ALBUM REVIEW: Zakk Sabbath, "Vertigo"

By Richard Maw

Album Type: Full Length
Date Released: 04/09/2020
Label: Magnetic Eye Records

 

“Vertigo” CD//LP track listing:

1. Black Sabbath
2. The Wizard
3. Wasp / Behind the Wall of Sleep / N.I.B
4. Wicked World
5. A Bit of Finger / Sleeping Village / Warning

The Review:

It seems from “the internet” that this release is viewed as somewhat controversially... I really don't know why, as it is Zakk Wylde- ably supported by Blasko (bassist) and Joey Castillo (monster drummer)- roaring through the Sabbath debut in its entirety (with the US album track “Wicked World” present) in a pretty live-in-the-studio presentation. The release, as far as I can tell, is an affectionate homage to the band and Zakk's sometime boss and it is delivered convincingly. With Wylde being the de facto Ozzy guitarist post-Randy with the longest tenure, it's really not much of a stretch for him to claim lineage in the Sabbath family tree- and beyond Iommi, Zakk is the guitar player most closely associated with Ozzy still alive today.

In case anyone has forgotten, Wylde was/is a highly regarded player with a phenomenal picking hand and a very memorable and identifiable playing style. Vocally, Zakk imitates Ozzy convincingly- with a lower register and a touch more grit. The sound is wonderful; it's warm and live and raw and sounds like... a band playing together. What a refreshing change!

The playing is, of course, rock solid from the rhythm section and Zakk's guitar playing is very much on form. The title track is delivered with real fire and then it's onto more deep cut material. I assume it's Zakk playing harmonica on “The Wizard” (Wylde has already covered this one on the 2^nd Pride and Glory disc many years ago). It's a storming rendition and Castillo gets many bonus points for adding in the solitary cowbell strike that Ward graced the original recording with. In fact, its faithful touches like this which show the record for what it is: big Sabbath fans paying tribute to the original gods- as the promo notes say- as a COVER BAND. Its fun, it's enthusiastic and it rocks really hard.

The other songs on here are delivered just as well and have lost none of their ageless power; “Behind The Wall of Sleep”, “N.I.B” and “Wicked World” are just fantastic. We are spared the odd Crow cover of “Evil Woman”- serviceable on the original album but the weakest piece of music therein.

It's no secret that the first few Sabbath albums are all time classics, but hearing the songs played by other world class musicians just reminded me of their power and vitality. In the history of heavy music there are few bands to rival Sabbath's six album  run (and of course the Dio, Ian Gillan and Tony Martin eras all have a huge amount of classic material too) and hearing this gallop through their debut only served to remind me just how good the debut is/was. The list of other bands with a catalogue even close is small... well, you've got your own opinion as to who! Beyond the biggest of bands (Maiden, Metallica, Priest... slim pickings thereafter), it's a small list and mostly confined to sub-genres.

It's widely accepted that Sabbath created metal- yes, there are internet dwellers who argue for Blue Cheer (sigh), Hendrix (no- although godlike; not metal), Led Zeppelin (hard rock and more but not metal) and even some who claim that Sabbath were not metal at all and that instead Judas Priest were the first metal band- and then only with the release of “Sad Wings of Destiny” due to its dual guitars and higher tempos (Priest innovated the genre in the 70s, but did not invent it- come on, now!). These people are all wrong, obviously: Sabbath were the first metal band. To hear the Sabbath debut- or even this re-recording- is to hear metal explode from the womb and show its teeth.

One question that can certainly be levelled in accusatory fashion at this release is: what is the point?!  It isn't a “reinterpretation” a “reimagining” or anything else; it's just a solid and inspired run through the most significant debut in metal history.

By the time I reached the closing fifteen minute suite of “A Bit of Finger/Sleeping Village/Warning”, I was already planning to play the Sabbath back catalogue as soon as possible just to reacquaint myself with its unearthly power. Well, I think the question is answered; it'll have you digging out all those  Sabbath albums from the 70's and beyond. It's a wonderful tribute to and acknowledgement of the most important metal debut of all time. No more and no less.

“Vertigo” is available HERE

Band info: facebook

TRACK PREMIRE: "Weightless Light" by Woodhawk

From the foot of the majestic Rocky Mountains hails Calgary, AB’s rock n’ roll trio Woodhawk. Masters of the straight-ahead riff rock, Woodhawk blends classic rock influences of Black Sabbath and Thin Lizzy with smooth grooves, cranked amps, and heavy-hitting drums. The coalescence of melodious vocals, catchy riffs, and dynamic instrumentation creates a vast soundscape for the listener to explore. With lyrical themes of science fiction and sorcery to more recent themes of struggles and triumph, Woodhawk wears their heart on their sleeve.

A firm favourite here at sludgey aches, Woodhawk are back and readying their new album “Violent Nature” which is set for release on November 1, 2019.  Coming 2 years after their rip roaring “Beyond the Sun” record, Woodhawk returned to Rain City Recorders in Vancouver, BC during February 2019, and worked with Jesse Gander (who has worked with our very own Waingro & Heron) to to record and over the course of 2 weeks, Woodhawk have tracked their strongest effort yet, producing songs that address the struggles of mental health straight on, and laying it all on the line. Woodhawk’s new material abandons the world of fantasy in pursuit of emotional authenticity and self-discovery.

  

Woodhawk features guitarist Turner Midzain, bassist Mike Badmington, and drummer Kevin Nelson. Today we’re excited to preview a new track “Weightless Light” exclusively, but first Turner had this to say about the track.  You can stream the track below.  Turn it up loud and let your speakers die!!!

“This tune was one of the last songs we wrote for the record. We had been playing around with that opening drum beat for about a year trying to find somewhere to make it work. And without hesitation, it just clicked right in like a missing puzzle piece for the album. The songs stems from my struggle to sleep for a few months over the fall of 2018. I would wake up every night at the same time and lay awake staring at nothing. My mind would race and inhibit me from sleeping, no matter what. So I would lay in this state of almost non-existence where I couldn't tell if I was asleep, awake, alive or dead. It was an odd feeling of vulnerability. To pass the time, I would get up and play guitar in the middle of the night, until I felt I could attempt to go back to sleep for the last 45 minutes before my alarm.” -  Turner Midzain

Band info: Woodhawkriffs.com | Facebook | Youtube | Twitter | Instagram | Bandcamp

ALBUM REVIEW: Lord Vicar, “The Black Powder”

By: Richard Maw

Album Type: Full Length

Date Released: 26/04/2019

Label: The Church Within Records

It's a doom epic and a throwback to the very best records of the genre. Truly, this is a masterpiece of doom metal and a worthy addition to any doom fans collection.

“The Black Powder” CD//DD track listing:

1). Sulphur, Charcoal and Saltpetre
2). Descent
3). World Encircled
4). Levitation
5). The Temple in the Bedrock
6). Black Lines
7). Impact
8).  Nightmare
9). A Second Chance 

The Review

Lord Vicar are doom royalty, of course- comprising as they do ex-members of a couple of the most influential and greatest doom bands of all time. With an opening track timing at 17mins 16secs in the form of “Sulphur, Charcoal and Saltpetre” the band have opted for an explosive (!) start. Quiet acoustics give way to the murkiest ground out riffage after a couple of minutes and Chritus familiar vocal kicks in. Elsewhere there are tracks which run over 10mins and 8mins, so expect true doom.

Naturally, “Gates of Flesh” was similarly expansive in places, as was “Fear No Pain” and so on. This is what the band do. However, this time around the tracks on offer seem darker than ever. “Descent” takes the vibe even further downward, with Kimi's guitars stirring the blackest pitch in an already dark cauldron. It's an unsettling and in-no-way-uplifting listen. The band reference their own work and one member's previous band's work in the lyrics and everything from the double tracked vocal to the tempo shifts are sublime. This is doom perfection.

There are no rays of sun to be found in “World Encircled” either. The downtrodden feel is relentless and it's a reminder that doom is not really about occult stylings, sludge or 70's biker films at all. It's about crushing misery and despair. Saint Vitus know it, Trouble know it, Sabbath, The Gates of Slumber... they all know it too. Lord Vicar are standing on the shoulders of such giants and also standing alongside them as a modern archetype of what doom should be.

There are grooves here and there, too- it's not just a one paced pity-party. Indeed, the tracks are dynamic and organic in that they take their own path and meander through solo breaks, time changes and some very deft rhythm section interplay.

With 9 tracks on offer, this is a lot to take in on one sitting- think The Gates of Slumber's “Suffer No Guilt” opus and how hard to follow it can be until you fully assimilate it. Just like all the best records, though, the album reveals itself with repeated listens (in my case broken up into commutes both to and from work). “Levitation” plays on its title by being positively upbeat in sound compared to other tracks- but still maintains the crucial down factor throughout. More true doom follows in the form of “The Temple in the Bedrock”, this time with an up-tempo start that'll get even the most downcast head banging. It comes complete with a very down-tempo middle section, but the structure and arrangements are absolutely on point- it comes back around on itself and marks itself out as an all out rager right in the middle of the record. Excellent.

“Black Lines” brings some straightforward heaviness delivered expertly. The pace is not glacial, so this is another head-nodder that brings a 70's Sabbath feel to the album. It's deftly handled and another high point elevating the middle of the record to essential listening. Impact is lunk-headed bludgeon riffola which is again guaranteed to get your head banging and even your toe tapping. It's elemental stuff and all the more forceful for it.

Things cannot stay up forever, though, so “Nightmare” brings acoustic sadness and a militaristic middle to the record. A haunting diversion that bridges the previous rockers with the closing epic of “A Second Chance”. The band return to the bleak sound of the opening third of the album here- to great effect. It's bleak, depressing and quite beautiful in its own way.

As noted earlier, it's hard to review a record of this size and scope as it takes in so much and covers so much ground. The quality of the album will shine through on first listen, but the depths of the album can only be explored with repeated dedicated listening. It's a doom epic and a throwback to the very best records of the genre. Truly, this is a masterpiece of doom metal and a worthy addition to any doom fans collection. With that, I can only close by saying that this comes highly recommended and that you will get out what you put in. Incredible.

“The Black Powder” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Pale Divine, "Pale Divine"

By: Richard Maw


Album Type: Full Length

Date Released: 23/11/2018

Label: Shadow Kingdom Records

 

Undoubtedly, this is one of the best US doom releases of the year and sits alongside The Skull and Apostle of Solitude as one of the best albums in the genre for 2018.

 

“Pale Divine” CD//CS//DD//LP track listing:

1. Spinning Wheel
2. Bleeding Soul
3. Chemical Decline
4. So Low
5. Curse the Shadows
6. Shades of Blue
7. Silver tongue
8. Ship of Fools

The Review

Pale Divine have been playing this music for two and a half decades and it shows- in terms of quality and experience. This record is doom/stoner doom in the traditional sense. Think The Obsessed, Pentagram, Trouble and throw in a heavy dose of Sabbath and The Sword and that gives you a fair idea of what is on offer here. The band also have some trad metal in their veins too (some Maiden-esque passages here and there) and that melting pot makes for a very satisfying listening experience.

The vibe is pure doom and comparable to the dark and powerful atmosphere that Iron Man conjured up on their “South of the Earth” album. “Spinning Wheel” and “So Low” both have heavy doses of Maryland Doom within their structures and the sound is pleasingly raw and live. It's melodramatic, downcast and features superb riffing with twists and turns that Sabbath circa “Vol. 4” would be proud of.

The bass work is fantastic- very Geezer. The drums are rock solid and tastefully done; nice fills here and there, good groove and good dynamic use of the kit. The guitar work is very Griffin/Iommi esque and therefore superb. The vocals are of course actual singing- rough edged and smoky and thus another huge plus for the record. In fact... there is nothing about this that I don't like.

With songs like “Ship of Fools” and the closing doom blues of “Shades of Blue” extending to the seven and eight minute territory, there is the possibility for the record to drag, but the playing time of around 45 minutes (or so, I am looking at the MP3 song lengths here and adding up) means that the record clips by at quite a rate and feels solid front to back. There are riffs and substances to die for in “Chemical Decline” as well as archetypal Sabbathian “fast bits”. “Bleeding Soul” manages an epic feel with a sub five minute running time- quite a feat.

If anything, the record builds up a head of steam as it goes; the back stretch providing some of the most satisfying music of the album. “Silver Tongues” is a grooving delight that fits alongside the best of US doom/stoner material. Conversely, “Curse the Shadows” strays a lot closer to proto doom/70's rock territory and is a nice change for the record.

The aforementioned “Shades of Blue” is a bassy and bluesy beast and closes the record in some style; large in sound and scope with a laid back feel to the grooves and delivery. Undoubtedly, this is one of the best US doom releases of the year and sits alongside The Skull and Apostle of Solitude as one of the best albums in the genre for 2018. It may well be that the Europeans have ruled the doom roost this year with superlative records from Dawn of Winter, Witchsorrow, Iron Void (cough!), Conan and Barbarian Hermit but this record is truly excellent and I have enjoyed reviewing it almost as much as I have enjoyed listening to it. Doom on, gentlemen, doom on.

“Pale Divine” is available HERE

Band info: facebook

VIDEO PREMIERE: Southern Ohio progressive grunge band Static Tension debut "Bury My Body"

As a follow up to their 2017 EP "Out Of Reach", Static Tension will re-emerged with their first full-length album "Ashes To Animation", which is set for release in January of 2019.  The Southern Ohio based quartet delves into new musical territories with this new release, offering a full pallet of sounds ranging from soft acoustics to intricate, progressive metal riffs. 

Drawing upon influences from classic rock, grunge, and progressive metal, Static Tension creates a sound unique to their own, self described as "Progressive Grunge".  The band's influences are vast and diverse, at times resembling classic sounds of Led Zeppelin and Black Sabbath, while also channelling a grungy, sombre atmosphere similar to Alice In Chains and Soundgarden with hints of modern, heavy tones of Mastodon and Gojira. 

“Bury My Body” is a song that touches on the final breaking point in a person - the moment that makes their end seem appealing to them. Nobody really wants to die unless their life is more painful than they can imagine their death being. The song also has undertones of wanting to disappear completely - to be buried alone and not remembered at all, just erased from all memory. Life is not always butterflies and roses, and this song is a reflection of those aspects. 

Despite the tracks heavy subject matter, mental health is something that everyone needs to talk about, because conversation can be therapy in itself.  So what better way to deal with dark feelings of one’s own thought that to channel that into music, which can act as catharsis for the composes but as also be used a therapy for the listener.  “Bury My Body” is streaming in full below, so crank it up and allow this music to be your catharsis

Band info: facebook || bandcamp

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 record “Sleep 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

VIDEO PREMIERE: Barbarian Hermit deliver gravy thick riffs on "Black Mass"

Since their emergence in 2017, APF Records have set out to support the very best bands from the UK’s thriving underground doom scene.  Home to the likes of Ba'al, Battalions, Blind Haze, BongCauldron, Desert Storm, Diesel King, Mastiff, Nomad, Pist, RedEye Revival, The Hyena Kill, The Wizards Of Delight, Tronald, Under and Trevor's Head, label head Andrew Field exudes a sense of family within his ranks and is supporting bands that he himself enjoys.  In essence APF Records is about a love of music and is a platform for them to help nurture bands they enjoy.

With around 16 releases to their name in an 18 month period, that is no small achievement, what’s more the standard of music has been extraordinarily high and that is set to continue on 16^th November and the release of “Solitude and Savagery” the debut album by Barbarian Hermit, a Manchester sludge five piece known for giving it some bastard and bringing the thick, Northern gravy.   Today we have been tasked by wonderful people at Hold Tight PR and APF Records to present the brand new video for the track “Black Mass” which you check out below.  But first check out what the band had to say about the track. 

Introducing ‘Black Mass’, the second single from our forthcoming album, “Solitude and Savagery”.  The track is a twisting, turning sonic assault that meanders through passages of tripped out psychedelia, pure Sabbath worship, thrash and trademark Hermit heavy groove, so it’s fitting that the video that goes along with the song is just as disorienting.

It was actually our old singer Si Prato-Scarlett that approached us to do the video, as since he parted ways with the band he’s been dabbling in film production, whilst also remaining a friend and supporter of Barbarian Hermit. He'd already done the video for “Widowmaker” back in the day so we knew he'd do a fantastic job, but he really knocked it out of the park with this one.

We filmed it over a few days at our practice studio at Brunswick Mill in Manchester, which is full of eerie corridors and weird and wonderful trinkets, which lent themselves perfectly for the dreamlike atmosphere that Si wanted to create.

Ed’s lyrics for the song were inspired by a dream/nightmare/vision he had of a dark figure, a black mass that hovered before him, filling him with fear. The song is about facing those fears head on and letting hope guide your way, though much like the imagery that Si has thrown into the video, the lyrics are very much open to the listener’s own interpretation.

"Solitude & Savagery" is set for release on 16/11/2018 via APF Records and orders are being taken link: HERE and you check out the video to “Black Mass” exclusively below

Live Rituals

November 10th – Cvltfest, Café Independent, Scunthorpe

November 16th – Album Lunch, Kosmopolitan, Manchester
November 17th – Ale Fest, Northern Monk Brewery, Leeds
December 22nd – Rebellion Christmas Party, Rebellion, Manchester

Band info: facebook || bandcamp

ALBUM REVIEW: 1968, "Ballads of the Godless"

By: Dominic Walsh

Album Type: Full Length

Date Released: 07/07/2018

Label: Independent

There is always demand for heritage and that retro rock and roll sound and 1968 are more than capable purveyors.

“Ballads of the Godless” DD//LP track listing:

1). Devilswine

2). Screaming Sun

3). Temple of the Acidwolf

4). S.J.D.

5). Chemtrail Blues

6). McQueen

7). The Hunted

8). Mother of God

The Review:

Formed in 2013 out of a chance meeting between Sam (Orr, guitars) and James (Coppack, vocals) 1968 was created out of their love for many legendary albums created in the year that signalled the beginning of a darker, heavier movement in music and popular culture; a period in time characterized by an evolving socio-political environment, the end of the colourful ‘Summer of Love’ era and the dawn of a more cynical cultural landscape defined by the Manson murders and the Altamont tragedy.

1968’s previous EP’s may have been well received and they’re not shy of throwing their influences in the spotlight. The big difference between “Fortuna Havana” and their debut album is that the band have added a heavy level of grunge to their sound. So whilst Black Sabbath, Thin Lizzy and Jimi Hendrix are all prevalent, there is also more than a heavy smattering of Alice In Chains and Soundgarden.

“Devilswine” opens up the album in scintillating fashion and pulls many styles into its glorious mix. Towering riffs blow you away more than once as you voyage through the track. Dan Amati’s drumming is brilliant throughout and it’s his range of tempos and styles that set off this exciting opener. Its abrupt ending gives way to the chug of “Screaming Sun” which sees strained vocals play off against more melodic backing vocals.

“Temple of the Acidwolf” is pure Alice In Chains worship in the harmonic vocal delivery. The lead guitar work is tripped out as the vocals get gradually more psychedelic. The whole trip, literally and metaphorically, is quite sublime. The same can be said of one of the albums highlights, “McQueen”. Building gradually throughout its near 7 minute duration, the peak of the track is excellent and begs your attention.

As the title suggests, “Chemtrail Blues” is a bluesier affair – this is not tender though. Distorted guitars, rolling bass and more crashing drum work help elevate the track away from the standard blues fair. “The Hunted” plays with a more upbeat tempo and traditional feel akin to the more trad feel of “Fortuna Havana”. “Mother of God” closes out the album as a more jam laden instrumental. It fades out in the same way the album fades in; a swarming maelstrom of feedback.

1968 aren’t reinventing the wheel, but they’re playing with the motion of that wheel. Some of the production on the album dips here and there, maybe due to split responsibility but with that being said, “Ballads of the Godless” is a solid step in the right direction after some excellent EP’s. There is always demand for heritage and that retro rock and roll sound and 1968 are more than capable purveyors.

“Ballads of the Godless” is available here

Band info: bandcamp || facebook

REVIEW & EXCLUSIVE TRAILER: Khemmis, “Desolation” & Phil Pendergast on Hendrix, Fahey & Sonny Boy

By: Richard Maw

Album Type: Full Length

Date Released: 22/06/2018

Label: Nuclear Blast |

20 Buck Spin

Six tracks, all uniformly of a high standard and with a production that suits the record perfectly. This is a fine modern American doom album and will feature on many year end lists. This is doom for the doomed!

“Desolation” CD//DD//LP

1). Bloodletting

2). Isolation

3). Flesh to Nothing

4). The Seer

5). Maw of Time

6). From Ruin

The Review

Colorado's Khemmis return with this, their third full length and follow up to the very well received “Hunted” from 2016. This is doom metal, for sure- proper doom; with real singing, melodies, dark sounds and tempo changes in the vein of Sabbath.

It is not a million miles away from Sabbath or Dawn of Winter but perhaps closer to Apostle of Solitude  in that it is modern in sound and scope but with a firm grip on the genre's past. It is also distinctly American in approach- no way would you mistake this for Witchsorrow or Serpent Venom. With “Bloodletting”s slow slog to open, the listener is in no doubt that this is traditional doom. “Isolation” may be a few steps quicker, but these Denver cowboys know how to ride a groove: not too quick and they are able to make these songs swing a little rather than just plod. There is dark fare on offer here- “Flesh To Nothing”, for instance is as black as the title suggests.


The rumbling of “The Seer” is impressive and the band plays wonderfully through the changes. My personal favourite, “Maw of Time” (for obvious reasons) is a monolithic slab of sorrow and dark doom with death growls. The nine and a half minute closer “From Ruin” finishes the album off before it outstays its welcome.

Six tracks, all uniformly of a high standard and with a production that suits the record perfectly. This is a fine modern American doom album and will feature on many year end lists. This is doom for the doomed!

“Desolation” is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Witch Mountain, "Witch Mountain"

By: Richard Maw

Album Type: Full Length

Date Released: 25/05/2018

Label: Svart Records

The record can most certainly be filed amongst Witch Mountain's best and will slot right into the collections of doom heads alongside The Wounded Kings, Electric Wizard, Cathedral, Castle and so on. This is slow and bluesy doom of the finest vintage with a vocalist who is fantastic.

“Witch Mountain” CD//DD//LP track listing:

1). Midnight

2). Mechanical World

3). Burn You Down

4). Hellfire

5). Nighthawk

The Review:

A doom institution of the last twenty years, Witch Mountain are back with their first full length post Uta Plotkin's departure. Kayla Dixon has stepped up to the mic and she absolutely delivers a vocal tour de force on this low, slow record. The bass is as deep as a mine shaft (supplied by another new addition to the line up- Justin Brown) and the whole sound consists of self assured performances alongside a very big sound.

Whether you will like this album depends entirely on your liking of doom; if you like Sabbath, you will probably like this. Likewise, if you like Sleep... ditto. Hell, even those at the more sludge end of the doom spectrum will find much to enjoy here. Dixon employs a ferocious growl at times to go with her crystal clear soulful vocals (double tracked for effect at times) which should appeal to all sides of the doom coin.

It's not perfect- the pace is uniformly slow and the fact that there are only five tracks here might irk some listeners- even if track five edges towards the fifteen minute mark! Opener “Midnight” tells you much of what you  need to know about the new record; it's weighty and atmospheric in equal measure, while utilising a lot of what is best about the genre in terms of sound and themes. From there, “Mechanical World” successfully captures the right mood and the record is starting to take firm form.

The sound is darker for “Burn You Down” and the pace is no quicker. “Hellfire” offers up a two and a half minute interlude of acoustic and folksy melancholy which acts as the perfect bridge to what is the grand finale.

Clearly, the closing “Nighthawk” is the heavy artillery here; a sprawling epic of huge proportions- but the rest of the album fits together perfectly and the five tracks absolutely work as a whole piece. The record can most certainly be filed amongst Witch Mountain's best and will slot right into the collections of doom heads alongside The Wounded Kings, Electric Wizard, Cathedral, Castle and so on. This is slow and bluesy doom of the finest vintage with a vocalist who is fantastic.

“Witch Mountain” is available here

Band info: bandcamp || facebook

FOR THOSE ABOOT TO ROCK: Riffs of Canada with Hashteroid [Vancouver, British Columbia]

By: Mark Tremblay

Album Type: Full Length

Date Released: 20/04/2018

Label: Independent

Hashteroid’s self titled album is truly one of the most enjoyable experiences one can have from heavy music in 2018.

“Hashteroid” DD track listing:

1). Freak Power

2). Black Tide

3). Stan the Wolfman

4). Green Caramel

5). Godspeed Below

6). Cool Ghost

7). ...Return to Hash Planet

The Review:

From the outset, Hashteroid’s self titled record seems like an average stoner metal experience. From the album’s artwork aesthetic, to the band’s implied interests in psychedelics, the listener gears themselves for another exercise in Sleep worship. Once the music starts however, all of these pre-conceived notions are gone. From the sheer speed, guitar solos, and focus on song melody, “Hashteroid” is an experience impossible to pin down to one genre. “Hashteroid” is an album that is forward thinking, but packs enough nostalgia to speak to die hard Mötorhead fans. If you’re looking for a truly unique experience in heavy music, look no further than “Hashteroid”, it is abundantly filled with riffs of all kinds. From the thundering rock and roll of “Freak Power” and “Godspeed Below”, to the doomier “Stan the Wolfman” and “Cool Ghost”, there is something for everyone. Each track transitions between multiple riffs, constantly keeping the listener on its toes.

None of this would be work, however, if it weren’t for great song writing by the band as a whole. The band has a great understanding of how to utilize pace, and how to properly incorporate guitar effects. Songs like “Godspeed Below” are elevated with the bands ability to incorporate small subtleties throughout.  Hashteroid’s debut record breathes new life into heavy music, while at the same time striking the right amount of nostalgia listeners love from retro metal. Hashteroid’s self titled album is truly one of the most enjoyable experiences one can have from heavy music in 2018.

“Hashteroid” is available here

Band info: bandcamp || facebook