Showing posts with label Bast. Show all posts
Showing posts with label Bast. Show all posts

Tuesday, 11 December 2018

ALBUM REVIEW: Bast, “Nanoångstöm”

By: Chris Bull


Album Type: Full Length
Date Released: 23/11/2018
Label: Black Bow Records




 


Bast have certainly developed creatively and have released another standout album in the world of heavy music


 


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

1. Distant Suns
2. Far Horizons
3. The Beckoning Void
4. Nanoångström
5. A Red Line Through Black
6. The Ghosts Which Haunt the Space Between the Stars


The Review:

When I heard Bast had recorded and released their 2nd album 'Nanoångstöm', I knew I was the right SLUDGELORD to put my name forward for the review.

4 years have passed since the release of 'Spectres', in my opinion, one of the best heavy records to be released this century, so Bast face an uphill struggle to better, let alone match the benchmark they previously set. 'Distant Suns' immediately leaps for the aforementioned benchmark, with the solemn bass intro, like a lonely astronaut floating through space, gathering momentum and hurtling towards the epically heavy 'Far Horizons', where the contrasting vocals of drummer Jon Lee's blackened growl and guitarist Craig Bryant's deep below overlay the Primordial esque folk tinged black metal. The album ebbs and flows seamlessly highlighting Bast's penchant for the epic and enthralling, as 'The Beckoning Void” and the title track deliver moments of brutality, subtle tempo shifts and glorious melodies all wrapped up in progressive and finely crafted song writing.


'A Red Line Through Black' harks back to 'Spectres' building upon Bryant's moody guitar and vocal work, through some heavy prog inspired riffing to create a sonic journey full of the unexpected. By the time  'The Space Between the Stars' opening tremolo laden riff and blast beats slow down to allow the song the room to breathe, the unexpected becomes the ordinary as riffs, licks and screams leap out from all corners, dragging you, towards the black hole they created.

While Bast's influences may be apparent to some, with nods in the direction of a few of black metal's proggiest bands, it's the personal touches and subtle nuances that forge the main body of their sound. Bast have certainly developed creatively and have released another standout album in the world of heavy music. Whether it will leave as lasting an impression as 'Spectres' remains to be seen, but several more spins will go a long way into that decision. Now, where's that repeat button...

“Nanoångstöm” is available HERE




Band info: bandcamp || facebook

Friday, 10 March 2017

REVIEW: Deadwound - "Identity Shapes"

By: Charlie Butler

Album Type: EP
Date Released: 17/02/2017
Label: Black Bow Records



The South-West London quintet deal in a compellingly nasty blend of filthy sludge riffs, jarring discordance and searing bursts of d-beat fury. Tracks like “Crucifixed” and the crushing dirge of “Witch” come out of the blocks like “Remission” era Mastodon locked in a sweaty basement with His Hero Is Gone.  The band deliver twenty minutes of exhilarating noise that is equal parts barbed complexity and raw simplicity.

“Identity Shapes” DD track listing:

01. Crucifixed
02. Kult Warrior
03. Witch
04. Cruel Road
05. Babylon

The Review:

The prospect of members of doomed black metallers Bast and angular noiseniks Silent Front joining forces to unleash riff mayhem is a mouth-watering one. Deadwound’s debut EP “Identity Shapes” delivers five tracks of the quality you would expect from this heavyweight line-up. There are plenty of hints of the members other projects throughout but the band have already developed their own distinct identity.

The South-West London quintet deal in a compellingly nasty blend of filthy sludge riffs, jarring discordance and searing bursts of d-beat fury. Tracks like “Crucifixed” and the crushing dirge of “Witch” come out of the blocks like “Remission” era Mastodon locked in a sweaty basement with His Hero Is Gone. “Climax” sees the bands noise rock influences bubble to the surface, culminating in a razor-sharp Shellac-esque one chord assault. The conclusion to brutal parting shot “Babylon” takes an unexpectedly epic turn, slurred riffs providing the backdrop for a subtle but effective spacey guitar solo.

The impact of these tracks is helped by a perfectly pitched production job. It is weighty enough to capture the gut-punch of the band’s low-end heaviness but scratchy enough to showcase their ragged punk energy.  

Identity Shapes” is an attention-grabbing opening gambit from Deadwound. The band deliver twenty minutes of exhilarating noise that is equal parts barbed complexity and raw simplicity. This is a release loaded with potential that whets the appetite for a full-length dose of carnage.

“Identity Shapes” is available here




Band info: facebook

Saturday, 23 January 2016

The Lion's Daughter - "Existence is Horror" (Album Review)

By: Josh Lee

Album Type: Full Length
Date Releaed: 08/01/2016
Label: Season of Mist


Everything on this album is written to disgust; from the dissonant chords and violent palm mutes on ‘Dog Shaped Man’, the scraping of guitar strings on ‘Nothing Lies Ahead’ to the vocals so overblown they’re yelling through distortion, while tremolo-picked flurries of guitar and blast-beat drumming make for a very well-formed fusion of black and sludge metal.

“Existence is Horror” CD//DD//LP track listing:
01. Phobetor
02. Mass Green Extinctus
03. Nothing Lies Ahead
04. Dog Shaped Man
05. Four Flies
06. Midnight Glass
07. The Fiction In The Dark
08. A Cursed Black End
09. They're Already Inside
10. The Horror Of Existence

The Lion’s Daughter is:

Rick Giordano: vocals, guitars
Erik Ramsier: drums
Scott Fogelbach: bass

The Review:
Here is an album that truly lives up to its title. Filled with unrelentingly loud and aggressive sludge while drawing influences from the heaviest extremities of metal, under its dense and viscous outer layer “Existence Is” Horror harbours a seething misanthropic heart. Rather than emphasise specific genre-defining tendencies, The Lion’s Daughter pull from a variety of sounds and channel it into a sound that is not overtly any specific style, but maintains an abrasive listen throughout. Originating from St. Louis, Missouri, this  is only the second full-length album from a band whose only intensions are to make truly loathsome music, something they’ve now succeeded in doing a second time.

Everything on this album is written to disgust; from the dissonant chords and violent palm mutes on ‘Dog Shaped Man’, the scraping of guitar strings on ‘Nothing Lies Ahead’ to the vocals so overblown they’re yelling through distortion, while tremolo-picked flurries of guitar and blast-beat drumming make for a very well-formed fusion of black and sludge metal. Even so, The Lion’s Daughter still devote time to melodic moments like the ending of ‘A Cursed Black End’, and the opening section of ‘Four Flies’, though brief, also shows an obvious psychedelic interest. The musical ideas explored here range from everywhere in between the trudging sound of early Mastodon releases and the cold atmospheres of Scandinavian black metal, with plenty of punch behind them thanks to the brilliant production. It’s expected that an album produced by the same man behind the mixing desk on albums from YOB and Wolvhammer would sound monolithically huge.

Not to understate the band’s own attention to detail; there’s a clear amount of polish and meticulousness in the sonic make-up of this album. Smaller touches like the addition of synthesisers and layers of sounds help create a bleak atmosphere mirroring the album cover itself, and show that there’s much more substance here than what’s immediately obvious. “Existence Is Horror” is more than just an entertaining piece of sludge metal, it’s thought out and executed incredibly well. There’s a strong sense of progression throughout all of the songs, and the riffs here are so much more than chugging messes; they’re melodic and skilfully played. The Lion’s Daughter have made an album that is both satisfying on a visceral level and a nuanced level.

“Existence is Horror” is available here







FFO: Coffinworm, Fister, Keeper, Bast

Band info: facebook | bandcamp

Sunday, 7 December 2014

Live Review: Damnation Festival 2014, 10th Anniversary @ Leeds University Union, 1st November 2014




Today is not your typical day for me, being a husband and father of two kids under four, the days are few where I'm not spending time with them, therefore on those rare occasions where my children have flown the coup (e.g. staying with their grandparents) you need to make the most of your downtime. I speak of this because I listen to metal in solitude, as many of you reading this will attest too and now the ghouls and witches have been vanquished following Halloween the day previous, it is with the utmost excitement that I have a day of heavy metal carnage to enthuse and enrich me, and it will unequivocally without interruption from my beautiful children.  Nov 1st is metal head nirvana. 26 bands, four stages, Leeds Met University, this can only mean, Damnation Festival 2014

Now in its 10th year, there is much to celebrate for the organisers, since the inaugural event took place at Jillys Rockworld, Manchester. As we hit 88 mph in our Deloreans and head back in time, a mere 10 yrs previous, £13 would have got you 15 bands, 2 stages and the likes of Raging Speedhorn, Forever Never (whatever happened to them?) and Entombed, fast forward to 2014 and with a sell out capacity of 4000, Damnation Fest continues to excel in delivering a mixture of new cutting edge music, alongside the vanguard of futures past.  As the metal legions flock to Yorkshire, the festival is more than just an appreciation of music, it is a social gathering of music lovers, who share a common love of beautiful and ugly music, perhaps seeing each other but once a year, but congregate here to listen, to worship, to drink, to bang your head, but more importantly to be part of the encompassing sense of affiliation within your peers, you adore this music.  Today, folks I am not alone.   

Heading over to Leeds, the day starts early, 7am to be exact. I have my timings worked out in my head, catch a Bus to City Centre 9am, coach to Leeds 10am, arrive there around 11am, get to venue around 12pm, relax and wait for friends to arrive, problem being we’ve never met each other, but that’s only a minor detail (ill worry about that when I get there).  Upon arrival the venue is buzzing, people milling around inside and out, checking out merchandise.  I’m sweating as I’ve walked 40 minutes having got lost on the way, but hell, a beer will rectify that. 

The 4 stages are on 3 levels, one down a flight stairs (Terrorizer Stage), and down again to another (Eyesore Stage) and then there is two on the main level, (PHD Stage) and (Jagermiester Stage).  When you enter the venue, what is striking, is that the layout is very ordered and well organised, it feels a little disorienting at first, because you’re ushered in one direction to begin with, but as the first band got things underway, the atmosphere is suitably relaxed.  With bands playing on two levels, you have to head downstairs for lesser known bands and then back up to the main level to see those on the main stage.  At times, things bottleneck when fans exit from downstairs but that’s a very minor criticism.  Alcohol was adequately priced and given that the stages were on two levels, it didn’t feel oppressive in terms of the amount of people around, indeed with bars in the general vicinity of the stages, many people choose to camp out in one area until the acts on the main stage start. 

With my friends scheduled to arrive around 3ish, Corrupt Moral Altar kicked things off at 1pm on the PHD stage and having seen them put in a stellar performance supporting Conan earlier in the year, I had high hopes that things would be suitably malignant today.  Given that their music is so angular and chaotic, there is a need for a crisp sound mix in order to fully appreciate them, but unfortunately for me they suffered from a muddy sound, guitars were swallowed up and despite a typically muscular performance, the drums just buried everything, which in turn left me feeling disappointed.   This is not to detract from the band, who are great, but on the whole, not the best start.

I was hoping things would improve as I headed downstairs to the Eyesore Merch Stage for Bast.  By weird coincidence, Bast were also on the same bill CMA were, supporting Conan earlier in the year, and my only disappointment at the time was that I missed the beginning of Bast’s set.  For me, Bast are one of the major success stories of this year, their blend of black metal/doom, has won them numerous plaudits and based on today’s performance, Bast consolidated my opinion that they’re set for a bright future.  Drawing an impressive crowd for such an early performance, their sound was incredible, I’m talking studio quality.  Clean guitars were crisp, vocals the right amount of anguish and angst, to top it all off ‘fucking massive riffs’.  These guys are impressive and for me, set the benchmark for all subsequent performances of the day.   Having clocked in an impressive amount of road miles in support of Conan in 2014, an impressive debut record under their belts and festival appearance booked in for 2015 already; expect big things from these guys in the future, I for one, can only wait in anticipation for new material too.

With such an impressive crowd downstairs, I had to jostle my way through the hoards and make my way upstairs for the first band on the main stage.  With October File being conspicuous by their absence (due to an unfortunate accident), Dyscarnate stepped into the breach as opening act on the Jagermeister stage.  Fresh from their performance the previous day at the warm up party for Damnation, this wrecking crew put in a noteworthy performance, admittedly my love of death metal is limited at best, but they delivered a tight and solid performance, perhaps more on the side of brutal death, rather than old school death. (Note, I have limited knowledge in this genre).  Given the technicality of their music, they clearly have the chops in abundance and for me this is to be commended given they’re a 3 piece.  Having reissued their previous records within the last 12 months and with new material on the horizon, if Dyscarnate continue to deliver performances such as this, then they have a bright future.  As a friend said later in the day and I paraphrase, Dyscarnate are not a band I would not return to again and again, but deliver music of high quality, and are good are what they do. 



The beauty and the curse of any festival is the sheer amount of music, not to mention that as the day progresses the timings of performances kinda bottle neck and your ability to skip from one stage to another becomes more difficult.  Following Dyscarnate’s performance, I meet up with fellow Sludgelord scribe Richard Maw and we shoot the shit in the bar, having a drink, trying to cement a friendship started way back when he first started writing reviews 2 yrs ago.  Indeed, the beauty of appreciating this type of music, is the formation of friendships such as this, not talking for ages, then immediately being able to converse about the last great record you heard, the last vinyl you bought or the last gig you attended, the heavy metal scene is truly unique in this regard and it is at this point when it becomes apparent that I am likely to focus my attention more on the main stage acts, then buzzing around trying to catch every band in the house.  I mean, 26 bands, one day, come on!!  I am, but one man. 

After a 35 minute interval, during which time, Aeon and Black Moth play on their respective stages, next up on the main stage is Stampin’ ground. Circle pits abound and dare I say it, the most fucking fun had all day. With the crowd firmly in the palm of his hand, front man Adam Frakes-Sime splits the crowd down the middle from front to back to make the biggest pit of the day. Their set is a real highlight and having reformed this year for a string of dates including Sonisphere, they are clearly enjoying every minute of it.   Having toured with the likes of Anthrax, The Haunted, Soulfly and Sick of it All in the past, they clearly have pedigree and were revered back in the day, and perhaps didn’t get the credit they deserve.  Based on today’s performance, with their blend of groove laden hardcore, they got the crowd going, played their hearts out and their enthusiasm for what they were doing was infectious.  Finishing off their set with a nice Biohazard tribute, Stampin’ Ground left a lasting impression and may have earned a few more followers whilst they were at it.  Nice one Damnation, kudos for booking them.  (N.B. Check out the band Romeo Must Die, great band, featuring former members of SG)

The must see band of the day for me, was Raging Speedhorn, who were up next on the Main stage.  Having headlined the very first Damnation 10 years, it is fitting that these guys from Corby return to play, indeed it feels like 2014 is the right time for this band to return, such is the bristling sludge scene in the UK at the moment.  Raging Speedhorn exploded onto the scene way back in 2000, reaching the heady heights of the UK Singles chart in 2001 with their song ‘The Gush’, but for me, it was with the release of their debut full length ‘Raging Speedhorn’ that I really took notice of the band, having a sound reminiscent of Eyehategod and Iron Monkey, there really wasn’t many bands like them at the time.  With an incredible follow up ‘We Will All Be Dead Tomorrow’, produced by members of Biohazard, Speedhorn were destined for great things.  Following the release of their 3rd record ‘How The Great Have Fallen’ Frank Regan split from the band in 2005, to be replaced by Blood Kev of Helvis fame (ex-Iron Monkey members) and they subsequently released one further record ‘Before The Sea Was Built’ in 2007, a record which strayed from their original sludge sound.  That is their history but fast forward back to 2014, and their arrival on stage today, almost feels like a rebirth, this is their spiritual home and ‘Speedhorn have come to destroy.  Kicking things of with ‘Knives & Faces’, the opening refrain is lapped up by the crowd, and for me it is particularly exciting to see Frank Reagan back on vocals and he does not disappoint, cap tied to belt, trading vocals with his demented sidekick John Loughlin, looking like the guy, you least want to spill his pint.  To coin a phrase, they’re ‘on point’ from the start. A personal favourite ‘SuperScud’ is 3 songs in, by which time, the band is in full flow, the trading vocals are just brilliant, with Loughlin having some banter with the crowd.  There is even a nod to the brimming UK scene with Loughlin sporting a Gurt t-shirt, ensuring that at least one member of the audience will leave the venue with a Cheshire Cat grin.  The aptly titled ‘Hate Song’, exudes well, Hatred, we get ‘Fuck The Voodooman’, ‘Scrapin the Resin’, their hit ‘The Gush’ and my personal favourite ‘Thumper’.  Playing 11 songs in total, Raging Speedhorn came, they destroyed, job done and if Carling made metal bands from Corby, this would probably be the best band in the world.

Talking via various social networks, a band within the stoner doom scene that is almost certain to crop up in conversation is Orange Goblin, and rightly so to be honest, they have worked their balls off to get to point where they are doing this full time.  For me, I have always felt slightly underwhelmed by them, alternatively Ben Ward’s tenure with Ravens Creed fucking ripped.  Listen to ‘Stand up and be Cunted’, then come back and see me.  I first saw OG at Hammerfest a few years back, the crowd adored them, but again I felt there was something missing in there performance.  Undoubtedly what they do, they do well, great riffs, swagger, a towering Thor like front man, in essence they are a class act, but I just think I am destined not to love them.  I don’t dislike them, I am just indifferent to them and based on their performance this evening, they didn’t change my opinion.  Of course, there are probably 3000 people who will say OG slayed, but for me they didn’t really grab me and that is what is important, a band needs to suck you in and to be honest, they didn’t.  I wanted to love it, but regrettably Orange Goblin disappointed, but again it is a subjective opinion and based on the fact 3000 people were going nuts, Orange Goblin’s performance was a triumph.  There’s nothing not to like, but for me, they’re missing that special something. (Cheers Phil)

I left before the end of Orange Goblin’s set, as I wanted to catch Anaal Nathrakh downstairs on the Terrorizer stage but it was tighter that a nat’s arse, it was packed and to be honest, it wasn’t enjoyable, so after a few tracks I headed back upstairs, to catch Monarch, and holy fuck did I make the right decision.  Honestly, words can’t describe how disgustingly bleak they were, it was blacker than black but I loved it.   There is a undoubted paradox about Monarch, in the sense they are fronted by a diminutive blond angel of a front woman, with a vocal delivery at odds and contradictory to what you might expect, indeed such is the confliction it defies common belief, Monarch are unrepentant in their harsh approach, this is not music for people of a sunny disposition or someone who is sickened or disturbed by unpleasantness or challenge, this is music to upset and nauseate.  Monarch deliver cavernous and mighty bass riffs, that drone on for days, you get slow drum lines traded against Emilie Bresson’s terrifyingly emotional vocal style ranging from tortured screams to calming and evocative chanting.  Monarch’s performance is certainly an ordeal for the listener and will not be to everyone’s taste, but to me, they delivered a truly blistering and intense performance.  Enthralling stuff.  A side note to their performance was that Air France had misplaced all of their gear, so they were forced borrow instruments and amps from other bands.  For that Monarch get the band of the day for me. 

By the end Monarch’s set it is around 8pm, by which time my energy reserves were in need of a much needed boost, doom stalwarts Saint Vitus were next up and it was a case of the masters showing how it was done.  Those expecting bundles of energy from the band would have been disappointment, it was a case of less is more and they delivered a measured performance.  Star award of the day, goes to Henry Vasquez on drums, he was at the cornerstone of everything that was good about Vitus, he was having a blast behind the kit, playing like his life depended on it but at the same time, messers Chandler, Adams and Weinrich were somewhat reserved, with the aforementioned Wino on vocals seemingly disinterested at times, which was a shame, given that I hold him in such high regard.  It is not every day you see a band like St. Vitus on stage, it is one for the bucket list of all doom fans and on the whole they sounded amazing, Chandler’s riffs sounding at fresh as the day they were written, but Adams on bass seemed to be going through the motions.  I mean I was not expecting tons of energy, but presentation was a little dreary at times and coupled with my own dwindling energy levels, I made the painful decision to leave the festival and make my way home back to Sheffield. 

In terms of the festival there was music to cater for pretty much every musical taste, but by 9.10pm I was honestly knackered and given that I am not particular enamored by death metal, I decided not to battle through the masses to catch Cannibal Corpse or Bolt Thrower, yes, you may well shout ‘You idiot’ at the top of your lungs, but honestly I saw the bands I wanted to see and left Damnation tired, but enthused about what I had witnessed.  CMA, Bast, Dyscarnate, Stampin’ Ground, Raging Speedhorn, Orange Goblin, Monarch, St. Vitus.  16 hours, one bus, one coach, good banter, several beers, one Damnation Burger, 8 bands, one train, one taxi, arrive home at 1am.  Tell me that is not a good day?!!  Damnation Festival, Becky Laverty you guys rule, thanks for the invitation and I will hopefully see you next year if you’ll have me back, it is going to take me that long to recover. Stay heavy. 

Words by: Aaron Pickford
 

Monday, 7 April 2014

Live Review : Bast, Dead Existence, Indian, Conan, Electrowerkz, Islington, London, UK, 22/3/2014


The Electrowerkz is a warehouse/lockup type venue just around the back of Angel station. Labyrinthine in layout, it is not the most organic of places to allow fantasy doom to flourish... but nonetheless, that is what happened on Saturday 22nd March 2014.

Arriving on time to catch Bast's set, I was not let down. Having previously been in the band that was first support to them at the Unicorn, Camden a couple of months back, I very much wanted to see what they could do live- I had to leave early that night to get a train so missed out.

Going on at 7pm did not do them many favours in terms of attendance but those who were there were into it and enjoyed a superbly delivered set of atmospheric blackened/doom/sludge metal. The band played very cohesively, with different band members handling vocals as appropriate. I was particularly impressed with drummer Jon Lee- he played fluidly and mathematically with good phrasing and feel (you can't teach that) he made a basic set up sound much, much bigger. Their forty minutes of allocated time flew by, converting the audience or solidifying any existing links. A class act with an excellent full length out in “Spectres”. Do yourself a favour and check it out.

Sadly, I missed Dead Existence's set as I was interviewing Jon of Conan so I apologetically have to say that I did not see them. I can only say that the venue was filling up and after their set I heard quite a few positive write ups. I'll catch you next time guys.

Indian arrived to the stage late due to, from what I could make out, difficulty with onstage sound. They only ended up doing perhaps 25 minutes, but what minutes they were! Intense, horrific and unpredictable- the band started in an Eyehategod style; lurching into action as if an unstoppable machine was being started up. Having not heard them before, I was converted; the band gave their all and got the room firmly on their side. The Americans delivered a powerful and noisy set of heavy sludge/alt/weirdness. Another 25 minutes would not have been amiss at all!

Finally, Conan took to the stage just after 10pm. The sound was enormous- and crystal clear. Rarely have I heard cymbals so cleanly in a live venue- credit to the front of house sound. Crown Of Talons fairly ripped out of the speakers to a packed and sold out venue. I lurked, as per, at the back to watch the crowd swell to jam-packed proportions as the intro riff rang out. The audience began to move as one. Heads nodded, then banged. Crowd members shouted along as Messrs Davis and Fielding utilised brute force riffage and throat shredding vocals. Fielding seems to have slipped right in to the band's lineup. All three hooded figures cohered as one giant noise machine. More material from “Blood Eagle” followed with devastating results. Jon's claim that the mid tempo stuff seemed to move the crowd more was proved accurate as Foehammer hammered friends and foes alike in the crowd. The bass drums of Paul O'Neill clicked impressively as the band reached a gear that many would have been surprised by only two years ago. The crowd were very into it- there is nothing like a rammed room moving as one organism and that is what happened.

Gravity Chasm was a highlight for me (as it is on “Blood Eagle”) as the groove was deadly and the conviction of the band unshakeable. This is often the key to metal in a live setting: are you convinced? I was. Songs about wizards and warriors may not be your thing, but that wont matter- the band play with a heartfelt honesty and delivered on every level. A good gig can make someone's week, month or even year. Having had a busy and stressful week at work this was the perfect antidote. All others in attendance seemed to agree as people forgot about the hassle of everyday life and rocked out to ideas of victory, magic and might. 

I will be eternally disappointed to have to have left the gig a little early (22.45hrs) to get back to catch a train (the scourge of my gig going, it seems). The gig will not be forgotten in a hurry, though. Powerful and uplifting, Conan reaps souls and improves lives. 

Words by : Richard Maw


Wednesday, 2 April 2014

Live Review : Bastard of the Skies, Bast, Corrupt Moral Altar, Conan, Kraak Gallery, Manchester, UK, 19/3/2014

Finding Kraak Gallery was an odd experience. Entering was an odd experience. Luckily, normality was restored when I managed to get a bottle of beer and take in opening band, Bastard of the Skies.

BOTS are a three piece from Blackburn. They purvey a sound that has elements of melody and harmonics, but ultimately they are a devastatingly heavy band that could easily be tagged as sludge metal; no bad thing. The bass rumbles and rolls over vicious drumming whilst the guitar sound brings dense and bombastic riffs. The band played to the assembling crowd which gave all their attention. A thirty minute set was continuous in its delivery. No break between tracks, or any in between song chat made for a relentless thirty minutes. As the set ended BOTS were greeted warmly by the gathering crowd.

Next up were Bast. A band that I personally was very excited to see again after their monstrously good turn at FOAD Fest in Manchester at the start of the month. Again taking a thirty minute slot, the band played a small chunk of their epic album; Spectres. Closing with album closer, Outside the Circles of Time, the band sounded stunning in their doom/black metal approach. Although the band relies heavily on these sounds there is so much more going on within the bands sound, the ethereal build up of the songs and the ability to segue between tempos seamlessly is a quality to be admired. With vocals being shared the diversity in the band is what is making them one band on the UK metal scene to really keep your eye on.

Arriving monumentally late for tonight’s gig, having battled with the idiocy of football night traffic, there is an almost tag team like segue into the next band, Dominic tapping me in, to cover review duties for the next two bands.  Disappointed to have missed BOTS set, having featured their luscious filth a number of times for The Sludgelord, I was rewarded with the tail end of Bast’s set.  The sound of the band mirrored that of their excellent Spectres album, slow bludgeoning riffs juxtaposed against the more aggressive black metal elements.  The band as a unit was an incredible proposition and with every future performance, based upon what I observed.  Bast has a great future ahead of them. 

Next up were Corrupt Moral Altar, a sound more akin to grind core, their approach is breakneck.  Guitars resonating like that of classic Wolverine Blues era, Entombed (when is that ever a bad thing), CMA were a tumultuous din from the outset.  The scything bombast of the drums, vocals akin to an S & M enthusiast ingesting glass for kicks, the band deliver frenetic and lacerating anthems.  Their set is a punishing experience, perhaps akin to a withdrawing from heroin, disagreeable, dissonant and harsh.   Their noise was often tangential at times, with the occasional slow beat down interspliced with the chaos, but at the root of it all, is a sound of extreme power violence.  Recently signed to Season of Mist, these noise terrorists are a revolutionary doctrine of destruction. 

Tonight, judging by the dense pummelling nature of this evening’s performance, Conan somehow manage to eclipse even their latest offering, Blood Eagle.  Live!  Conan, destroy.  Crown of Talons the lead track is a brilliant start, the opening riff sounding like Godzilla ploughing through a dense metropolis.  Paul O Neill’s drums have never sounded better, snapping like a ravenous fly trap ensnaring its prey, it is coma inducing stuff.  Indeed that is the measure of the whole evening.  This is power of damaging proportions, oppressive and elephantine. A seismic mass that would make even the Richter scale nervous.  A highlight as ever is the brilliant Hawk as a Weapon and tonight it does not disappoint, the only difference, that it has grown another set of balls.  Seriously you could almost drown in the distorted ether of sound.  Punishing stuff indeed.  A set comprising of Blood Eagle in its entirety, it is a measure of how confident Conan feel about their new material and who can argue, the record is incredible.  Slipping in like three hooded warriors from the Cimmerian wastelands, Conan unleashed their full arsenal upon us.  Abandoning all sense of control, Conan perform a method of torture and execution upon the Kraak Gallery tonight, The Blood Eagle!!  Breaking our ribs to resemble blood stain wings.  Tonight Conan, truly are barbarians and turn in a breathtaking and blisteringly HEAvy performance.  You have been warned.    

BOTS & BAST by : Dominic Walsh

CMA & Conan by : Aaron Pickford

For more information :

Wednesday, 5 February 2014

Interview with BAST


Sludgelord HQ are pleased to be interviewing one of the hotly tipped bands of 2014 from the UK Extreme Metal Scene - BAST

Bast music is a deadly mixture of Doom, Sludge, Black Metal and Hardcore. Taking influence from bands such as Neurosis, Yob and Eagle Twin – Bast are going to be one of the big bands to look out for in 2014.

Their début album ‘Spectres’ is a co-release between Burning World Records and Black Bow Records, the new label founded by Jon Davis of Conan and, more recently, the man behind SkyHammer Studio. And what a fucking album it is. This is what I called it earlier today:

I am going to say this now but SPECTRES is an AMAZING album. This is my fave record of 2014 so far. Nothing will prepare you to the stunning and brutal riffs that await you on Spectres. BAST are going to destroy your world with this album with it's heavy and dangerous mix of genre defying riffs...

Spectres is a brilliant début album that shows Bast are on the verge of greatness. Catch them while you can as these guys are going to be huge in the years to come.”

You need proof to see how good these guys are. Check out their BandCamp Page and the list of bands they have toured with.

Nachtmystium (US), Ufomammut (Ita), A Storm Of Light (US), Minsk (US), Winterfylleth, Zatokrev (Swi), Ramesses, Black Sun, Latitudes, Bong, Lord Vicar (Fin), Firebird, The Psyke Project (Den), Horse Latitudes (Fin), *shels, H A R K, Spider Kitten, Serpent Venom, Witchsorrow, Necro Deathmort, Walk Through Fire (Swe), Switchblade (Swe), Galvano (Swe), earthtone9, Inborn Suffering (Fr), Indesinence, The Wounded Kings, Pombagira, Dopefight, Undersmile, Iron Witch, Hammers, Astrohenge, Diet Pills, S&M, Mother Corona, Enos, XII Boar, I Like BUGS, Bastard of the Skies, 5symbols (Cz) and tonnes more...

Now that is one huge fucking impressive list of bands. We had to find out more about from them.

So let's see what BAST have to say to us here at Sludgelord HQ.

Q1 – Hi guys. How are you today? Thanks for doing this. Really appreciate it. We are huge fans of Bast already at Sludgelord.

Thanks for taking the time to talk to us.


Q2 – For people not in the know, can you give a brief history on how the band came about and where it is today.

The first iteration of Bast came about in 2008, following a tonne of misguided childhood projects founded by our guitarist and drummer (Craig – guitar/vocals & Jon – drums/vocals). We recruited Gavin to perform bass duties in 2011 after a short stint as a two-piece and a few line-up changes. This arrangement is the current and permanent roster, with which we wrote and recorded Spectres.

Q3 – Now congrats on your new album – Spectres – and singing with Burning World Records/Black Bow Records. How did that come about singing with those two labels.

After recording the album at Skyhammer Studio we were contacted by the owner, Jon Davis, expressing his interest in releasing it on vinyl & cassette through a label he was cooking up behind the scenes. We had a huge list of potential labels, which we intended to spam the hell out of, but the opportunity landed right in our lap.

The wheels were set in motion before we had a chance to jump on the ball with regards to a CD release, as Jon shot the record over to Jurgen at Burning World who was keen to get involved. We've been pretty lucky as a lot of things fell into place at the right time.

Q4 – Is it daunting to be the first band signed to Jon's label – Black Bow Records. How did you get to work with Jon. Did he give you any helpful tips or advice.

To be honest, it isn't something we've given much thought to. Our experiences at Skyhammer were very positive and we're very proud of what we managed to achieve. Working with Chris and Jon was great fun and the vibe was pretty relaxed.

Both Jon and Jurgen have been supportive throughout and we definitely feel like we're in safe hands.


Q5 – How would you describe your sound as you guys include a lot of different noises, sounds and ideas. Doom, Sludge, Black Metal, Hardcore to name just few or such.

You've pretty much covered the majority of the styles that we're fans of. It was clear from the onset that we'd never be a more focussed genre band, and whilst drawing from every corner of extreme music, our long term goal is to produce the most cohesive blend of the above as is possible for us to achieve.

Q6 – Was Spectres a hard album to record for. And are you pleased with the final result.

We were adamant on recording with Chris Fielding being avid fans of the catalogue of music to which he’s credited, to the extent of foregoing other options during studio complications and his eventual relocation from London to Skyhammer. Despite this, it was well worth the wait and we didn't encounter any other problems recording-wise. We had a long time to sit on the record and knew the material well, so pretty much everything was recorded naturally, without a click, as we wanted to capture a sound and feel representative of the tracks as they're performed live. Needless to say, we're extremely happy with the end result.

Q7 – The next question is from a friend of mine who has seen you guys live in action. As I haven't had the opportunity yet. - What gear and equipment do you use when performing as you guys have a brilliant loud and violent sound that just crushes everything in sight.

Guitar-wise, we use a Les Paul Custom running through a JCM 2000 with a fairly simple selection of pedals – Boss Delay, EQ & a Morley Wah. It's not your conventional doom rig but gives a nice balance between the sludgier low-end and gnarly treble. As for bass we are using a custom EGC Series One running through a Gallien Krueger MB Fusion 500, with an array of effects (fuzz, synth, delay and other assorted nasties). Other than a walnut Black Panther snare, our drummer uses a Roland SPD-S for live samples/effects.


Q8 – What is the song writing process in the band. Is it a group collective or is it down to one individual.

So far our writing, particularly in regards to Spectres, has been a more collective process. First, we tend to discuss a loose narrative or story as a group surrounding a collection of songs as a whole, in order to establish some kind of starting point or ideas to work from. The main guitar riffs and sections will be written based on these ideas, and then as we jam them out as a collective, a stronger narrative is formed as we piece things together. As the bass and drum parts develop, atmosphere and dynamics tend to evolve, and lyrical themes and ideas will be introduced when things start becoming more defined. The final stage is to simply play the hell out of each song to allow any natural changes to occur.

Q9 – What is the whole concept of the album. Or do you want people to find this out for themselves.

Essentially, it follows the journey of a primitive man seeking wisdom within the sacred caves of his forefathers. He descends into a cavern believed to be inhabited by ancestral spirits in an attempt to seek out the mysteries of the shamans who came before him.

To us, it’s a short tale of isolation, the conquest of fear, and ultimately, acceptance of hard earned truths. All formats of the release will include lyrics in the liner notes, so we strongly urge the listener to read them along with the record to draw their own conclusions.

Q10 – How did you come up with the name Spectres for the album. And what is the meaning behind it.

Spectres is actually the first song we wrote for this album, and is the centre of the whole record in theme and position in the track listing. The writing for all other songs spread out from this point in both directions - two songs on either side. It just seemed like a logical step to choose this as the title for the record.

Q11 – Which bands and artists influenced you as musicians.

Too many to mention. Other than the more obvious aforementioned influences, we find ourselves drawing from everything - from 70s psychedelic & progressive rock, grindcore & punk.

Q12 – What made you want to become a musician. Any particular group, album or life changing event.

Freddie Mercury.

Q13 – You have performed with some brilliant bands over your career so far. Which bands have been your favourite to play with and the reasons why.

It's an ongoing source of pride for us to play with some of our favourite bands such as Ufomammut, Nachtmystium and Winterfylleth, as well as our buddies in Latitudes and Serpent Venom – two consistently cracking bands and a bunch of nice guys to boot.


Q14 – Spectres is being released on Vinyl. Congrats on that and especially on your début album as well. How did that come about. And are you Vinyl Heads yourselves like us here at Sludgelord.

We only expected an initial CD release and would have been quite content with this, but we were very excited when we were offered a vinyl release for our debut. We're extremely proud to be releasing the album on pretty much every format going and hope that it will reach as many people as possible, in their preferred medium. Who doesn’t like vinyl?

Q15 – Are you all full time musicians or do you all have full time jobs

If only. Currently we all have full time jobs and the band remains the key project that takes up most of our spare time.

Q16 – In 5 words or less – describe the live BAST experience.

Such doom. Many riff.

Q17 – The UK Sludge/Doom/Stoner Metal scene is popular as it ever has. Do you think the scene has reached it's pinnacle or do you think it can get bigger and better.

The amount of doom/sludge gigs, and people in attendance, has most definitely increased since we started playing, as well as the amount of bands starting up. Most promoters seem pretty dedicated to extreme music as a whole, rather than throwing together line-ups that are continually catered to a single sub-genre – styles will come in and out of fashion, but the fans and people involved seem to be advocates of everything heavy or experimental. We often see the same faces at the different types of shows that we're lucky enough to play, be they more centred around doom, stoner or black metal.

Q18 – If you could give advice to someone wanting to start a band. What advice would you give them.

Buy a tube amplifier. Find a tight drummer. Play any gig that comes your way. Don't try to consciously sculpt your sound too much – let it develop naturally over time.


Q19 – You're about to go on an epic UK Tour with Conan in March 2014. You guys looking forward to that one. What can people expect on that tour.

Other than ourselves and some devastating doom, compliments of Conan, all of line-ups feature some seriously awesome bands from a fairly mixed bag of metal – Indian (USA) in London, Corrupt Moral Altar in Manchester, Witchsorrow & Ageless Oblivion in Basingstoke, Sea Bastard in Bournemouth & Brighton, Spider Kitten in Cardiff and Bismuth in Nottingham, to name but a few.

Q20 – Finally, Do you have anything to say to your fans.

Thanks Mum.

Well guys, thanks for doing this. I really appreciate it. Best of luck with your début album.

Trust us folks when we say Spectres is an incredible album. Spectres is available to buy from Feb 2014 from Black Bow Records on Vinyl and Burning World Records on CD and Vinyl

Check The Band From Links Below

BandCamp - There is a live demo available for Buy Now Download of Denizens available.

Written by Steve Howe and BAST

BAST - Spectres - Album Review


Album Type: Album
Date Released: Feb 2014
Label: Black Bow Records/Burning World Records

Spectres track listing:

1.In The Beginning
2.Denizens
3.Spectres
4.Psychonauts
5.Outside The Circles Of Time

The Band Members

Craig Bryant
Jon Lee
Gavin Thomas

Review:

I am going to say this now but SPECTRES is an AMAZING album. This is my fave record of 2014 so far. Nothing will prepare you to the stunning and brutal riffs that await you on Spectres. BAST are going to destroy your world with this album with it's heavy and dangerous mix of genre defying riffs.

First track – In The Beginning – might start off like a Black Metal album though it's anything but. Bast's music is an intelligent mix of Black Metal, Doom, Sludge, Hardcore and Post-Rock and its' pretty heavy through out with sublime lyrics which portrays Bast's haunting vision to perfection. This is pure unwanted destruction at it's finest. There is a certain poetic beauty to this track despite the heavy carnage crushing things around you. Craig vocals are shouted at you with intense passion and fury that makes it even more impossible to ignore the startling vision of Bast.

Second Track – Denizens – is one of the albums stand-out tracks as it's pure unwanted Doom Metal terror through out with a hint of cool ambient Post-Rock vibes lurking through the darkness. This song shows why Bast are considered one of the best upcoming bands from the UK Underground scene in 2014. Bast prove they are not afraid to experiment with their music as they expertly move from one genre to the next with style, grace and originality. The riffs are powerful as hell and will crush you even more into submission. Witness the power of Bast in full flight here as the album only becomes even better from here on in.

The 5 tracks on Spectres range from 7 mins to 11 mins in length. As Bast deal in all things LOUD, HEAVY and EPIC.

Third Track – Spectres – starts off with a thunderous riff that instantly draws you in before Bast unleash the thunderous doom onslaught upon to your fragile soul. Spectres sees Bast at their most intense and possibly in their most straight forward song on the album as it's purely an Atmospheric Doom Metal song through and through. Jon and Gavin are immense on Drums and Bass respectively as they bring some heavy and spectacular riffs to the field. You can feel each pounding riff driving a steak to your heart towards the end. Spectacular stuff.

Fourth Track – Psychonauts – is a 12 minute instrumental epic which is my fave track off Spectres. As even with Bast not signing any creepy lyrics they are still a truly dangerous band to contend with. Psychonauts starts off with a psych/ambient based riff that slowly takes time to build the noise and atmospherics before unleashing hell on earth with epic riffs that will leave you in a hypnotic trance for days. Instrumental music at it's finest. Damn – Even Pelican would be proud to call this track one of their own.

And Bast have one more track to leave you in an emotional wreck with. And what a stunning track it is. The 10:40 minute epic – Outside The Circles Of Time – starts off with a dreamlike post-rock ambient quiet intro before subtle hints of darker based riffs starting creeping and then Craig's vocals give this track an ever more psychedelic vibe. Just wait until the 3:30 minute mark where Bast unleash hell on earth for one more epic final battle of riffs and noises that collides into a loud war of noise. This ends the album on a brilliant high. You don't know what you have just witnessed but you want to listen to it again.

The production is brilliantly pitched through out which isn't surprising since it was recorded at Skyhammers Studios which is owned by Jon Davis from CONAN. It has been expertly produced by Chris Fielding who has produced for Conan and Moss in the past. Well done Chris for making this one of the best sounding début albums I have heard in a long time.

You want more convincing to check out Bast. We love this album at Sludgelord HQ. Don't be surprised if Spectres ends up on a few of the teams best of 2014 records list. It's seriously that good.

Spectres is a brilliant début album that shows Bast are on the verge of greatness. Catch them while you can as these guys are going to be huge in the years to come.

Thanks to Bast, Black Bow Records and Burning World Records for sending us a promo to review.

Spectres is available to buy from Feb 2014 from Black Bow Records on Vinyl and Burning World Records on CD and Vinyl.

Check The Band From Links Below

BandCamp - There is a live demo available for Buy Now Download of Denizens available.

Written by Steve Howe