Friday, 16 November 2018

REVIEW: Tuskar, "The Tide, Beneath, The Wall" EP

By Andrew Field

Album Type: EP
Date Released: 07/12/2018
Label: Riff Rock Records

“The Tide, Beneath, The Wall” is likely to be one of the best EPs you’ll hear in 2018. Immerse yourself in it. It’s quite a ride.

“The Tide, Beneath, The Wall” CD//DD track listing:

1). The Tide
2). Beneath
3). The Wall

The Review:

I’m going to make a grand statement here, but one which will be backed up by anyone who’s caught these boys performing in dark and dingy venues over the last two years: Tuskar are the most exciting live band in the UK right now. On stage they are breathtakingly incendiary:  an aural hurricane demolishing everything in sight. After a typical half hour set you look around the venue to see Tuskar fans giving each other that knowing look, whilst newbies are busy pulling their jaws off the floor.

Most exceptional live bands fail to capture the visceral energy of their shows when they get in the studio. That’s not the case here. Tuskar’s molten riff workouts, so immaculately captured by Sam Thredder at the Slabdragger guitarist’s Cro’s Nest Studio, are voluptuous in their groove and tone. “The Tide, Beneath, The Wall” is a quite exceptional piece of work.

Whilst you can hear reflections of Conan, Mastodon, BongCauldron and others in Tuskar’s sonic melange they are subsumed deep within the duo’s own electrifying musical howl. Underpinning everything is Tyler Hodges’ undulating drums: always groove-fuelled, often polyrhythmic, youthfully powerful. Rhythmically, moments of full-on head-nodding swagger flow effortlessly into fast passages packed full of time changes or snare rolls. He hits his crash cymbals then grasps them, playing on and off the bell of his ride cymbal, creating milliseconds of sonic wonder which you look forward to each and every time he does it. And Hodges does this whilst delivering Jon Davis-like monotone vocal bellows and wails which perfectly fit the music brewing underneath them him.

Tom Dimmock, like Hodges only in his early 20s, is already a tone monster. Nowhere is this more apparent then on closing track “The Wall”, which opens with huge slow swathes of distortion and gain-soaked guitar, becoming more and more widescreen as the track builds through its eight-minute duration. His psychedelic, echo-drenched solo towards the end of the track is a veritable masterclass in subtle, understated, less-is-more beauty.

There is a noticeable maturity in these three tracks. If last year’s debut EP “Arianrhod” was full of youthful vim and vehemence, “The Tide, Beneath, The Wall” shows what a difference 12 months can make. Tuskar have moved forward, as writers and musicians. They’ll doubtless be off to tour the fuck out of this release, honing their craft even further. Thus, I’m salivating at the thought of how good their debut full-length album is going to be when they get around to making it.

In the meantime, “The Tide, Beneath, The Wall” is likely to be one of the best EPs you’ll hear in 2018. Immerse yourself in it. It’s quite a ride.

“The Tide, Beneath, The Wall” is available HERE

Band info: bandcamp || facebook

Thursday, 15 November 2018

ALBUM PREMIERE: Philadelphia thrash punks Roadkiller deliver sneering self titled EP

By: Mark Brandt

The Philly punk scene is a powerful thing. It has always been defined by house shows, heavy riffs and a dedication to the layer of crustiness that makes the city so wonderfully twisted. It should come as no surprise that this bastion of hard hitting punk rock would be a lodestone for some of the best punk rock talent in the world. Such was the case for the mysterious Australian born guitarist of California Motorhead tribute band Motorbabe, and now frontwoman of hard hitting punk thrash heavyweights, Roadkiller. When she (who shall remain nameless) flew out to visit a friend she couldn’t get enough of the punk scene and when she met a drummer who was down to jam, she realized destiny was calling.

After an initial burst of shows, Roadkiller quickly recorded their self titled debut EP, a record fated to make your ears bleed in all the right ways. This is guitar driven high energy riffage. Clearly inspired by the eighties but capable of tapping into so much more, these songs will make you want to tear shit up as you scream along to powerful choruses and nightmarish verses. Created with the goal of fusing punk, hard rock and crossover thrash whilst still remaining uniquely Roadkiller the band is on a mission to write quality heavy music and play out as much as possible.

With dreams of constant touring and a dedication to quality songwriting, Roadkiller are more than just another punk band. We are witnessing the birth of a well oiled machine, a group who represent the magic of all the underground has been and will be.

Blending classic vibes with a modern tinge, Roadkiller are exactly the sort of band we need in 2018. Constantly punching above their weight class and sneering their way to the top of the notorious Philadelphia scene, any way you slice it, Roadkiller are out for blood.  Their self-titled debut EP will be released on November 16th 2018 and the five blistering tracks are the perfect combination of thrash, metal and punk attitude. The EP is highly recommended for fans of Megadeth, Motorhead and Exhorder.  Check it out in all its thrashing glory below

Band info: bandcamp || facebook

WOORMS sign to Sludgelord Records! – Premiere New Song ‘Stiff Upper Lisp’, Vinyl Pre-Order Announcement and Artwork Reveal for debut "Slake"

Fresh from a string of exciting new additions to our roster of bands over at SLUDGELORD RECORDS, the aim of which is to release the best & heaviest riffs from the underground doom scene, an opportunity presented itself, that was just too cool to miss.  Never in my wildest dreams did I think the label would release more than one record, let alone, make today’s announcement of an exciting new addition to the label, which will represent the 19th new band to come on board to THE SLUDGEORD roster.  Guys we’re stoked to welcome WOORMS.

Formed in 2017 in Louisiana, WOORMS – featuring guitarist/vocalist Joey Carbo, bassist John Robinson, and drummer Aaron Polk – are something of a sleeping colossus. Based in Baton Rouge, the band has been delivering a devastating and brutal mélange of riffs and noise-rock righteousness on the precipice of significance for some time.

Despite only being a year or so into their sonic existence WOORMS have already racked up a number of releases; a collection of demos, digital one-offs (‘Daddy Was A Masker,’ 'The Math Says, Yes') and a split with NOLA thrashers, A Hanging.

Looking for a new partnership to assist with the promotion of their debut album, SLUDGELORD RECORDS & WOORMS are now set to deliver the colossus that is "Slake" set for  its official release on January 18th 2019. Two cuts from the record have already caused a stir with ‘Mouth is a Wound’ premiering at Decibel Magazine and a second track 'Find a Meal, Find a Bed, Find a God' , which for all intents and purposes is the perfect introduction to the band.

WOORMS come across like a lumbering, symphonic noise-rock shank fight between the fattest of riffs and the thinnest of patience with the world at large. Making for a devastatingly terse and perverse experience, from the pinnacle to the point of no return, their new record "Slake" falls psychotically through the fuzz and unholy grind of bands like KARP, Jesus Lizard and Neurosis

"Slake" will be released digitally and on limited colour vinyl with full Colour gatefold sleeve and today  as well as the announcement of this massive partnership, we are premiering a new track ‘Stiff Upper Lisp’ and artwork reveal of the album (by Victor LeBlanc) , both of which you can check out below.  Preorders are also live HERE and Joey Carbo shares his views about the “Slake” artwork

The album as an entire package has always been very important to all of us. Obviously, as musicians we take our record collections very seriously. Because, it’s your work and your research as well as being art that you consume, you know? So, when I’m putting out a record the art is half the process. It all has to be presented just right or the vision may not translate. Fold out jackets and liner notes were huge to me, growing up, and to my education. I poured over those as a kid and I still do that. When I saw Victor’s work, I didn’t want another artist for this album. This painting was perfect, and I could hear the main track playing over or out of it. He took some convincing and I got that. Initially, he said no. I asked if I could try to change his mind. We met, and I talked to him about “Find a Meal, Find a Bed, Find a God” and why I thought it made his work a great fit. He had heard our music and liked it well enough or whatever, I guess, but didn’t think it was a fit for his piece. I said, let me show you this new song; it’s the reason we need this painting. Joshua M. Wilkinson at The Company did the layout and design work and we were really lucky to have him on board, and Diogo Soares at Soares Artwork in Portugal did illustrations for the inner sleeve and liner notes. We had a fucking dream team for the art on this album and that is what fans can expect for every WOORMS release. We want to put out really pretty records that crush ears and take ass. Or is it the other way ‘round?” 

Band info: Bandcamp || Facebook || Web || Instagram

Wednesday, 14 November 2018

ALBUM PREMIERE: Disrule deliver riffs with more fat than Danish Bacon on sophomore "Sleep In Your Honour"

The world has many things to thank Denmark for over the years, not least its incomparable sense of style and Copenhagen is home to some of the world’s most sought-after designer brands and classic products. My kids would say the piece de resistance is Lego, however they probably haven't stepped on it with no socks on, if they had I am sure they’d change their tune haha.  Have you done it?  Hurts like fuck doesn’t it

When I was a kid the most famous Dane I was aware of other than Lurpak butter was Jan Molby, then when I got into metal, Lars Ulrich was obviously a name associated with Denmark and is arguably one of the countries most recognisable faces, reviled and loved in equal measure, when you trace the roots of Danish heavy metal he is probably top of the tree.

Hailing from Denmark, you’d be mad(s)(Mikkelson) to overlook the band DISRULE., because they are a diamond (King), a doom/stoner heads wet dream, because these guys can groove and rock out with the best of 'em. Clutch, Down, Fu Manchu and the mighty Black Sabbath all come to mind upon listening to their second recordSleep In Your Honour” and in keeping with the spirit of legendary bands such as Sabbath, it was recorded live at Dead Rat Studio in just two days. 

Streaming in full today exclusively, ensure you turn this one up loud(drup) with a bier (Susanne) in hand.    Sleep In Your Honour” is released this Friday via Seeing Red Records and is available HERE

Band info: facebook

Tuesday, 13 November 2018

RECORDS OF THEIR YEARS: with Fórn guitarist Joey Gonzalez

Photo by Katia Sukhotskay
By pure coincidence, for the second successive week, we feature a band from Boston, and today it is none other than sludge/doom emissaries Fórn, who have returned with their highlyanticipated sophomore record, "Rites of Despair". A record of such quality that it in a frankly in a league of its own.  

With “Rites of Despair” having been in the public domain for a couple of months now, there has never been a more opportune time to feature them on THE SLUDGELORD, so I hooked up guitarist  Joey Gonzalez to discuss some of his favourite records.  Welcome to “Records of their Years”, 

THE SLUDGELORD: Favourite album from the year you were born?

Talk Talk, “Spirit of Eden” (1988) 

I actually didn't discover this record till either just before or just after I was entering my 20’s. I had kind of begun deep diving on a lot of atmospheric music and this album was elevator pitched to me from a friend as the “predecessor to post-rock.” I don’t think this album is that or even remotely post-rock to me. Post rock has always felt more to be about long build ups, carefully constructed to reach a point of overwhelming glisten, but this album is quite beautiful in its nature to deconstruct more traditional foundations and to place a great magnitude of emphasis on space, and sparseness, and an emptiness that can feel like chaos sometimes. It did me a great deal in teaching me song writing.

THE SLUDGELORD: First record you bought with your own money?

Green Day, “Nimrod” (1997) 

I’m counting this because it’s a pretty vivid memory in my mind, and even though technically it was my mom who bought this for me, it was a pretty special experience hearing something on the radio in the car and enjoying it with my mom, and we drove to what I believe was a Tower Record store, and I picked up this cd, because we had just heard “Hitchin’ a ride” come on the radio, and I wanted to listen to it. I also picked up alongside this gem, Blink182’s “Dude Ranch and” the Self titled Back Street Boys album, so least to say, 8 year old me was batting a 1000.

THE SLUDGELORD: Favourite non metal / rock album? 

Moses Sumney, “Aromanticisim” (2017)

This might come as a shock to maybe those who don’t know me, but in reality, I don’t have much metal/rock music in heavy rotation in my life currently, so the vast majority of music I have been consuming for the last 6ish years has been not that. As such, my “favorite” album in this broad realm is always changing, but my latest obsession has been Moses Sumney. This record hit me like a fucking truck, emotionally, and in terms of the production, to me it is flawless. I was introduced to this record By our engineer Alec Rodriguez so I have to drop his name here for this one.

THE SLUDGELORD: Album that most disappointed you?

I’ve been let down by some records when I was younger, but the older I get, I don’t really hold other peoples art to my standards or expectations. I am way more interested in the process of the creation of what I am consuming then I am if its living up to some expectations I’ve had, so I can’t say anything has ever really disappointed me. I have been let down by a couple of records, but I’m not going to list them here

THE SLUDGELORD: Favourite album of all time or if you prefer album (s) you’d run back into a burning building to rescue

Deftones, “White Pony” (2000)
Opeth, “Blackwater Park" (2001)

So when someone poses this question to me, I always feel like it’s hard to scope out something that has been a favorite of mine, or something that’s definitively my all time favorite. I always feel like the root of the question is like what are the “keystone” records for me in my life, and these two would be a good start. A lot of people may not know, but before I ever wrote a riff or anything, I played drums for a long time, and these are the two records I really learned how to shape my style around. These are two records I really felt were integral to me for really jumping head first into music. They’re some of the only records that elicit an honest nostalgia out of me anymore. If I had to add one more record, I would add pg.99 – “document 8”. Not only do the songs still hold up, but this band and record was my stepping stone into the ethics of art, music being an individual and part of a community, and what that responsibility entails. It’s just every bit as important to who I am as a musician now.

THE SLUDGELORD: Favourite album (s) of 2018?

Serpentwithfeet, “Soil” (2018) 

This record is painstakingly crafted, and it pays off in dividends on repeated listens, and it’s pretty much been all I can listen to lately. It’s almost obnoxious it’s so intoxicating. I’ve been searching for music that really elicits and invokes the feelings it’s crafted in wake of and listening to the record, the nature of it is obsessing and  a celebration of the feelings of grief and melancholy. It’s beautiful in the most painful of ways.

THE SLUDGELORD:..and finally The last album you bought?

Ilsa, “Corpse Fortress” (2018)

Ah, you thought I’d make it all the way without listing a single metal album, but you’re WRONG. Ilsa are some of my favorite people and they are easily one of my favorite bands doing heavy shit out there. Plus they’re from DC (*cough* silver spring*cough*), and we go back a ways. I love my boys, and this record rips harder than any other heavy music I’ve heard this year.

“Rites of Despair” by Fórn is out now and available HERE

Band info: bandcamp || facebook

Monday, 12 November 2018

ALBUM REVIEW: Daughters, “You Won’t Get What You Want”

By: Charlie Butler

Album Type: Full Length
Date Released: 26/10/2018
Label: Ipecac Recordings

Daughters are making noise rock that sounds like it has been beamed back to the present from a million years in the future. "You Won't Get What You Want" is an incredible album that casually destroys all peers and reminds everyone who is in charge.

“You Won’t Get What You Want” CD//DD//2LP track listing:

1. City Song
2. Long Road No Turns
3. Satan In The Wait
4. The Flammable Man
5. The Lords Song
6. Less Sex
7. Daughter
8. The Reason They Hate Me
9. Ocean Song
10. Guest House

The Review:

The mere existence of a new LP from notorious Rhode Island miscreants Daughters in 2018 is cause for celebration. The fact that "You Won't Get What You Want" is the quartet's first album since 2010 yet somehow manages to continue the band's wildly chaotic tradition of reinvention and innovation is nothing short of a miracle. 

The record kicks off deep in alien territory with the unsettling claustrophobia of "City Song". The ominous thud of sparse drums, a wash of crackling low-end fuzz and Alexis Marshall's spooked drawl combine to create an air of inescapable anxiety that sounds more like “Liars” than anything from the Hydra Head catalogue. As the dread builds, guitars create a sharp, piercing squall akin to being attacked with a dentist's drill. It's devastating start to a wild and tense ride through constantly shifting sonic terrain. 

Following this storming entrance it's obvious that Daughters have maintained their uncompromising approach but found new ways to torment the listener. "Ocean Song" takes the template of "City Song" and draws it out into a relentless pound that builds in volume in intensity to its savage conclusion. The dustbowl twang of "Daughter" builds up to a climax of twinkling synths that could almost be described as pretty while "Satan In The Wait" manages to combine uneasy tension with bursts of hypnotic melody.

Every track on "You Won't Get What You Want" seems to demonstrate that Daughters have an almost bottomless pit of inspiration to draw upon. Even songs like the weirdly funky "Less Sex" which sounds like sinister minimal r'n'b being mauled by HEALTH work and feel totally at home on this record next to the more gnarly, frenetic moments. "The Flammable Man" is a whirlwind two minute reminder of the bands hyperactive past while the menacing churn of "Long Road No Turns" acts as the conduit from their back catalogue to their current incarnation. "The Lords Song" and "The Reason They Hate Me" even come close to resembling something like conventional punk rock, albeit a queasy, shambling repetitive thrash like Pissed Jeans at their most unkempt.

There are many bands out there making noise rock that take influence from the past and bend it into weird new forms. Daughters are making noise rock that sounds like it has been beamed back to the present from a million years in the future. "You Won't Get What You Want" is an incredible album that casually destroys all peers and reminds everyone who is in charge.

“You Won’t Get What You Want” is available here

Band info: bandcamp || facebook

Friday, 9 November 2018

VIDEO PREMIERE: self confessed Dark Witch Doom Duo Blacklab release "His Name Is..."

Hailing from Osaka, Japan self confessed Dark Witch Doom Duo Blacklab,  deliver  a full frontal assault of distorted riffs, howls and ghostly vocals, as well as bags of riot girrl attitude and lo-fi bravado.  Having released their new record “Under The Strawberry Moon 2.0” on July 20th via New Heavy Sounds, expect the usual nod to Sabbath but Blacklab have a vibe and experimental undertow not to dissimilar countrymen to Boris  incorporating elements of doom, drone, sludge and black metal to produce some truly unique.  This first Blacklab release on NHS, is a version of their ‘Under The Strawberry Moon’ album which was released in tiny numbers on CD only in Japan, a pull together of previous tracks and new songs recorded over 2017.

Remixed by Wayne Adams @ Bear Bites Horse Studio to maximum effect, make no mistake this band will not disappoint and today at THE SLUDGELORD we are very fortunate to be able to debut Blacklab’s new video for the track “His Name Is ..” which you can check out below. 

Blacklab are: Yuko Morino | guitar, vocals and Chia Shiraishi | drums.  This is what the band had to say about the track

“His Name Is ..”. is a rough rock tune, which has an irregular meter and shuffle beat. The lyrics are written in Nihon-go. The song mixes melodic and barking vocals to add a hardcore element, which is very much part of our sound.  It's the song composed soon after we formed the band, and it's one of the songs that we often play when we're asked for encore.

Band info: Facebook || BandCamp