ALBUM REVIEW: Eternal Black, "Slow Burn Suicide"

By: Richard Maw

Album Type: Full Length

Date Released: 13/06/2019

Label: Obsidian Sky Records

Eternal Black have once again delivered an excellent record and represent the best of the American doom genre today. Masterful stuff.

“Slow Burn Suicide” DD track listing:

1). All These Things Destroy You…

2). Lost in the Fade

3). Below

4). The Ghost

5). Sum of All fears

6). A Desert of No Name

7). Three Fates

8). Sinners, Saints, and Madmen

9). All these Things (Slight Return)

The Review:

New York's premier doom outfit return here a couple of years on from “Bleed The Days”. Hal Miller, Joe Wood and Ken Wohlrob have struck back in some style here. After the opening intro of “All These Things Destroy You”, the percussive pummelling that opens “Lost In The Fade” lets the listener know they mean business: it's live and raw sounding, thick and fuzzed out. This is doom as it should be in America today; angry, abrasive and seething with an undertow of disillusionment.

As the record progresses, it becomes clear that the trio have lost none of their knack for “the riff” or self loathing. As Wohlrob asks “How low have I sunk?!” you feel the integrity in the vocal delivery. On the likes of “The Ghost”, there is a hint- well, more than a hint, of the band spreading their wings beyond traditional American Doom to encompass something that might be more akin to Fu Manchu  or even COC. Don't mistake this for a stoner album, as it is not, but there are echoes of other genres to go with the more obvious nods towards Saint Vitus et. al.

Eternal Black still know how to hammer their point home with riffs that are beaten relentlessly into the listener's consciousness and pacing quick enough to get the head nodding, but slow enough to please the most discerning doom head. “Sum of All Fears” and “A Desert of No Name” are equally blunt in their heavier than thou opening riffage, but the latter is a more dynamic affair which allows the trio to sound more than a three piece. It takes skill to do that, particularly when working in a genre that is not well known for aural subtlety. It's also excellent to hear a cowbell placed firmly front and centre on any doom track.

The close-to-three-minutes of “Three Fates” represents a creepy acoustic/electric departure with percussive flourishes that invokes Nick Cave and The Bad Seeds more than, say, Pentagram and it is an excellent change of approach and pace that allows the latter third of the album to feel like a suite in its own right. “Sinners, Saints and Madmen “is whah'd  (not a word!) out and features wonderful riffing and a soulful bent to its delivery. The jazzy inflections present on earlier work are present and correct here and lend the track a schizophrenic feel. It's sublimely played and deftly handled. The best comparison I can give is perhaps that it is akin to reading a Henry Miller novel like Plexus; it's one thing one minute and something else the next.

The closing “All These Things (Slight Return)” echoes the opening statement of the record and is just as powerful at the end as it is at the beginning. The two tracks frame the album expertly and book end the journey that plays out in between. Once again, Eternal Black have delivered an excellent record. It's wider in scope than “Bleed The Days” but delivered with equal conviction. This album is for all those people who have been jamming the new Vitus record endlessly and want some more doom... but something that bit different. Maybe it's something in the water in Brooklyn, maybe Peter Steele is still communicating from beyond the grave but whatever it is, Eternal Black have got IT and they represent the best of the American doom genre today. Masterful.

“Slow Burn Suicide” is available HERE

Band info: bandcamp || facebook

The Sludgelord Song Premiere - "Despot" By False Gods

By: Aaron Pickford

Newcomers to the scene, New York's False Gods were formed little over a year ago, however it is clear with their debut EP “Wasteland” that their only mission was to create propulsive and addictive music, that incorporated the best  elements of your favourite artists.  You want Sabbath, check, splice it with the crush of Crowbar, check, with a dash of COC, check, but with an injection of the famed New York hardcore scene, check and mate.  False Gods  have succeeded in the creation of a monstrous EP, something that is addictive and commanding  in tone, “Wasteland” is a delightfully malignant sludge doom monster and is set for release  on April 22nd 2016.

If the aforementioned description hadn’t immediately whetted your appetite, then perhaps today’s exclusive premiere will go some ways to reduce your hunger and ultimately result in your immediate need to feed your riff addiction.   Today at The Sludgelord and for your listening pleasure, we’re pleased to present the opening track from “Wasteland”, entitled “Despot”.  Ear protectors are advised

“Wasteland” track listing is:

1. Despot
2. Worship As Intellectual Tyranny
3. Wasteland
4. Grant Me Revenge
5. I Can See You For What You Truly Are

Band info: facebook || bandcamp

Oak - "Oak" EP (Review)

By: Richard Maw

Album Type: EP

Date Released: 17/11/2015

Label: Independent

It goes without saying that if you are a fan of such bands as Monster Magnet, Clutch, Profane and Sacred et al then you should really check this out. At the end of the day, it is four tracks of quality music that is as solid and dependable as the band's namesake.

“Oak” DD track listing:

1). All Above

2). Queen of this Land

3). Ride With Me

4). Dissolve

The Review:

Four tracks of British stoner rock as a pay what you want download?! What is not to like... Well, nothing. As it turns out, this is fantastic stuff. Opener “All Above” goes for a kind of COC meets Orange Goblin vibe and sound, with “wet” sounding drums and rumbling tones all around. The vocals are strong and clean but with the necessary grit to make this kind of stuff fly.

“Queen of This Land” ups the aggro quotient nicely, with the vocals considerably less laid back than you might expect. The groove is thick, but not too fast, giving the vocals a chance up front to be heard. The riff changes keep things interesting too, with good use of different sounds employed around the kit (ride bell most welcome).

“Ride With Me” is evocative of Fu Manchu in both title and opening, but displays dynamics which would not really be used by those kings of the road and instead takes on almost a Doors-y kind of vibe. It also reminded me of US stoner/psych kings Ichabod. Stretching out over the seven minute mark does no harm either- the closing section is a nifty change of pace.

The EP ends with “Dissolve”; it has an up beat tinge to the riffs and makes use of dynamics between sections. The sound of the EP overall is more rock than metal, I would say, and well produced with a soft element to the production that is sympathetic to the sounds and textures contained herein. It goes without saying that if you are a fan of any of the bands mentioned above, and such bands as Monster Magnet, Clutch, Profane and Sacred et al then you should really check this out. At the end of the day, it is four tracks of quality music that is as solid and dependable as the band's namesake.

“Oak” is available here

FFO: Fu Manchu. Ichabod, Profane And Sacred, COC

Band info: facebook | bandcamp

Lifetime Shitlist - '‘Pneumaticon’ (Album Review)

By: Daniel Jackson

Album Type: Full Length

Date Released: 21/07/2015

Label: Grimoire Records

Lifetime Shitlist feels completely pretension-free; the album comes across like they just thrash and yell because it’s what they love to do, and sadly it’s something of a breath of fresh air in that sense. It’s the kind of sincerity a huge chunk of metal bands could learn from in 2015.

‘Pneumaticon’ CD//DD track listing:

1. Flag Draped Coffins

2. Burned at the Stake

3. Blood Money

4. Horse Drawn

5. Psychic Vampires

6. Unhinged

7. Give it Up

8. Lip Service Rituals

9. Negative Polarity

10. Another Charade

Lifetime Shitlist is:

Dave Pennington | Vocals

Metal Matt Crocco | Guitars

Bryan Glaiser | Drums

Ryan Larkin | Bass

The Review:

Having gone with Lifetime Shitlist based on the name alone, which may or may not be a shout out to Japanese grind weirdos Bathtub Shitter, I was expecting something a bit grindier. Instead, I was treated to some fun, if well-worn hardcore with a smattering of death and doom influence. It’s the sort of album I imagine putting on at a barbeque with friends of mine with a deep history of loving hardcore. The reason that’s so specific is because this is an album that’s really only going to appeal to a certain demographic: crusty old fucks who want their hardcore albums sounding like they did in the 80s.

It’s in that way that the album has its charm for me. It’s not something I’ll be breaking out all the time, but I can imagine the people who love this sort of thing going insane for it. Musically, the album shows plenty of variety tempo-wise, with everything from thrashy punk beats to slower breakdowns (no, not djenty ones) used, and more often than not, everything flows together nicely. The guitar work will certainly feel familiar to anyone who's heard a Discharge or Poison Idea album, in fact there’s a Poison Idea cover on the album. For the more metal-minded among us, you might find some common ground through older Obituary or very early Corrosion of Conformity. The vocals may be a sticking point for metal fans who aren’t used to throaty delivery ala Cal Morris from Discharge or Al Long from Nausea, but otherwise there should be some crossover appeal.

At only 23 minutes, ‘Pneumaticon’ is an easy listen and can make for an all too important palate-cleanser in the midst of all of the postblackgazedoom, and so on, that metal fans seem to be inundated with on a constant basis right now. Lifetime Shitlist feels completely pretension-free; the album comes across like they just thrash and yell because it’s what they love to do, and sadly it’s something of a breath of fresh air in that sense. It’s the kind of sincerity a huge chunk of metal bands could learn from in 2015.

You can pick up both a cd copy & digital copy here.

FFO: Discharge, COC, Poison Idea, Obituary

Band info: Facebook

Clamfight - "I Versus The Glacier" (Album Review)

By: Matt Fitton

 

Album Type: Full Length

Date Released: 22/1/2013

Label: The Maple Forum

 

 

I'm of the opinion that most heavy music should be dangerous. That's one of the main reasons we listen to it, right? The new Clamfight album 'I Versus the Glacier' may well be one of the most dangerous sounding records ever. It's like the audio equivalent of a bar fight. This is a well crafted second album with which you can gorge yourself silly on monster riffs, thunderous drumming and truly aggressive vocals. I highly recommend you check out Clamfight if somebody just vexed you. This is music to plan revenge to!

 

 

“I Versus The Glacier” track listing


1) The Eagle
2) Sandriders
3) Shadow Line
4) I vs. the Glacier
5) Age of Reptiles
6) River of Ice
7) Mountain
8) The Green Gods of Yag
9) Stealing the Ghost Horse

Clamfight is

Andy Martin | Drums & Vocals
Sean Mckee | Lead Guitar
Joel Harris | Rythyn Guitar
Louis Koble | Bass

The Review

I'm of the opinion that most heavy music should be dangerous. That's one of the main reasons we listen to it, right? The new Clamfight album 'I Versus the Glacier' may well be one of the most dangerous sounding records ever. It's like the audio equivalent of a bar fight.

 

Seriously, bring a knife.

 

Clamfight occupy that common ground between thrashy, punk stylistics and sludge. It's confrontational while retaining elements of groove. You can hear the southern influences here; heavyweights like COC, Eyehategod and other luminaries of the New Orleans scene. Clamfight put just as much of their own bark into the bite though. Blues, classic rock - the harmonising guitar pieces evoke Thin Lizzy in their technical accuracy. I might be making this sound like fighting music but it's no less sonically proficient. These gents have some serious chops.

 

Album opener 'The Eagle' features a fuzzed out build to a classic, slow juggernaut of a riff. The solid backbeat lends weight to the more soulful elements. The vocals of drummer Andy Martin offsets these moments by being insanely aggressive. It's almost like he's arguing with you, determined to show you the error of your ways. And if you're smart, you'll listen.

 

'Sandriders' has more of a classic metal vibe to it while not sacrificing any of that righteous hardcore fury. Built for headbanging in its purest form, the only respite it offers toward the end is that slow tempo change that all sludge fiends adore. The churning, chugging pace will finish off what little you have left of your neck.

 

'Age of Reptiles' is another album standout that again features those filthy, deep-fried guitar licks. But my favourite cut from this effort is 'Mountain'. This slow, colossal piece features everything I love about Sludge: the pace, the soul, the grim intent. It drones solidly onwards with immense rhythms towards its goal and you get the feeling that nothing can stop it from inflicting it's will upon its desired target. Throw in a good ol' boy solo at the end that an evil Skynyrd would be proud of and you have a winner on your hands.

 

My hope is that with some national tours under their belts in their native land and some well deserved coverage from metal press that this group has the ability to be potential future stars of the scene. This is a well crafted second album with which you can gorge yourself silly on monster riffs, thunderous drumming and truly aggressive vocals. I highly recommend you check out Clamfight if somebody just vexed you. This is music to plan revenge to!

 

“I Versus The Glacier” is available here

 

 

 

 

Band info: Bandcamp || Facebook || Store



Lurk - 'Lurk' (Album Review)

By: Richard Maw

Album Type: Full Length

Date Released: 12/1/2012

Label: Total Rust

The riffing is taut and focused – indeed, the guitars throughout the album are a lesson in how variations on a theme make songs. This approach gives the record a unified feel.

‘Lurk’ CD//LP track Listing

1) Soar (07:58)

2) Unfinished (04:10)

3) Codec of Becoming God (05:13)

4) Fire The Blood Sky (04:47)

5) Pitch Beneath Eternity (06:18)

6) Deliverance (08:01)

Lurk is:

M. Reinikainen | Bass

A. Pulkkinen | Guitars, Synths

K. Koskinen  | Vocals 

The Review

The record kicks off with ‘Soar’ which, in a way, the track does. The drums are massive and reverbed with the initial groove being replaced by a massive chugging riff with vocals at the lower end of the register. One of the great things about the record is that the vocals shift up and down in pitch with the music itself. This lends an extra dimension to the songs in a genre which at times can be very singular in its approach. The music thus ebbs and flows over the course of the song. There is quite a lot of light to go with the shade on offer here- and the usage of it is very well constructed.  An almost shuffle type rhythm heralds in ‘Unfinished’. The vocals come straight in and an insistent groove is artfully introduced. The riffing is taut and focused – indeed, the guitars throughout the album are a lesson in how variations on a theme make songs. This approach gives the record a unified feel.

‘Codec of Becoming God’ is segued into from ‘Unfinished’. More great grooves here- the vocals are even almost hooky although the lyrics are pitch black. Maybe it's just me, maybe it's that the album contains a track called ‘Deliverance’, but there is something in the riffs here that reminds me of Pepper Keenan era COC- strange but true! Let's be clear though- this is dark, dark stuff and Finland is not one of the Southern States so there the comparison ends. Overdubbing of guitars is used well here as are unusual rhythms and accents within the music.

Just beyond the midpoint of the album lies ‘Fire in the Blood Sky’. The riff that kicks this one off is simply superb! It drops to a groove that is too subtle to be aggressive and has those dynamic shifts that break up the verses and songs that are a hallmark of the album. The structure, the shifts in the music; it all adds up to being a great “song” in the true sense of the word. The vocal delivery reminds me of LG Petrov of Entombed in the mid nineties in places, but again the delivery is varied- different types of sandpaper if you will! There are even some keyboard textures here and they add an effective variety to the sounds on offer.  More ebb and flow can be found within the unusual groove of ‘Pitch Beneath Eternity’. Again, the guitars offer nice variations and phrasing that the vocals match. The tone of the track is rather... grand- in a good way. The range of the vocals is rather impressive and some nice production effects are added around the three and a half minute mark to build the track up again after a shift in dynamic.

The album rounds off with the near eight minute aforementioned ‘Deliverane’, a slow Crowbar-esque groove lumbers into earshot and a great riff reveals itself as the track builds momentum. The paciest section of the album is yielded past the three minute mark and the guitar interplay once again stands out. A bleak black metal type feel takes over and Lurk prove they can't be predicted as they shift the pace to a certified doom cadence. The final two minutes of the record is a slow descent into howling feedback. It is a very fitting ending to a masterfully dynamic and varied release. If you like some variety in your sludge and worship at the altar of more than one genre of metal then this record is most definitely for you. Buy it and find out for yourself!

You can buy the CD here and vinyl here. 

Band info: Facebook  | Bandcamp