TOP 16 ALBUMS: The Sour 16 (October 2017)

Allow yourself to indulge in a hefty dose of riffs, because it is time to present 16 of the best albums from September, it is time for your SOUR 16. 

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

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

16). Belus - "Apophenia" (710)

“Apophenia” is a breathtaking experience, a challenging listen, and an auspicious first entry from one of the few bands with the audacity to experiment and the chops to pull it off.

15). Uncle Acid and the Deadbeats – “Vol. 1” (Reissue) (744)

Imperfect though it may be, "Vol. 1" is a fascinating introduction to Uncle Acid and the Deadbeats' bold vision

14). Unsane - "Sterilize" (756)

 This is a flawless collection of bile-soaked missives that set the standard for riff-heavy, ugly noise rock in 2017

13). Gruntruck - "Gruntruck" (812)

Gruntruck straddles that line between heavy, melodic, and noisey, not afraid to venture into Pearl Jam territory when it feels like it, then take a hard left and land somewhere near the sound of Alice In Chains.  Listening to “Gruntruck”, I think I finally understand what grunge was about.  Sure it was a trend, but bands like this just wanted to rock.  And that’s what this record does. 

12). Wormwood - "Mooncurse" (892)

Wormwood's performance on "Mooncurse" is doom in the purest sense. Purposeful pacing and incredibly weighty riffs aplenty.  As you make your way to "Passage of Fire," Wormwood's greatest traits are on full display: an impeccable grasp of timing, dark musical sequences and undefeatable heaviness

11). Blackfinger - "When Colors Fade Away" (934)

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

10). Sarke - "Viige Urh" (952)

“Viige Urh” ignites stronger than the incineration of flames; forcefully ascends high up to Valhalla— it is a projection of eternality, packed up in a form of eight tracks as ferocious as incendiaries. 

09). Merchant - "Beneath"(987)

If you’re a fan of heavy sludge, doom, and death/doom, I don’t see how you could possibly not dig this album. The production is amazing and the tone is ultra-heavy. The drums pound mercilessly, the bass hits like a 50 pound maul, and the vocals pull it all together perfectly. Give this a listen now.

08). Iron Monkey - "9-13" (1383)

"9-13" offers a shredding sludge attack and is a violent rejoinder of why Iron Monkey got its reputation as a doom/sludge vanguard. All these years later, Iron Monkey remains gritty and uncompromising. Predictions for a return were invariably high. "9-13" does not blow those expectations out of the water. Nor does Iron Monkey disappoint. For that, there's much to smile about.

07). Bell Witch - "Mirror Reaper" (1440)

With "Mirror Reaper," the music conveys the reflection back of life and of death; literally that the Grim Reaper is a facsimile of the cycle of life. As with anything Bell Witch, though, such a realization is not engaged with in a fashion that rips at the pain of loss or terror, but rather builds into a deeper, though no less excoriating, meditation on the passage of time

06). Stonebirds - "Time" (1510)

The group merges many influences into a package that still sounds true to the subgenre. Stonebirds is adept at exploring concepts in their music that make it even more intriguing. To put it simply, the trio is one of the Europe's more intriguing stoner/doom performers today. "Time," far exceeds expectations and situates Stonebirds as a band to keep an eye on.

05). Pänzer - "Fatal Command" (1738)

This is a similar beast to their debut- powerful but with melody, hard driving but never out and out thrash. If you are a fan of Priest, Hammerfall, Accept and of course Destruction, there will be plenty for you to enjoy here. Classic heavy metal with a modern stainless steel sheen.

04). Enslaved - ‘E’ (2045)

‘E’ could very well be the foundation for yet another great era in a discography that is already ludicrously loaded with top-tier albums.  It is a  shift made with finesse and the second half of “Storm Son” could be the basis for a whole new era of Enslaved on its own.

03). All Pigs Must Die - "Hostage Animal" (2179)

The riffs are ceaseless as Wentworth and Izzi vary from much faster chords into a war chorus of tonality. And the results are gripping at every second. It, like previous selections, is potent with APMD's militancy. Best of all, APMD made the wait well worth it.

02). Blut Aus Nord - "Deus Salutis Meae" (2381)

What is truly most evident is an extreme music group that will not be bound to definitions, or at least is willing to experiment to ascend beyond what we think we know of a genre.

01). Primitive Man - "Caustic" (2989)

"Caustic" is an ambitious project, among the band's longest and most complex to date. Like their past work, the group explores nihilism in sound that rivals some of the most hopeless metal you've heard. That unrelenting quicksand of guitars and bass is here, as are those vocals of your nightmares.  Primitive Man offer up some of its most excellent music to date, making this sprawling and charging full length worth the wait.

A big thank you as always to our amazing writers, your dedication knows no boundaries and for that I am truly grateful.  October 2017’s “SOUR 16” features reviews by:  Richard Maw, Andre Almaraz, Mark Ambrose, Ernesto Aguilar, Daniel Jackson, Theron Moore, Charlie Bulter & Ralka Skjerseth

ALBUM REVIEW: Uncle Acid and the Deadbeats – “Vol. 1” (Reissue)

By: Ernesto Aguilar


Album Type: Full length

Date Released:13/10/2017

Label: Rise Above Records

Imperfect though it may be, "Vol. 1" is a fascinating introduction to Uncle Acid and the Deadbeats' bold vision

 

"Vol. 1” CD//DD//LP track listing

1. Crystal Spiders

2. Witches Garden

3. Dead Eyes of London

4. Lonely and Strange

5. Vampire Circus

6. Do What Your Love Tells You

7. I Don’t Know

8. Wind Up Toys

The Review:

Psychedelic band Uncle Acid and the Deadbeats has gained somewhat of a cult status over the years. However, it is the best kind of cult status imaginable. The group has at once achieved notoriety while not gaining a level of household name currency. Such presence is a sweet spot for musicians: people know you, but not their moms, and not being played at the mall is absolutely not for lack of skills. Uncle Acid and the Deadbeats' style of stoner rock with old-school heavy metal burnish has flashes of panache that bands like Electric Wizard have in abundance. Over its releases, the Kevin Starrs-fronted group has supplemented that with pulpy themes in its music and as such their music is truly fun to listen to, and the band's music has received well-deserved acclaim for it.

If you have been following Uncle Acid over its young career – from 2011's “Blood Lust”, 2013’s “Mind Control” or “The Night Creeper”, the 2015 entry – chances are the group hooked you with its fuzzed out freaky tales that always came across as more Dusk to Dawn than Leatherface. It is a catchy and creative mix that draws comparisons to some of the genre's all-stars, not to mention progressive acts like Pink Floyd. Among the stories that have circulated was how the celebrated band's story began on a 2010 debut, which originally made the rounds via CD-R. However, that recording has been elusive to most fans, save Youtube downloads and live shows. That is, until its longtime label, Rise Above Records, stepped in to reissue the out-of-print first recording.

With "Vol. 1," fans of Uncle Acid and the Deadbeats finally get a glimpse at the band's formative work. Perhaps it is no surprise that it is not the best the crew has performed, but it is among the most original.

"Crystal Spiders" begins the album, and it is filled with the energetic guitar work and the sticky rhythms you know of Uncle Acid and the Deadbeats. The back story to "Vol. 1" is that it is truly a do-it-yourself endeavor. It was reportedly self-recorded. This hardscrabble tale proves readily apparent as you tune in for the duration. A little too much volume and some loose production are evident. With "Witches Garden," the vocals are a bit more washed out by the rest of the arrangement than usual. However, it, just as with the next song "Dead Eyes of London," is a priceless look at a performer building a sound it is today loved for making. Its cornerstones – that classic rock 'n' roll feel, a lyricism that weaves a mystical tale into the music – are gestating on its debut. On "Lonely and Strange," the bass and drums take a more prominent role, just like they do in later releases and are a hallmark of this vibe. Imperfect though it may be, "Vol. 1" is a fascinating introduction to Uncle Acid and the Deadbeats' bold vision.

Starrs has been quoted as saying he wanted to oversee remixing and ensuring the new record met the standard he expected for fans. He does an admirable job in touching up the base material. "Do What Your Love Tells You" in the original telling, available online, gets its retro doom amped up on "Vol. 1." Similarly, the closer, "Wind Up Toys," is markedly improved from the original.

If you are a fan and caught "Vol. 1" online, the reissue is a treat you will not want to miss. And if you are curious about this burgeoning UK phenomenon, "Vol. 1" may help you understand how it all began.

"Vol. 1"will be available herefrom 13/10/2017

Band info: facebook

ALBUM REVIEW: Ruby The Hatchet - "Planetary Space Child"

By: Joosep Nilk

Album Type: Full Length

Date Released: 25/08/2017

Label: Tee Pee Records

 

Dishing out psyched-out blast offs and danceable tunes all complemented by the vintage-sounding production and plenty of organ in-between, Ruby The Hatchet adds a further twist to their already suspensive sound. “Planetary Space Child” comes off sounding like a spaced out version of Uncle Acid and cements their place at the very top tier of heavy psych.

“Planetary Space Child“CD//DD//LP track listing:

1). Planetary Space Child

2). Killer

3). Pagan Ritual

4). The Fool

5). Symphony of the Night

6). Gemini

7). Lightning Comes Again

The Review:

With an intro that would not be amiss on a Floyd album, “Planetary Space Child” opens with the dramatic title track and goes straight for the grandiose sweeps. With riffs alluding to the barren vastness depicted on the cover, along the uneasy undertones, the epic artwork of Adam Burke is another common trait to be found with fellow dread-mongerers Occultation. Whereas said group are perhaps slightly spookier, Rubybring a handful more of melody. Like the opening notes of ’Pagan Ritual’ that come off equally as stirring as they are ominous, another turn is waiting around the corner. The shrouded riffs build up and crank the anticipation until a funky break-down, maintaining the trepidation and not letting you get too comfortable, the only solid thing being the bass-lines that follow the track through to its finish.

While these change-ups are familiar from prior albums, the additional organ progressions unabashedly harken back to rock’s golden era and really complement the album concept. That stands especially true for ’Symphony of the Night’, undoubtedly one of the stronger songs the band has put to tape yet. It opens with pensive plucks and picks the pace up near the middle and as the gloominess is equally cranked up a notch, the well-placed keys constantly adorn the unrelenting gradations.

Despite the material’s emotional density, the band hasn’t forgone their penchant for some infectious feel-good tunes. Second track ’Killer’ reminds us they’re still capable of more than a bit of moog-tinged tomfoolery, likewise on the equally fast-paced midpoint that is “Gemini”. Whereas the former is a fairly straight-forward and fun band jam (awfully fitting when they presented it at Roadburn’s Cul de Sac), the latter never quite loosens its intense grip and brings the full-sounding guitars and psychedelic leads further up front, with the relentless drumming of Mike Parisekeeping it equally energetic and even-paced throughout. By the end they go near-prog with the keys straddled throughout amidst the influx of leads tearing straight into your headspace.

As is true for Jillian Taylor’s howls and moans that are at times wistful and bold on others, the created sound truly envelopes her voice well, especially so on the initially shuddersome “The Fool“ and the epic closer. The latter really runs the gamut on her whole range, beginning languid and solemn in near-ballad-form, almost timid by Ruby’sstandards, but opening up near the end, an approach the band has proven to work for them time and again. It’s no straight-forward doom here but all splendidly woven in, making the pay-off that much more worth it. The culminating build-up and shake-down really allows the organ to shine amidst the oscillation of guitars and comes off dangerous, duly paying reference to the song-title.

Dishing out psyched-out blast offs and danceable tunes all complemented by the vintage-sounding production and plenty of organ in-between, Ruby The Hatchet adds a further twist to their already suspensive sound. “Planetary Space Child” comes off sounding like a spaced out version of Uncle Acidand cements their place at the very top tier of heavy psych.

“Planetary Space Child” is available here

Band info: bandcamp|| facebook

ALBUM REVIEW: Beastmaker - "Inside The Skull"

By: Richard Maw

Album Type: Full Length

Date Released: 19/05/2017

Label: Rise Above Records

 

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.

“Inside The Skull” CD//DD//LP track listing:

1. Evil One

2. Heaven To Hell

3. Now Howls The Beast

4. Of Gods Creation

5. Give Me A Sign

6 Nature Of The Damned

7. Psychic Visions

8. Inside The Skull

9. Night Bird

10. Sick Sick Demon

The Review:

One year after “Lusus Naturae”, California's Beastmakerreturn for more retro true doom. This time around, they have improved on all elements present on their debut. Mixing Pentagram, Sabbath, Danzigand a healthy dose of classic horror appreciation the band have struck on a winning formula.

Once again, the sound is raw and live sounding; the bass clanks, the drums pound and clatter and the vocals are a pleasing mixture of melodic and sinister. Right off the bat, you know what the record will be like: riffs, hooks and macabre atmosphere aplenty. “Evil One” sounds as the title implies (great solo too), “Heaven To Hell”is menacing and weighty in equal measure.

The album highlight for me is “Now Howls The Beast”, replete with werewolf atmospherics and a riff that Victor Griffin himself would be very proud of! It's impressive that, only a year and a bit after their debut, Beastmakerhave 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.

On a general level, there is nothing to pin-point as a misstep on this album; it's uniformly heavy, sharply written and really quite catchy in places. No twenty minute drone work outs here: this is doom rock in the vein of all acts mentioned above. To make a lazy comparison, this is perhaps an American equivalent (by dint of geography, but not in total sound) of Uncle Acid and The Deadbeats. The two bands plough a similar furrow and will appeal to a similar set of fans, I suspect.

Whether it be the plodding drama of “Nature of The Damned” or the swing of “Psychic Visions”, the power trio work as a tight unit and keep things stripped down and raw- exactly as it should be. With the title track promising nine eternities in doom and the riffs making good on that promise, the album goes into the closing straight very strongly. Taking a nod from Sabbath by not going overboard on album length has allowed the band to turn in a very strong set of focused songs- all nicely uniform in terms of sound and content.

The short, sharp and sinister “Sick Sick Demon” is a very strong finish to a very strong album. If you have any interest in Sabbath and/or Pentagram, then this album will be for you. It's gritty, great and even gruesome in parts. Their satanic majesties have returned.

“Inside The Skull” is available here



FFO: Black Sabbath, Uncle Acid And The Deadbeats, Pentagram, Orchid

Band info: facebook|| bandcamp

ALBUM REVIEW: Book of Wyrms - "Sci-fi/Fantasy"

By: Richard Maw

Album Type: Full Length

Date Released: 01/01/2017

Label: Twin Earth Records

The legendary Hawkwind would be happy with the sounds exhibited on “Nightbong”, while the darkness on “All Hollows Eve” is right in sync with Uncle Acid et al.  This is a good record which combines some of the best of space/stoner/doom in one package. A band to watch in 2017.

“Sci Fi/Fantasy” CD/DD track listing:

1). Leatherwing Bat

2). Infinite Walrus

3). Cosmic Filth

4). Nightbong

5). All Hollows Eve

6). Transcendental Migraine

7). Sourwolf

The Review:

The title says it all here; this is a very adept combination of stoner/spacey rock and doom/trad metal- thus melding the elements of science fiction and sword and sorcery themes to great effect. Richmond. Virginia has given us some big names in metal in the past (Lamb of God) and some real cult favourites (Alabama Thunderpussy). Perhaps Book of Wyrms will be joining one of those camps?

“Leatherwing Bat”is a rollicking and loping groove which languidly rolls out of the speakers. Songs are lengthy and sprawling in the main and the production is pleasingly fuzzy and live sounding (you can hear the snare rattle when only the bass plays- no cutting of tape here).

A track by track is not really necessary here; if you like the vibe, you'll like the album. You get lead guitar, slow and rolling grooves, spacey vibes and some pretty serious doom action along with clean vocals (female- they suit the album very well) and distorted bass. There are some time signatures outside of the 4:4 range (“Cosmic Filth”) and the whole record has a pleasingly lo-fi quality, while never sounding any less than mighty.

The legendary Hawkwindwould be happy with the sounds exhibited on “Nightbong”, while the darkness on “All Hollows Eve” is right in sync with Uncle Acid et al. As noted in the opening paragraph, the band manage to meld two of the major thematics of the stoner/doom spectrum to great effect, while even replicating some of the raunch and swing of Monster Magnet in places.

The closing eleven minutes plus of “Sourwolf” is a beastly (pun intended) way to finish the album. For me, though, if you were to want a stand out... give “Transcendental Migraine” a try. This is a good record which combines some of the best of space/stoner/doom in one package. A band to watch in 2017.

“Sci Fi/Fantasy” is available here

Band info: bandcamp|| facebook

"The Asteroid has Landed": INTERVIEW with Robin and Johannes of Asteroid & SONG PREMIERE of "Wolf & Snake"

The Asteroid has landed with new album “III”, it has been almost 7 years since their well-renowned second album ‘II’ was released and the band are back with their most polished, solid record to date. For well over a decade, Asteroid, one of the scenes leading lights in the heavy psych community and with a sound firmly rooted in the hard-hitting field of stoner rock the third instalment in Asteroid’s spectacular ascendancy is a hugely diverse record and shows the advanced musicianship between the band, blending all kinds of stoner rock and fuzz.

This is a band who are firmly on the rise to the top and know exactly how to get there. Armed with one of the best releases of 2016, Jake Wallace caught up with band for a quick interview and if that wasn’t enough we have an exclusive stream of “Wolf & Snake”, which you can stream and share at the end of this article. 

SL: Hi guys, thanks for taking the time to do this interview. How are you guys doing today?

Robin & Johannes: Hey! Well actually I'm a little bit sick at the moment, got a bad cough after the last tour. But it's getting better so next week it's buissiness as usual.

SL: Your new record 'III' is a phenomenal album as I highlighted in my review for The Sludgelord. The first thing I’d like to ask is how the idea for the artwork came about?

R & J: Thank you very much, we are very proud of how it turned out. The art work for the album was put together by the amazing Mr Jerker Josefsson, who also worked with us on our new merchandise. We were throwing around ideas for the cover and came up with a couple of different concepts. This being one of them and actually the first one we tried. The photo turned out so good we didn't even try the other ideas...

SL: Can you give an overview on the main thought process for the album and which direction you wanted to take the music in comparison to your second album?

R & J: There has never been a main thought behind any of the albums. As soon as two or three songs come together, the rest of them sort of come natural and fill in the gaps of what we think is needed to make an album feel complete. It's very important that an album has a flow to it, ups and downs, ins and outs.

SL: Who were your main musical influences for the style of the songs on 'III'?

R & J: Hehe, I think we have the same influences as we've always had, we've just gotten better at making the songs sound the way we want them to.

SL: How do the songs usually come about? Does it begin with a guitar riff or do the lyrics set the theme for the music?

R &J: It can be any number of things. A guitar riff, a drum beat or a lyric. My phone is full of 10 second riffs or just me humming something. It can come from anywhere. I've used lines my friends and family say for lyrics and some have started from a beat I got from a machine. Most of “II” was written when I worked with Elvis at a printers standing across from an old cast-iron machine doing different rhythmic patterns. The mind starts to make up fun stuff when you do something monotonous.

SL: Was it a difficult process to write and record this album or did you find it to be manageable?

R & J: A bit, yes. We didn't have as much time to write and rehearse the songs as we did with “II”. So we had to do things a little different this time. The last song was actually written and recorded when everything else was already done. We have our good friend Mr Philip Saxin, who mixed and mastered the album, to thank for making it sound as good as it does! But it was hard work getting it done in time for sure.

SL: Asteroid is now a very well-known name in the world of stoner/fuzz rock, did you ever think you would achieve such recognition?

R & J: When me and Johannes started the band back in 2004 we didn't think much more of it than any other time you've started a band when drunk. So now, almost 12 year later, it feels very cool to still be able to make music that people find enjoyable. We never thought we would end up where we are today.

SL: What is the music scene like in Sweden? Were there many other bands playing similar music when you were first starting out?

R & J: When we started we were kind of the"odd man out"... Only a hand full of bands in Sweden were doing similar stuff and it was tough getting people to understand what the hell we were doing. When people don't understand something, they tend to get a bit uncomfortable, so it took some time o find our audience.

SL: What has been your most memorable gig/festival to date and where would be the ultimate venue to play?

R & J: Well that's a hard one... I remember one gig when we first started out, playing at a high school senior dance. Talk about being out of place! The weird ones always stand out. Utimate venue... Hm, hard to say. I like it when people dance and sing along to the songs, so I guess anywhere where people are happy and enjoying themselves.

SL: What bands are you guys listening to at the minute? Who is the hottest talent in the genre today?

R & J: Well our friends in Blues Pillsare great, Dorian was kind enough to lay down a solo for the album. Uncle Acid & The Dead Beats are good to, as well as Kadavar. Not to mention the darling lads in Limestone Whale, whom we spent the last couple of weeks on tour with.

SL: What is the future for the band? Where do you see yourselves in 5 years time?

R & J: I guess we'll keep making music and exploring what we can do, keep moving forward. We'd love to be able to do this for a living, but as you know that's not easy these days. We've started booking for next year and we're gonna try to visit a lot more places we've never been. And new music is on the horizon as well. But first we 're gonna spread the gospel of Asteroid“III”.

SL: Cheers for taking the time to chat, I wish you guys all the best in the future!

R & J: Thanks, it's been a pleasure. All the best to you all.

The End

Band info: facebook