Saturday, 25 April 2015

Fulgora - ‘Stratagem’ (Album Review)

Album Type: Full-Length
Date Released: 24/03/2015
Label: Housecore Records

‘Stratagem’ CD//LP//DD track listing:

1. Source
2. Splinter
3. Risen
4. Artifice
5. Design
6. Crutch
7. Meridian

Fulgora is:

B. L. LaMew | Guitar, Vocals
John Jarvis | Bass
Adam Jarvis | Drums
Sparky Voyles | Guitar (live)


Fulgora is likely to get some extra ears and eyeballs even before anyone hears it, with Adam and John Jarvis of Pig Destroyer being the rhythm section of the band, even if Fulgora is pretty different from Pig Destroyer musically. In reality, aside from sharing a bassist and drummer, the only connections Fulgora and Pig Destroyer share are being thoroughly pissed off and being flush with savage riffs.  ‘Stratagem’ has a considerable hardcore influence, most strongly represented in guitarist/vocalist B.L. LaMew’s throat-grating shout. Musically, Fulgora are a frenzied blend of grind, death metal and hardcore, splicing the musical DNA of Nostromo, Napalm Death and Cryptopsy circa ‘Whisper Supremacy’. With ‘Stratagem’ clocking in at nineteen minutes, Fulgora don’t waste any time. While this is listed as a full length, it’s only a full length in the way that Assück’s ‘Misery Index’ is considered a full length.

The short run time might be to Fulgora’s advantage, as there’s a lot to take in, even in such a short period of time. Taking ‘Artifice’ as an example for the whole album, you’ll hear a mixture of convulsive drums and guitar bends, blistering grindcore blasts, hacking palm muted guitar riffs and even more besides. There are brief doses of atmosphere and melody to serve as reprieve here and there, but otherwise you’re largely in for variations on similar musical themes over the the 7 tracks on offer.

What Fulgora do, they do as well as anyone going right now, but I’d be dishonest if I didn’t admit that I’m hoping for a bit more variety from future releases. Whether that comes in the form of wider variation in tempo, or expanding the different emotional tones the guitars work with, or maybe trying some different vocal techniques would do the trick, though traditional singing would likely be a bad fit. ‘Stratagem’ is an excellent foundation to build from though, make no mistake about it.

Words by: Daniel Jackson

You can pick up a digital copy here and a CD/LP copy here

For more information:

Friday, 24 April 2015

Hellrad - 'Things Never Change' (Album Review)

Album Type: Full Length
Date Released: 20/4/2015
Label: Self Released

‘Things Never Change’ CD//DD track listing:

1). Street Zombies
2). My Jihad is Against my Head
3). Dope Fiend Jesus
4). Homegrown Terrorist
5). Fucked Up (All I’ll Ever Be)
6). 15 Years of Counting
7). Smoke More Crack

Hellrad is:

Dirty Dave | vocals/samples/noise
Mike Hook | guitar
Herb Jowett | bass
Robert Lepor | drums


Philadelphian sludge with a crusty edge to it, this seven track album is very unpleasant. Eyehategod could be a starting point- especially taking into account such song titles as “Smoke More Crack”.  “Street Zombies” starts purposefully with a sinister riff and a grimy production job that is raw and loud. The vocals, when they appear are distorted and nasty.

“My Jihad is Against my Head” is a lumbering groove and is an unholy noise in every respect. “Dope Fiend Jesus” is just feral with its insistent riffing and utilisation of quiet/loud dynamics. “Home Grown Terrorist” is as you would expect it to sound- nice stop start riffing here, along with a nice bass led break down too.

“Fucked Up (All I’ll Ever Be)” has some stoner-ish riffs along with the main course of sludge and a cool solo section to go with it- good time change too. “15 Years and Counting” provides six minutes plus of uneasy listening and creepy riffs that really sum up the hopeless mood of this record. There are some sections which reminded me a little of Helmet too- staccato riffs with groove. Excellent! The aforementioned “Smoke More Crack” finishes this opus of horror in fine threatening style. The album is a harrowing listen.

Put simply, if you like EHG, Iron Monkey and even the pale imitators of those bands treading the boards at the moment, you will enjoy this. It is feral, aggressive, noisy, sludge of the best quality. You might feel like taking a shower afterwards, though.

Words by: Richard Maw

‘Things Never Change’ can be purchased here

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Fistula - 'Destitute' Demo (Review)

Album Type: EP
Date Released: 11/4/2015
Label: Self Released

‘Destitute’ CD//DD track listing:

1). Firstborn (Sobriety Continues)
2). Morgue Attendant
3). The Big Turnout
4). Destitute
5). The Time We Bought Dope from the Cops

Fistula is:

Dan Harrington | Vocals
Corey Bing | Guitars
Jeff Sullivan | Drums
Greg Peel | Bass


All musical genres have their dirty, grimy, extreme sides. In the case of metal, it’s pretty much summed up in the art of Fistula. From the extreme sound, to the extremely gory imagery, to the depravity they use as inspiration and sampling, Fistula have continually outdone themselves with making fucked up release after fucked up release. The newest toy they've managed to drop on our ears, the ‘Destitute’ demo, is just a textbook example of why you don't let kids sniff paint fumes.

Fistula, no matter what you may think of me after, is a go to for my dark journeys, and I have worn out the digital copy of Goat on my phone. These guys ARE extreme music poster children (on milk cartons), and honestly do drop the most vicious releases most people will ever manage to step in. Their tone is pretty much spilling bong water and wax onto the strings and forgetting to clean them afterward. It's nasty, it’s jagged, and it's perfect. It’s also ridiculously clear on ‘Destitute’, as they riff on toward a unlit concrete room, with riffs bludgeoning you, and their drummer just abusing his kit. They legitimately sound pissed, and they have no reason to hide it. 

The album has their hallmarks, aside from their acidic sound, in using audio samples from, what I assume, are real news stories of murders, assaults, and other, quite dark acts perpetrated by the sickest of humanities dregs. The second track, ‘Morgue Attendant’, is no different, opening with a beautifully harsh riff with tons of groove cranking, and audio bites from a news story of a morgue attendant (duh) who abused corpses and children. Its dark as the abyss' asshole, and they make the song interesting in contrast with a shocked little fade of the music, then back with the basics to just tear it a new one. Lots of plodding from our resident Negative Nancies, but they love throwing in very punkish elements. I feel like getting in a circle pit and stomping a bit heavier than necessary to sections of ‘Morgue Attendant’, ‘The Big Turnout’, and ‘The Time We Bought Dope...’, the last of which is super high energy for them, and almost sounds happy until the last minute and change. And, again to my ears, ‘The Big Turnout’ features a little Mod Rock rhythmics. Might be all the narcotic haze that happens when I hit play....

This album is for those who like to listen beyond the pale, who don't care what others think, who like it dirty. It’s a great piece they have added to their discography, and I look forward to their next sonic transgression against good taste.

Words by: Hunter Young

‘Destitute’ can be purchased here

For more information:  

Theories - ‘Regression’ (Album Review)

Album Type: Full-length
Date Released: 24/3/2015
Label: Metal Blade Records

‘Regression’ CD//LP//DD track listing:

01. Burnt Concrete
02. Cycle of Decay
03. Shame
04. Abortive Crescent
05. Bathing in Pigs Blood
06. First World's Last Breath
07. Swimming in Mud
08. Revenge/Rewild
09. Hell in Her Eyes
10. Landfill

Theories is:

Rick | Vocals
Joe | Drums
Kush | Bass
Lee | Guitar


Putting out what is by and large your band’s first recorded output* through a label the Metal Blade Records is an opportunity that few bands can say they’ve started out with, but once you hear ‘Regression’ it all begins to make sense. Theories is a well-oiled machine pumping out precise and vicious deathgrind, drawing from a similar well of influence as Misery Index, though Theories is a bit more wild-eyed crazed where Misery Index is a bit more conservative, musically.

While the whole of the album is suitably pissed off and ferocious, some of the production choices, which I’m sure were made for the sake of clarity and distinction between instruments also leave the album feeling more sterile than an album in this style should. It’s a tough line to walk, because you don’t want a sound that gets too muddy or sloppy during the more intricate palm-muted riffs, but you also don’t want a sound that’s so compact and tight that it lacks any real power. Luckily, ‘Regression doesn’t suffer too much from it. A snare sound with a bit more heft would have been ideal, though I’ll admit that’s more me nitpicking than a real issue.

How you’ll feel about an album like ‘Regression’ largely depends on how you feel about the genre in the first place. There’s plenty of frenetic energy and headbang-worthy rhythm work, but there also isn’t much in the way of dynamics or ultra-memorable moments from a song-writing perspective. I can absolutely see this working in a live environment, or putting it on when you’ve got friends with similar tastes over for some beer or whatever else. But when listening alone, wanting to get deeply involved and relish in the minutiae or a well-written extreme metal album; it’s missing something. There are flashes of brilliance, as in the opening 90 seconds of “Hell in Her Eyes”, where the band builds some tension and hits a dissonant climax early on, but opting for flat-sounding, american-style blast beats towards the end of that apex lessens the impact of that moment to some extent.

Even with those criticisms in mind, and remembering that I’ve gotten a bit of a reputation for over-analyzing things and getting swept up in minor details, ‘Regressions’ is a very strong first outing. Carcass didn’t come out of the gates with ‘Necroticism’, and it’s reasonable to believe that Theories is capable great things down the road as well. They’re certainly in the right place technically, now it’s just a matter of finding a way to channel that savagery in execution into something that leaves an impression beyond that visceral first reaction.

* - There is a reference to a debut EP in their bio, though I had a hard time finding any info on it. It’s not listed on their metal archives page, nor is it referenced on discogs. There’s a lone song available for streaming on their bandcamp page from it though.

Words by: Daniel Jackson

You can pick up a digital copy here and a CD/LP copy here.

For more information:

Wednesday, 22 April 2015

A Storm Is Brewing - Interview with Andreas from Phantom Winter

Phantom Winter risen from the ashes of Omega Massif and have released a stunning debut album with Cvlt. A bleak, heavy and despairing affair that's winning praise within the Doom/Sludge Metal community for it's sheer brutality.

I was given the chance to interview Andreas (Guitar/Bewitched Screams) from Phantom Winter and ex-Omega Massif to see what inspired him to create such a heavy, brutal and poetic album.

So lets get started....

CVLT cover art

Hi Andreas. Thanks for doing this interview, how are things with you today.

Hi, even if no one would expect this from guys of a band called “Phantom Winter“, we are very happy that it is springtime in Germany and it is getting warmer.

Before we talk about your new album. Can you tell our readers a brief history on how the band came together.

About one week before Omega Massif ended, I started PW as a sideproject to write my own music. Christof liked, what he heard and he joined me. Then we recorded the song "Wintercvlt“ with Christian joining me on vocals, as I was sure, I could not sing everything live. After that recording I wrote more songs and we could win Martin for the band. We recorded the album as a 4-piece and David, our other guitarist, joined us afterwards.

Why did you choose the name Phantom Winter for your band. Though it perfectly matches the cold atmospheric feeling of your music.

I always wanted to make anything with"Phantom“, I like the spooky aspect of it. Suspense. Winter fits perfectly to give the band it's final touch, the Winterphantom everyone carries inside and wants to get rid of. Or that he or she loves.

Most people may of heard of Phantom Winter being the spin-off band or the new band featuring members from Omega Massif. Does that bother you all being compared to Omega Massif even though you are two very different bands.

No, well I am actually guilty of that aspect, because I posted every single news on the Omega Massif-facebook-page. It is ok, that the Omega Massif-fans know, this is not the end. This is the beginning. Everyone in the band walks on a new path and gives birth to something special, as Omega was.

Did you all know each other very well before Phantom Winter came together as a band. Did you know right away that this was going to be a good thing to do.

I know Christian and Martin very long. Christian is a good friend, Martin is a good friend and an old schoolmate. Christof did not know them, but it worked out very well. We all did not know David, but he, even if he is ten to fifteen years younger than the others are, seems to fit in very well. Well I think I knew, that this is a good thing, yes.

Obviously you're sound is very different to Omega Massif. Your sound is heavier, darker and very more depressing. Did you know that you all wanted a different sound from what came before it.

We have vocals, samples, yes, the music might be a little bit more brutal, more in your face, more middlefinger. This might be the result of the change in songwriting. The Omega-songs were a collaboration, in PW I write the songs. So I can follow a very special path with every single song and I can connect the lyrics with the music as good as possible. And as we sing about everything that bothers me, the music has a darker, more depressing touch. Omega was a soundtrack to mountains, I like to call Phantom Winter a nightmare.

Let's talk about your new album - Cvlt. What can people expect from this album.

It has five songs with very different sounds."“Corpses Collide“ for example is kind of a wake up call at the beginning, it hammers it's way through your ears and has this piano and whispers – middle-part that sounds like Poltergeist meets weird fairytale."Finster Wald“ is nearly instrumental but has an highspeed-outbreak ending."Avalanche Cities“ has kind of a real song-structure with refrain and bridge and stuff and it is the only song with some more positive melodies to give it a big contrast within it's parts. If you are into heavy music, you might find something, you like.

Was it an easy or hard album to write and record for.

It was easy. I had so much energy inside my whole body and mind, because the death of Omega Massif struck me very hard. I used this force to unleash the winterphantom. It gave me peace with the loss of the other band which was a very central issue in my life.

Why did you choose the name Cvlt for the album and that particular spelling for it.

Because of the song"Wintercvlt“. Music can be kind of a"cult“ this song is describing. And even if we do not like cults, it seems that no one can stay away from every cult. TV, music, internet, work, this new way of nutrition, yoga, whatever. So this has an ironic touch. And the Vs instead of the Us are our middlefingers to the whole NSBM-scene, which often uses runes or old german mystic symbols to be evil or whatever (song "Finster Wald“). In our eyes this is nothing but kindergarden.

What influences you when writing and recording your music. As the album has a depressing vibe to it.

I use the music as kind of a reminder for myself that says: Don't become an asshole! Keep your integrity. The lyrics, the music sound very depressing, yes, but actually this is very positive music. I know, this world will stay an ugly place and PW will change nothing about that. But Phantom Winter is kind of a mirror or a symbol for the audience. No acceptance. No surrender. Grab your own winterphantom and throw it from the top of a skyscraper.

The album has started to receive some fantastic reviews so far. Has this surprised you in anyway. Did you expect the album to make this good of an impression.

This is fantastic, yes. I do not know, what I expected. I hoped, that anyone would understand Phantom Winter. And it seems, that it struck a nerve. We appreciate every single response to our work, this helps us to keep going our way.

Will you be doing an extensive tour in support of the album. If so will which areas will you be visiting in the future.

We will play some festivals like the awesome VOID and the STATELESS SOCIETY and there will be a lot of clubshows (Berlin, Cologne, Munich etc.) all over germany. It will be about 20 shows this year, that's a lot for us.

How important are physical products to a band like yourselves. Which musical format do you like releasing your music in. DD, CD, Cassette or Vinyl.

Some of us are into CDs, the others in LPs, Cassette is more like a gimmick, but a nice one. I prefer LPs with downloadcodes, something nice at home and the bits and bytes for the road.

What is the song-writing dynamic in the band. Is it down to a group collective or individual.

I write the songs and the others join me in the finishing process. This is a really good way to work straight, effectively and to follow one big vision for every song.

Apart from the new album release what other plans do you have in store for the next 12 months or so.

We will play our shows and write new songs, we think it would be nice to have new material very soon.

How would you class your music as. Sludge, Post-Metal, Blackened Sludge, Doom Metal, As your music has been called a lot of things. Do you take notice of musical terms such as those mentioned above.

We call it "Winterdoom“. We think this gives someone who does not know any song of PW an idea of what we might sound like. But anyone can call it as he or she wants. We don't care about such classifications much.

Well guys thanks for doing this. Best of luck with the album. It's a great album. Do you have any words of wisdom for your fans out there.

Thanks for supporting us, come to our shows, if possible, it will be very frosty.

Words by Steve Howe and Andreas from Phantom Winter.

Thanks to Magnus at Creative Eclipse PR for arranging this interview. Thanks to Andreas for taking the time out to talk to us here at Sludgelord HQ.

CVLT is now available to buy on Golden Antenna Records on CD/DD/Vinyl.

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Groan - Highrospliffics (EP Review)

Highrospliffics cover art

Album Type: EP
Date Released:23/03/2015
Label: Self Released

Highrospliffics – CD Track Listing

Run Out Of Fucks
Witchfinder General Finder
March Of The Druids
Buried In Leather

Groan are:

Mazzereth - Vocals
Lindsay Hamilton - Guitars & Backing Vocals
Leigh Jones - Bass & Backing Vocals
Zel Kaute - Drums & Backing Vocals 


London's Groan may have produced one of the best EP titles of all time. It’s a name so ridiculous yet so inventive that one would absolutely never tire of reading it. Surely such majestic titling will have equally as grandiose chops to back it up?

The four tracks on offer feature a bevy of ‘old school’, blues infused riffs. ‘Run Out Of Fucks’ kicks things off as they mean to go on, pounding drums and low, brooding bass being joined by a big old wall of guitar feedback. Mazzereth’s vocals kick in and goddamn, they really wail, in a similar vein to 70’s heroes like Bruce Dickinson, soaring, almost operatic highs. There’s a pleasantly rolling tempo, then a breakdown with some epically blazing guitar work, before the song fades into weirdness.

‘Witchfinder General Finder’ features some excellently tight instrumentation amongst the bluesy 70’s worshipping licks. Leigh Jones’s bassline moves organically, and Zel Kaute’s drums are intuitive and feature a lot of interesting movement, especially during the drum solo break that’s intercut by big, statement chords. There’s another guitar solo that edges close to spacy, psychedelic territory, in a good way. ‘March Of The Druids’ is arguably the least realised, not having much in the way of stand out personality compared to the other tracks. Although it’s ballsy and beefy, it could probably use a little more cowbell.

But Groan definitely save the best for last, in the shape of ‘Buried In Leather’. The sleazy main riff slaps you across the face with a cow-hide glove, and would definitely induce some dipping-headbanging live. The track ups the ante into a driving, breakneck riff that carries the song to its end. When Mazzereth asserts “heavy metal thunder/it’s the only way” you can’t help but be convinced as things finish with a drum freakout and plenty of cymbals.

You can pick up ‘Highrospliffics’ for free via Groan’s BandCamp, but for riffs of this quality, put your hand in your pocket.

Written by Jay Hampshire

Thanks to Cat Jones at Southern Cross PR for the promo.

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Interview with Zafrir Tzori from Dukatalon

For those unfamiliar with the band, Dukatalon are an excellent Israeli sludge trio founded in 2007 by Zafrir Tzori, who is the guitarist, vocalist and chief songwriter. These days he is joined by Yariv Shilo (drums, percussion, since 2007) and Roy Ben Samuel (bass, since 2012). I caught up with Zafrir to ask him about the future of the band, their relationship with Relapse Records, their routines, equipment and tone, about the difficulty of coming from such an isolated part of the sludge/doom world and more.

E. Thanks for doing this interview for The Sludgelord, man! How are you doing?

Z. Great, just finishing work on our new album. It's been slow going actually, because we wanted to take more time with it. It's far more diverse and complex than the last one, and right now we are in the last stages of mixing it. Also, we felt under no pressure with deadlines, which was good... We are kinda free again right now, so we can't say when it will be out, that depends on which label we release it on.

E. So have you left Relapse Records?

Z. Not exactly... Last time I spoke with them they told me they are cutting off with their releases, but lately their manager told me they do want to hear the new one, but we want to see if maybe we have better offers. I'm not making any decisions yet.

E. OK, let's talk about the history of the band, you founded it in 2007 and released the self-titled EP that year. How have things changed for the band since then? I know you played with a couple of bassists before 2012 when Roy joined...

Z. Musically we became less stoner-sludge, in the traditional sense, and become much more precise and complex, exploring new sounds. Our writing formula has changed a lot also. We've played with a few bassists, but Roy's been with us for 3 years now, and definitely the best.

E. How would you say the band has developed tone-wise over the years? Can you give us a run-down of what you use?

Z. The sound definitely has changed, but not only guitar-wise . I think each one of us is a better player than at the time 'Saved By Fear' came out. I pretty much still play on the same gear because it's timeless gear, I just changed the way I'm playing... I think it's also the way the songs are written, and it's a different writing situation now. I use an old '69 Marshall Super Bass head with Boss dirt pedals and a '93 Les Paul for my tone. On the new album I've also added a few other things here and there.

E. What is your usual writing/rehearsing routine, do you bring riffs, beats, etc... to your room and work them out, or jam, or... ?

Z. The routine is that I bring the music and we all start to play it together. The final result is a piece that each one of us has added to, or sometimes the song changed with time and became a different thing. On our album, all the songs started one way when they were recorded, and then a different thing came out than what we had originally planned.

E. Many musicians from the Louisiana sludge scene have cited the intense heat as a factor in their slower grooves. Being in a Middle Eastern country, you experience your fair share of heat, though it isn't the drenched heat of the southern swamps... How much would you say the climate affects your style of playing?

Z. Well... I don't really think it affects me at all, to be honest. I know where we come from leads people to make a lot of assumptions about how our music should sound, but none of this is affecting me. I just have my own style and my imagination, and I'm going with it.

E. How do you feel about the Israeli doom/sludge/stoner scene? Many readers may have only heard of you guys and (the now defunct) Rabies Caste, but there are and have been a few seriously cool heavy bands from there, such as Sheen Daled, Ke$$ef, Verminn and Buzzer...

Z. They are all friends of ours and we share stages with them often, all I can say is check them out also.

E. So who are your favourite bands currently doing the rounds on the doom, sludge, stoner, etc... scenes internationally? Are there any European festivals that take your fancy for the future, such as Temples, Desertfest and Roadburn? Have you approached any of these outfits or vice-versa?

Z. Temples seems really good. Every festival, each and every year, has good bands and bad, in my opinion. We tried to get on these festivals before, the DIY way, but it's useless. Even with Relapse we didn't really tour much... And this is what gets you known well enough to get on these festivals in the first place. Believe it or not, I don't really listen to stoner and sludge most of the time. I also think that a lot of bands these days, in this genre, focus more on getting big, sludgy sounds than on good song writing.

E. How do you view the Israeli DIY scene, and where does Dukatalon fit in to it? There are a lot of punk/grind shows and venues that host underground extreme music, and I know that you have played alongside a lot of punk and grind bands over there...

Z. It's a small scene. The unique thing with the scene here in Israel is that because it's really small, a lot of styles come together. That way you can easily catch a show with a metal band, then a punk rock band and then a noise band, all on the same bill. That's also because all the people that are doing 'different' music pretty much all know each other.

E. With Israel being so small and isolated, do you think this has contributed to the lack of Israeli metal bands 'breaking out', so to speak? Right now we are seeing bands such as Orphaned Land and Melechesh (who are no longer based in Israel) have relative commercial success compared to most Israeli bands, do you think this may be the beginning of a trend? If so, who do you see making waves internationally?

Z. I think it's more a matter of how people in Europe or the USA see us. It's weird for them to see a band from here making this kind of music because they mostly see people from their countries do it, and when they see a band from here doing it I guess it can be seen as different. That's why bands like Orphaned land can make it, because it's more reasonable for a metalhead from Europe or the USA to see a metal band from Israel playing metal with Israeli or Middle Eastern elements. You can't really make it from here. You need to make an effort and be where it's actually happening.

Saved by Fear cover art

E. Has the BDS movement affected the metal situation there at all? I know that Behemoth, Biohazard, Iced Earth, Taake and Cannibal Corpse have all played there in the last year, despite being petitioned to cancel, but do you know of any high-profile bands that have declined to play for political reasons, and has Dukatalon personally been attacked in any way for being an Israeli band?

Z. I never heard of a metal band that cancelled a show here because of BDS. I know of other bands of other styles that have cancelled, such as The Pixies... We've never really got close to this kind of thing yet, except stupid comments online, and even when we do... We don't care because we've got nothing to do with it and we couldn't care less about involving politics with our music.

E. Drugs and alcohol play a fairly significant role in this kind of music, generally speaking, and Israel is a comparatively very religious and conservative country. Many bands in Western countries wear their alcohol and drug use on their sleeves, would you say attitudes differ amongst the fans and bands themselves in Israel from their British or American (for example) counterparts?

Z. I know about this phenomenon regarding heavy music and drugs, here it's no different to the rest of the world. I can say about us that it's not what we're all about. I personally choose to focus on the music.

E. What are your favourite and least aspects of gigging/touring and recording?

Z. Well there is nothing that I don't like about gigging. Touring is great, but I can't really say that much about it as we've only toured a few times, I hope that will change in the future. Recording is awesome. The only thing I can think of that's bad about it is the pressure to get the best results that you can, and to know when to stop trying to achieve it, because it can be an endless pursuit sometimes and you need to know to let go.

E. Are most of your domestic shows DIY or promoted by others?

Z. DIY, for sure.

E. What has been your primary source of new heavy music, before and after the internet explosion? Would you say most Israeli fans of similar music would say the same thing?

Z. They will most definitely say the same things, the fans of my generation at least. I think all of us that are a little bit older (past the 30 mark) all got our music from countless visits to record stores, from magazines, word of mouth, tape trading... The good thing about the internet explosion, in my opinion, is not the fact that you can find new music easily, it's that you can also find older stuff that you could not get, or have heard, back then.

E. What is your vision for the band over the next few years? What are your short, mid and long term plans?

Z. I definitely want to make it a more serious thing than it has been up to now. The new album is going to be really good, so I hope it will get the attention it deserves. We kinda took it slow in the last two years because of the work on the album, and also some personal stuff.

E. And who are your favourite bands of all time, your biggest influences, and why?

Z. Well, it's always changing. I think right now I find myself going back to a lot of bands from the time I started to find interest in heavy music. The bands that really influenced me are bands like Slint, Melvins, Sepultura, Meat Puppets... A lot of 80's and 90's hardcore and post hardcore. Sleep, Today is the Day, Helmet, the third Alice in Chains album was a big influence on me, and so many more... These are only the ones that jumped into my head right now, there are so many.

E. Thanks for taking the time out to do this interview, it's really appreciated and I wish you well with the album release, CHEERS!

Z. Cool, Eytan, thanks a lot. We will keep in touch.

DUKATALON – 'VAGABOND' - From the album 'Saved by Fear'

Interview by Eytan Dorron

I want to thank Zafrir Tzori for taking the time out to talking to Eytan at Sludgelord HQ. 

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