RECORDS OF THEIR YEARS...with Julien Chanut from Hangman's Chair

Hangman’s Chair are regarded as France’s foremost name in the world of stoner / doom, releasing a steady flow of singles, EPs, albums and split releases (including a 2017 split EP with longstanding Japanese stoner / doom outfit Green Machine), yet their music is in no way bound by style, as their latest album ‘Banlieue Triste’ clearly shows; these 10 featured tracks represent the band’s most complete, realised statement to date, successfully merging a variety of different elements into a body of work driven from the conscience and the heart, with subtle touches and crushing power standing side by side. 

Recently signed to Spinefarm Records, it seems the band are finally receiving the recognition they deserve and having been a fan of the band since the release of their fantastic “Hope Dope Rope” from 2012 , after  long 6 years I am finally able to feature the band on THE SLUDGELORD, so please welcome guitarist Julien Chanut as he chooses his “Records of their Years” 

SL: Favourite album from the year you were born?

Julien: Renaud, “Marche A l’Ombre” (1980)

Well, I could have chose some obscure goth band from the early 80’s or a NWOBHM band of that era but the only album I know for sure that popped out in 1980 is “Marche à l’ombre” of Renaud. He’s an old French singer, he‘s still alive and started his career back in the ‘70s, he’s really famous in France.

He sings about the “banlieue” the ghetto youngsters, Paris, love, politics, everyday life… sometimes in a humoristic way but most of the time in a sensitive way. At that time he was considered as a rebel, he was against all repression, Police, Army, government.  As I am not really into politics, I prefer when he talks about everyday life, his stories about being young in France in the 70’s/80’s.

That’s the kind of music we like to play at parties or in the van, we all know the lyrics by heart and it’s great for late night karaoke.  Moreover, with the artwork of “Banlieue Triste” we somehow pay tribute to all his early album covers, we took a nostalgic look back at those covers.

SL: First album you bought with your own money?

Julien: Michael Jackson, “Bad”(1987)

I was 7 at that time, the album had just come out and it was a huge worldwide release. With my money pocket, I remember buying it in a market street in Thailand, those kinds of illegal shops where they used to sell hundreds of cassette tape bootlegs for dirt cheap. Mine was a recordable tape with a color photocopied cover, no lyrics.

My favourites songs were “Liberian Girl” and “Smooth Criminal”, I was playing them all day long in my room, trying to sing in fake English, so “any ayou wocki” (Annie are you ok)

A few years later, when I was a little more confident in my music taste, I got introduced to Hip Hop by a cousin and bought the tape of ICE T, “Iceberg” in a “real” shop, knowing exactly what I was looking for. That was the first time I get a tape that I wanted for a long time.  After that, when my sister get our first CD player, as a young teenager discovering punk hardcore, the CD I bought was Bad Brains, “Rock The Light” and my first vinyl was Judge, “Bringin’ It Down”. Before that, we were trading and borrowing 90min recordable tapes of multiple bands. 

SL: Favourite non metal / rock album?

Julien: Mobb Deep, “Hell On Earth” (1996).

I listen to a lot of Hip Hop, US and French but the first time I heard Mobb Deep, it was like I was rediscovering rap music. This album in particular was my introduction to their work and to all the Queensbridge sound, it sounds rough, cold and dark and that’s what I was looking for a long time without even knowing it.

Everything is great on “Hell On Earth”, from the title itself to the lyrics to the instrumentals of Havoc, the atmosphere is so grimy. Prodigy is probably my MC number one, alongside with Shyne, they are a real inspiration for our lyrics, even if we don’t deal with the same subjects.

Now, I ‘m more into old Memphis rap bands like Three 6 Mafia, Tommy Wright III and some Screwed & Chopped like SpaceGhostPuurp.

SL:  Favourite album of all time?

Julien: Tough one… usually people asks for your Top 5 of all times… I cannot chose one album in particular, it depends on my mood, one day I can tell you it’s “Nine ways to say I love you” by Section 8 and another day “Dirt” by Alice In Chains etc… What I can tell you is the song for my funeral: “The Last Rebel” by Lynyrd Skynyrd

SL: Favourite album of 2018?

Julien: YOB, “Our Raw Heart”

Not very original on this one but so far, this is my fav album of 2018. Everybody was expecting for a great album after what Mike Scheidt has been through and that’s exactly what they did. Just like all their albums, I need several playings to really get into it, I explain myself : first I prefer the sound of “Clearing The Path To Ascend” which is at the first listening more powerful and secondly “Our Raw Heart” is much longer than all the previous ones, maybe too longer, too much informations.

So you keep on listening it and then, all of a sudden, it becomes clear. It takes time to appreciate good things. The sound is lighter but that’s OK, it fits the songs, now my ears are getting used to it and I finally understand the tracklisting. “Beauty In Falling Leaves”and “Our Raw Hearts” are soulful songs. There’s something unique about this band.

SL: And finally The last album you bought?

Julien:  RITUALZ, “DOOM” (2018)

For me, it sounds like a slow low fi version of PRAYERS, a good mix of cholo goth, dark wave, industrial and post punk. His first albums are more in the vein of the Witch House bands, great stuff though.

The End

Hangman’s Chair’s new album “Banlieue Trist” will be available on 27th September 2018 via Spinefarm Records and the track “04/09/16” can be stream below

Band info: bandcamp || facebook

ALBUM REVIEW: Witchsorrow, "Hexenhammer"

By: Richard Maw

Album Type: Full Length

Date Released: 25/05/2018

Label: Candlelight Records |

Spinefarm Records

“Hexenhammer” is surely one of the most talked about doom releases of 2018, more focus, more weight, more riffs... and better songs, once again confirming the band's status as one of the UK's premier doom acts.

“Hexenhammer” CD//DD//LP track listing:

1. Maleficus
2. Hexenhammer
3. The Devil’s Throne
4. Demons of the Mind
5. Eternal
6. The Parish
7. Like Sisyphus

The Review:

Witchsorrow are one of the handful of bands that play doom in the UK; not sludge, not sludge doom, not stoner doom, not stoner rock: just doom. Firmly from the Electric Wizard school of tempos and grooves, but with a little more in the way of songs.

On this record, the band have improved again; this is undoubtedly their best album yet. A very weighty production job combines with the best song craft from the band to date. After a suitably portentous intro, it's down to business with the title track, which is more dynamic than you might expect from the Witchsorrrow of yore. The record certainly sounds like a Skyhammer recorded production- deep drums with a nice tone, thick guitars and the whole thing is well mixed with the vocals occupying a pleasing slot in the centre of the soundscape.

Witchcraft themes abound as the band lurches from slow and leaden to downright brisk on “The Devil's Throne”, which has a great NWOBHM feel.  The album knocks anything from their debut into a neatly cocked hat. It is more concise and focused, the band play in a very assured manner and sound as if they have found a musical groove which really works for them.

There is very weighty material on this release; “Demons of the Mind” is a fine example of the band lumbering into a dark groove with full force. At seven tracks, the album does not outstay its welcome- even with several songs running past seven minutes. In fact, the final three offerings to the gods of doom play really well and go by without anyone having to look at their watch. Such is the power of Witchsorrowin 2018; more focus, more weight, more riffs... and better songs.

Whether it be the creepy riffing of “The Parish”or the epic closing statement of “Like Sisyphus”, the album delivers consistently and powerfully. This is a huge step up from their self titled debut and a consolidation of the improvements made on “No Light Only Fire”. “Hexenhammer” is surely one of the most talked about doom releases of 2018 and it once again confirms the band's status as one of the UK's premier doom acts. Doom on.

“Hexenhammer”is available here

Band info: facebook

TRACK BY TRACK ALBUM REVIEW: Orange Goblin, "The Wolf Bites Back"

By Ken Wohlrob & Richard Maw

Album Type: Full Length

Date Released: 15/6/2018

Label: Candlelight Records | 

Spinefarm Records

The Wolf Bites Back” is everything that Orange Goblin should be: aggressive, raw, bluesy, ballsy, and still heavy as hell.

“The Wolf Bites Back”CD//DD//LP track listing:

1. Sons of Salem

2. The Wolf Bites Back

3. Renegade

4. Swords of Fire

5. Ghosts of The Primitives

6. In Bocca Al Lupo

7. Suicide Division

8. The Stranger

9. Burn the Ships

10. Zeitgeist

The Review:

Sometimes, later in a band’s career, you can hear them floundering. They’ve either driven their style into the ground or they are trying so many new things that they’ve lost their identity. I won’t name any bands. You’ve heard it and know. Orange Goblin, thankfully, have not lost sight of who they are and what makes them unique. At the risk of taking a direct punch to the jaw from Ben Ward himself, I’m even gonna call “The Wolf Bites Back” an incredible return to form for Orange Goblin. They sound that confident and sure of themselves. Their previous effort, “Back From the Abyss”, felt like it was a little too polished and didn’t capitalize on all the things that make Orange Goblin a force to be reckoned with. Or as Ben Ward put it himself recently:

 “There was definitely a concerted effort to make sure all the songs could work in a live environment which gives the album a more raw, stripped-back feel — something that I feel has been lacking from good rock and metal in recent years.”

He couldn’t be more spot-on. Orange Goblin’s sound on “The Wolf Bites Back” is vicious again. Akin to the attack they had on “Thieving From the House of God”, “Coup de Grace”, and “Eulogy for the Damned”. “Sons of Salem,” “Renegade,” and the exceptional “Suicide Squad” will kick you square in the teeth. If you wanted them to be groovy and bluesy, it’s there in "Sons of Salem," “Burn the Ships,” and “Renegade,” a song that would’ve made Lemmy, Philthy, and Eddie sport mile-wide grins. For the most part, each song feels well-honed and dialed, the band sure of exactly what each track should be. (For a full track-by-track run-down by myself and Richard Maw, scroll down).

Give some credit to producer Jaime Gomez Arellano. The production is superb but is not smothered in compression. “Back From the Abyss” felt too slick to my ears. Too modern metal. “The Wolf Bites Back” feels more alive, without sacrificing any of the thickness in their sound. Martyn Millard and Chris Turner have always been one of the best rhythm sections in heavy music. On this album, they sound huge and rightfully so. The bass and drums anchor the songs perfectly, giving guitarist Joe Hoare room to play fast and loose. That’s always suited Hoare better, a gutsy guitar player who is still severely underrated, and Arellano has the guitars sounding crisp and raw. When Hoare really tears into a solo or gets playful with licks mid-riff (something he does better than most other guitarists), he can't be beat. As for Ward himself, he is at his anthemic best on this new batch of tunes. More than most vocalists, Ward has an ability to drive a song with his vocal attack. He really lays into it on "Renegade" and "Ghosts of the Primitives", while still using subtly to great effect on "The Stranger."

The immediate question punters will ask is, "Are they the Orange Goblin of [insert album here]?" (Some will drop in “The Big Black”, others “Eulogy of the Damned”). Interestingly enough, the answer is yes to all of that. Elements of the band's past are all over the album. While there is so much that is familiar, giving die-hard fans something to latch onto, there is still a ton of experimentation. Orange Goblin, who grew past their stoner doom roots years ago, keep pushing their sound in new directions. Take a track like "Swords of Fire," which is unlike anything Orange Goblin has tried before. In the short space of four-plus minutes, the band expertly shifts through dark moods, textures, and time signatures, while still retaining their core attack. Its genius and still pummels like a son of bitch. Full credit to them for honing it down, instead of turning it into a 7-mintue-plus snoozer that loses its energy as the minutes drag on. A great band knows how to edit (whereas too many bands these days don't). Take a track like "The Stranger," that matches "Time Travelling Blues" as one of Orange Goblin's better mellow songs, but still sounds fresh and new for them, especially with its jazzy middle section.

In the end, Orange Goblin sounds reinvigorated and supremely confident. “The Wolf Bites Back” is everything that Orange Goblin should be: aggressive, raw, bluesy, ballsy, and still heavy as hell. It boils all their influences (Sabbath, Motörhead, NOWBHM, '70s Vertigo Records rock, etc.) into a perfectly rendered slab that knocks you in the head. And yet, it sounds effortless. You can't help but be in awe of that.

Pic by Paul Harries

A track-by-track discussion of “The Wolf Bites Back” between Richard Maw (of UK's Iron Void) and Ken Wohlrob (of America's Eternal Black).

1. Sons of Salem

Richard: The album kicks off in strong and rocking style with this one, I thought. Orange Goblinhave never been frightened to tackle historical and horror themes and this combines the two with (colonial) Salem being famous for the witch trials back in the 1690s. Great chorus—a kind of call to arms and I can see this one going over very well live. It kind of picks up where “Red Tide Rising” and “Sabbath Hex” left off from their previous two albums.

Ken: This is exactly what Orange Goblin should be doing. It’s hard-charging, heavy-as-hell, and groovy as a mother. In three minutes it capitalizes on all of Orange Goblin’s strengths. That main riff is catchy as hell but it has a natural groove to it. Martyn and Chris really anchor the whole thing so Joe can step out more. Ben is not Nick Cave. You’ll never accuse him of being overly poetic. But the son of a bitch knows how to write catchy, anthemic lyrics. He brilliantly turns that first line of the first verse into mini-chorus that gets repeated throughout. You’re right: the punters are gonna latch on to that at live gigs. I was chanting it by myself while riding the damn subway.

2. The Wolf Bites Back

Richard: I first saw this phrase on a Grand Magus t-shirt a few years ago. I know the two bands are tight and have toured together, so it may be an homage, or maybe not. Either way, it's a great title and the track features acoustic guitar to start — a nice production trick reminiscent of the Stones in that electric gets layered over the top — and a very strong pre-chorus. For me, one of the best tracks on the record. Ward's vocals are impressively moody and gritty and shows just how far he has come from the earlier albums the band put out.

Ken: I had a hard time with this track. For me, it is one of the weaker songs on the album (albeit that’s giving it short shrift because the album is so damn good). If it were a Grand Magus album, it would be a standout track (which is not a dig, it would fit their style perfectly). But it’s an Orange Goblin album. This one is kind of indicative of some of the problems I felt they encountered on “Back From The Abyss”. Namely, it in no way capitalizes on Orange Goblin’sstrengths. It feels too stiff, too straightforward, and is a little too on the nose for a Euro-metal anthem. With a band like Orange Goblin,their natural groove and bluesiness along with that unbeatable attack is what makes them distinct. I give the guys credit, they’re trying a lot of different things on this album and 99% work amazingly well. But this feels off for them. I agree, the intro with the acoustic guitar is really good, but from the moment the song finally kicks into full gear, it never really builds into anything.

3. Renegade

Richard: A bluesy and hard rocking track which is quite clearly a tribute to everyone's favorite outlaw: Lemmy! Bearing in mind Saxon and Airbourne (and probably loads more) have had a crack at a tribute song, this is a bold move. Goblin put their own stamp on things instead of pure Motörhead worship in the music; I have always considered the band as being a kind of mix of Sabbath and Motörhead and they have always worn their influences on their sleeves.  It's a cracking song and the band have captured a high energy performance here. Mr. Kilmister would have approved of both the music and lyrics, as some of them are pretty clever. I love this as Motörheadare one of my favorite bands.

Ken: 100% agree with you on this one. What an absolute barnstormer! On first listen to the album, this was the song that made me go, “Yes, these fuckers nailed it!” It seems like such a simple straightforward British boogie-stomp, but there is a lot more to it. Indeed, you’re spot on with the comparisons to Motörhead and Saxon. “Dead Men Tell No Tales” on steroids. Could almost picture Biff or Lemmy singing it. The way Joe Hoare steps out on this one, it’s everything that makes him an amazing guitar player (and severely underrated).  It’s bluesy as hell (in the Billy Gibbons style), it’s got swagger (Joe has always had something akin to Rory Gallagher), and it’s loose and raw (ala Jimmy Page). Chris and Martyn get to be one of the best rhythm sections in the business as they’ve always been. You know this because you’ve seen the guys live many times, but Ben has an uncanny way of driving a song. The attack of his vocals add so much to this track. I’ve listened to it about 25 times now and it still sounds vibrant and tough as nails.

4. Swords of Fire

Richard: Things are a lot moodier here. Dark and downbeat. Once again, I think the band are spreading their wings a little here as they go for a slow burning intro and no vocals at all until well after two minutes in. This is more in line with the doomier end of Goblin's sound and I welcome it.

Ken: This is a great example of Orange Goblin taking a risk and it working magnificently. What style is this? Hard to pin it down as anything. Very unique in its construction and the way the parts all fit together. That intro could have come right off “The Big Black”. And the guitars coming in clean at first, over Martyn’s distorted bass, adds some really cool layering. It builds up anticipation. Then when it finally kicks in it’s a pure headbanger. It feels like classic Orange Goblin. Then the guys completely deconstruct it. An odd time feel, the monstrous heaviness of the verses, and then they jack the tempo way up and go full-bore. There is no simple verse-chorus-verse-chorus structure, yet somehow it’s still anthemic.

5. Ghosts of The Primitives

Richard: A much lighter track to start and one that has a lot more subtlety than Goblin have ever been credited with. As usual, Joe Hoare is the man of the match; lovely fluid riffing and lead work. The rest of the band drop in a smooth time change and Big Ben trades vocal lines with himself (and utilizes double tracking a la Lemmy) for depth. I love the fade out/fade in as well!

Ken: On first listen, I went, “Holy shit, it’s ‘Hard Luck’, Part II!’”. This was another one that felt like a touchstone for the band’s overall approach. It’s more sophisticated as their music has been over the past couple of albums, but it’s still raw and gritty. Once that main riff kicks in, you’re sold. Ben’s choruses and that bridge instantly win you over (“Dawning of the ages, dumbing of the senses, challenging existence, softening defenses!”). And the funky breakdown is really cool. In some ways, I feel like this is Martyn and Chris’s album. They stand out superbly on each track.

6. In Bocca Al Lupo

Ken: A cool little interlude that harkens to their NWOBHM influences. It's mostly Joe Hoare's show, bluesy and atmospheric. And it’s a wonderful setup for what comes next...

7. Suicide Division

Ken: I've been waiting for them go back to some of the punkier elements they brought in on “Coup De Grace” and this nails it perfectly. Two minutes of over-the-top aggression. And it still grooves like a motherfucker. Such power. Nobody can attack like these guys do. If you don't like this, you're a fool.

Richard: Yes! The “Coup De Grace” comparison is the first thing I thought of when I heard this. Punk aggression is one of Orange Goblin's stronger suits to play when they are in the mood. This really blasts off the second half of the record.

8. The Stranger

Ken: This one snuck up on me. It's become one of my favorite tracks on the album (for my money, this should've been the title track). Ben's delivery on the verses is perfect. He's mixing it up a lot on this album. He has an innate sense as to when to lay back in order to give a song more impact. I think this one is up there with "Time Travelling Blues" in terms of how Orange Goblin can cleverly get away with a ballady-type of song, without making it cheesy or cliched. It's a nice surprise when they quickly shift gears into a more progressive, jazzy rhythm. The moment Joe Hoare's guitar launches in it goes up a notch. At that point, I think the layering of the tracks is spot on. And then they break it right back down, absolutely beautiful. Chris keeps it swinging. Those wonderful swells of the organ at the end (reminded me of how much Per Wiberg adds to Spiritual Beggars). Perfect in every way.

Richard: Yep, great track; moody like “Beginner's Guide To Suicide” and this is a very nice change of pace to give variety to sound and mood on the record. The tempo change for the middle section of the song works really well and the track does have an epic feel to it.

9. Burn the Ships

Ken: For everyone who really wished Orange Goblin would write more songs like “The Big Black” era, dig on that opening riff.  How heavy and groovy can you get? And yet, the verses have a really clever construction. They tried similar things on “Back From the Abyss”, but here it works much better when matched against that heavy groove of the main riff and the breakdown in the middle. It's still very anthemic and grounded in classic British Heavy Metal (as they have been over the last few albums), but then anchored by that classic groovy doom.

10. Zeitgeist

Ken: I was kind of torn on this one. The first half didn't grab me. But I dug the instrumental back-half (which includes a guest appearance by Motörhead'sPhil Campbell). It almost made me wish they just did it as a pure instrumental, which would have made for an interesting ending to the album. Orange Goblin has an amazing track record of closing epics: "The Big Black," "Stinkin' of Gin," "Beginner's Guide to Suicide" (my favorite of the lot), and "A Eulogy for the Damned." Those are all fantastic closing statements for each of their respective albums (and again a nod to their NOWBHM roots, especially Iron Maiden who always tagged an epic on the end). So I give them credit for switching it up with something shorter. For some reason, "Zeitgeist" made me think of Van Halen's "One Foot Out the Door." It didn't feel like a complete song. More like a jam to close out the album. And after the brilliance of "The Stranger," this one feels the weaker of the two.

Richard: It makes for a strange and inconclusive end. I don't think they have ever topped “Crown of Locusts” as a closing statement and “Zeitgeist” does not alter that at all. You talked about the band playing to their strengths—I think this is perhaps and example of them not doing so. The second half is the much cooler piece of music, I concur. It shows the band expanding their range and the solos are great but the track on the whole just isn't up there with their best. I'm splitting hairs here, though, as this album is as strong as anything they have done over the years.

“The Wolf Bites Back” is available here

Band info: facebook

ALBUM REVIEW: Winterfylleth, "The Hallowing of Heirdom"

By: Richard Maw

Album Type: Full Length

Date Released: 06/04/2018

Label: Candlelight Records |

Spinefarm Records

“Winterfylleth have created a superb album here- one of atmosphere, melancholy and mystery. Indeed, much like the landscapes that inspired it, there is beauty to be found here in abundance if you are willing to give it a try.”

“The Hallowing of Heirdom” CD//DD//LP track listing:

1. The Shepherd
2. Frithgeard
3. Æcerbot
4. Halgemonath
5. Elder Mother
6. Embers
7. A Gleeman’s Volt
8. Latch to a Grave
9. The Nymph
10. On-Cýdig
11. Resting Tarn
12. The Hallowing of Heirdom

The Review:

Winterfylleth have always done things a little differently- no faux-satanic posing for them. No corpsepaint. No spikes and bullet belts. However, they remain a black metal band. On this record, though, they depart from the sonic tropes of black metal entirely and have instead turned in a gothic folk album. If you picked up their career spanning compendium a few years back and heard their version of “John Barleycorn Must Die”, then you have a pretty good reference point for what is contained here.

Twelve tracks of acoustic guitar, violin, percussion and vocals that range from choral to droning- no screams or growls necessary. Winterfyllethhave always been a band enthralled with nature and landscape. “The Shepherd”, inspired by the Marlowe poem, and the title track are clear odes to the land, while the title of “Resting Tarn” makes explicit overtures to the land and the people of it, but elsewhere the influence of  nature and folklore is just as strong.

The melodic “Æcerbot”, the melancholic and moody “Halgemonath”, the elegant “Edler Mother”- they all make use of violin and textured acoustic guitars and set a mood of contemplation and wistfulness. At well over 50mins in length the album does not feel like a short listen. Indeed, how much of the album you can listen to in one go may be determined by your love (or lack thereof) of the sounds described here. It is certainly not for everybody, but those who are fans of dark folk will find a lot to like here. “Latch To A Grave” is as dark as anything you will find on most orthodox black metal records, while “The Nymph” is a good deal prettier, with its female voice-over and light atmospherics. The production and recording is also excellent- headed up by the evergreen Chris Fielding of Skyhammer Studio.

Winterfylleth have created a superb album here- one of atmosphere, melancholy and mystery. Indeed, much like the landscapes that inspired it, there is beauty to be found here in abundance if you are willing to give it a try.

“The Hallowing of Heirdom”is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Black Label Society - "Grimmest Hits"

By: Richard Maw

Album Type: Full Length

Date Released: 19/01/2018

Label: Spinefarm Records |

Entertainment One

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

“Grimmest Hits” CD//DD track listing:

01. Trampled Down Below
02. Seasons Of Falter
03. The Betrayal
04. All That Once Shined
05. The Only Words
06. Room Of Nightmares
07. A Love Unreal
08. Disbelief
09. The Day That Heaven Had Gone Away
10. Illusions Of Peace
11. Bury Your Sorrow
12. Nothing Left To Say

The Revew:

After 2014's “Catacombs of the Black Vatican”, I was interested to see what Zakk and BLS would do next. The short answer was that they would tour and then... disappear for a while. BLS are now back with “Grimmest Hits” and my first impressions are that this is a step back towards riffs and more exciting writing. “COTBV” lacked memorable tunes and was rather too laid back for my tastes- although it was a polished and melodic album. Bearing in mind that I absolutely love “Sonic Brew”, “1919 Eternal”and “Order of The Black”, it is pleasing to hear something more akin to those albums rather than the lacklustre “Shot to Hell” or “Mafia”.

Opener “Trampled Below” is a foot stamper- very Sabbathy- and sets out the record's stall via big grooves and riffs and melodic vocals while “Seasons of Falter” is much mellower, but is a finely crafted song with a  pretty great central riff (think Sabbath again). Wylde has toned down his Ozzy-isms, vocally, and is back further towards how he sounded on earlier albums, but the riffs on the album really are very much in the vein of classic Ozzy-era Sabbath; as might be expected considering Wylde's recent foray in the live arena with his very own tribute, Zakk Sabbath. There is plenty of bluesy feel to the riffage of “The Betrayal”- it would have fit right in on Pride and Glory- so the album starts to take shape: bluesy, hard rocking stylings with a heavy Sabbath influence- this is not the full on metal fest of “Order of The Black”, but is much weightier than “Catacombs...”

Wylde delivers a fine vocal on “All That Once Shined”, and more melodic hard rock as the track progresses. As ever, the guitar work is fantastic (if you like pinch harmonics and blazing leads- not so much of the former on this offering, mind, but plenty of the latter). There is a lovely bluesy break in the middle of the song, too- fantastic! The first ballad is “The Only Words”, but it is a good one and light years away from the sombre (and dull) offerings of mid period albums. Again, it is closer to “Pride and Glory” than “Hangover Music”, by way of comparison.

The head gets nodding again for “Room of Nightmares”- still not warp speed or all out aggression, but good solid heavy riffs abound with a solid groove and a focused playing time. “A Love Unreal” starts acoustic and elegant, but mutates quickly after that brief intro into a swaggering riff and then melodic chorus- shades of “Sonic Brew” in the middle section spring to mind, too. The opening to “Disbelief” is pure Iommi and the main riff is too! A cracking track, not without some light and dynamics, this possibly represents where Wylde is at these days; hard rocking, but not frantically so.  “The Day That Heaven Had Gone Away” employs a similarly one paced approach but is much less interesting as the second of the album's ballads- great solo, of course.

“Illusions of Peace” puts the pedal to the metal effectively and uses a stop start motif which becomes a swaggering groove- prime BLS- with a Led Zep influence: the track is a corker. “Bury Your Sorrow” has a swinging feel and an off kilter riff, offering something different again. There are strong hooks on this one and it is weighty as well. Again, things switch down a gear for “Nothing Left To Say”, a conventional piece of soft rock, essentially, but a likeable one and closer to Wylde's “Book Of Shadows” releases than his usual BLS output. It makes for a question mark of a closing statement instead of an exclamation point and is a well crafted track. Not the incendiary pyrotechnics I was expecting the record to close with, but so be it. Wylde is now over 50 years old- the changes make sense, I think.

At 55 minutes, the album is perhaps a little over long- the easiest solution for me would be to cut a couple of ballads, of course! This is much stronger than “...Vatican”, which although I reviewed it fairly positively at the time just lacked staying power and memorable tunes. “Grimmest Hits” is a much more focused effort and rocks hard enough to keep fans like me happy and has enough melody to entice fans of less extreme metal fare. It is a Sabbath-esque listen with bluesy inflections and is chock full of riffs and solos. Zakk's back!

“Grimmest Hits” is available here

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"Forever a servant of the riff": In Conversation with Electric Wizard's Jus Oborn

By: Mark Ambrose

This Friday, November 17, Electric Wizard drops their ninth album, “Wizard Bloody Wizard”.  Their second release through the legendary Spinefarm Records, the album is also their first with Clayton Burgess on bass and Simon Poole on drums.  After honing their sound with an extensive international tour, the band recorded six tracks live to tape, creating one of their most accessible releases yet.  Founding member and doom metal icon Jus Oborn took a few minutes to talk to THE SLUDGELORD about this new chapter in the band, future film projects, and what to expect from the legendary doom crew in the coming year.

What was the writing and rehearsal process like for “Wizard Bloody Wizard”?

Pretty much the same as usual, really! It was a bit of a hassle because we were moving houses at the time.  A bit all over the place, rehearsing in different places.  But basically we work on the riffs, me and Liz, and just jam them out at rehearsals.

In putting it to tape, did you put any restrictions on yourselves – a certain number of takes?  It certainly sounds like a real throwback, not ProTooled but all in the same space.

It was all recorded live – first or second take to be honest, on all of it.  I recorded all of it myself on a sixteen-track tape.  You don’t really have options to do drop-ins and shit when you’re actually recording the whole band live.  You gotta get it right.  But I like that discipline.  I like the fact that you capture a performance on tape, you know?  What a band really sounds like.  And you gotta play as fucking good as you can!  You gotta really give it everything.  Because it comes out – it’s not like ProTools or whatever where you can chop things up afterwards. You go, “Well ok that was ok, we can fix that bit.”  Then you’re just making some kinda classical music or something *laughs*.

This is your first release with Clayton Burgess and Simon Poole on bass and drums and they bring some real swing and soul in their rhythm.  What’s their addition to the band been like?

It’s definitely given us a whole new foundation we hadn’t had before.  We were out on the road quite a lot in the last two or three years, so the lineup’s really solidified.  And you noticed Simon and Clayton have a chemistry.  We actually got them to rehearse together before we brought in the guitars to get them locked in together.  And that was cool, that worked out.  I think it’s something we’ve wanted for a long time – to have a bit of a stronger rhythm section so we can experiment and go a bit more over the top.  I always had the idea that the guitars in ‘Wizardwere always very solid, very simple, very brutal, and then the drums and the bass would play around a lot more.  Just have a lot of counter rhythm, counter melody.  Just another dimension, you know?  And I think it’s really worked out on this record.  I’m pretty fucking pleased.

From the beginning, Electric Wizard has had a multimedia element, whether with the film references, the Drugula comic, the visual show.  Do you have any plans with other media or film collaboration?

Well we’ve always been tinkering around with doing film, and we’ve filmed various things over the years.  But it’s always a bit of a long process, a lot of the time.  It’s all kind of unfinished projects and half ideas.  I think this video for “See You in Hell” is the first real video we’ve ever done!  We got to experiment with a few ideas there, recreating the old 70s TV studio sort of feel.  But moving into film is something we’d like to do.  I’ve been looking into – there’s actually an old biker movie called “Angels”.  It’s a Danish biker movie by the people that did “The Sinful Dwarf”.  But it’s missing its soundtrack and missing all the dialogue, so I’ve had the idea of re-recording it.  Recording music and doing the dialogue again – I mean the plot’s pretty easy to follow! *laughter*

And as far as comics and stuff, I’ve been interested in doing comics for a long time.  I’ve been talking with some people.  A few people seem to like the Drugula idea, you know!  I think they’d like to see a comic like that. 

It seems there’s a lot of crossover appeal, from the beginning of metal, with horror and comics.

It’s just part of the culture, growing up with the dark and heavy metal stuff.

One of our readers, Eric, wanted to know what you’re listening to lately.  Specifically, any non-metal/non-doom stuff that stands out for you?

I mean I do tend to listen to a lot of heavy rock and metal *laughs*.  I’ve been listening to a lot of The Sweet, an English heavy rock band.  They were kind of a pop band at first and they started doing some heavier shit.  I think they’re a pretty big influence on a lot of people.

Non-metal I just picked up this album by Jean-Claude Vannier – an album called “Insolitudes”.  A guy who collaborated with Serge Gainsbourg on the “Melody Nelson” album (1971’s “Histoire de Melody Nelson”).  It’s a pretty cool album, man!  It’s really dark, weird, kind of jazz, classical soundtrack music.  It’s pretty far out, pretty psychedelic, to be honest.  Good to smoke to.  Fuckin blew my mind *laughs*.

But yeah I’d recommend The Sweet F.A. (aka Sweet Fanny Adams) to anyone.  It’s some pretty fuckin epic, awesome guitar work on it.

Are there any reissues of some of the classic, out of print Electric Wizard stuff in the works?  Specifically, “Chrononaut” and “Supercoven” have become pretty sparse.

We’ve actually been approached by some labels recently.  Southern Lord have asked us about it again, because they put out the rerelease of “Supercoven” the first time round.  I’d like to see them come back out, especially as “Supercoven” is one of my favorite Electric Wizard albums.

OK here’s an urban legend to either debunk or confirm: one of our readers, Dan, asked if the volume of an Electric Wizard show really made you go deaf once?

Yeah pretty much! *laughter* Yeah I burst an eardrum.  Yeah it’s not cool.  I mean I hurt my eardrums for many years and it got pretty bad.

What are you planning as far as shows in the near future?

With the new record, it’s time to get out on the road.  We have a few festivals lined up – Inferno in Norway is gonna be cool with Satyricon and Obituary.  It’ll be pretty fucking heavy!  And we’re back in the US with the New Year.  It’s fuckin awesome to go over there.  Seems like everyone is still into heavy music, man.

Thanks for sitting down with THE SLUDGELORD, Jus!

Cheers!

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