bleed The Days” which we are streaming  exclusively below

“Bleed The Days”is available to preorder/buy here

Band info: bandcamp || facebook