EP PREMIERE: Oriza deliver politically charged noise fest on self titled EP

Hailing from Margate, Kent and Utilizing a slightly unorthodox line up of drums, two basses and noise setup with no guitar and minimal use of pedals, Oriza's politically motivated amalgamation of D Beat, Sludge, Black Metal and Powerviolence is getting its debut at THE SLUDGELORD, with the exclusive stream of their self-titled EP which is set for release on 15/12/2019 via Astral Noize Records & Halfmeltedbrain Records.  Check it out in full and preorder a copy HERE

ALBUM REVIEW: Erosion, "Maximum Suffering"

 By: Elliot Paisley


Album Type: Full Length

Date Released: 19/10/2018

Label: Hydra Head Records

 

“Maximum Suffering” is a blistering portrayal of tunnel vision brutality and is far more hateful and savage than you could have ever assumed

 

“Maximum Suffering” DD//LP track listing:

1) Maximum Suffering
2) Everything Is Fucked
3) Need For Death
4) Human Error
5) Serpent Lust
6) The Crone
7) Deep In Hell
8) We Have Failed Us
9) Scorched Earth
10) Black Waves
11) Storm Of Steel
12) Dusted
13) Consumed

The Review:

In 2012, it was reported that Hydra Head would be closing their doors. Founded in 1993 by Aaron Turner, who would eventually go on to form Isis (or Celestial, for all intents and purposes), the label would be home to such heavyweights as Cave In, Xasthur, Jesu and Botch. It was a stamp of approval you could trust; they scarcely put out anything which was less than tremendous, and they provided a haven for those who had fallen out of love with the major-label metal being pedalled at the time – Limp Bizkit were topping the charts and Xasthur was a glorious antidote.

When news spread of the label’s closure in 2012, it was a day of mourning for all fans of underground metal. However, it would eventually prove to have been a slight exaggeration. Turner announced that the label would continue to release and reissue their past releases, and eventually it was decided they would continue to release music on a case-by-case basis. While not quite what we had all hoped for, it was a compromise we could accept.

In this case, the band is Erosion. A ‘supergroup’ of sorts, formed by 3 members of Vancouver’s favourite unsung crusty-hardcore heroes Baptists, with vocals provided by Jamie Hooper, perhaps most famous for at one time providing the harsh-vocals in the sadly-defunct heavy metal revivalists 3 Inches of Blood. On paper, this is a peculiar and curious combination – Baptists are famed for their unforgiving meld of d-beat, crust and hardcore with a black metal bleaching, whereas 3 Inches Of Blood were a triumphant tribute to old-school heavy metal, unflinching in their willingness to recreate the tropes which many mock the genre for adopting.. One would be forgiven for assuming “Maximum Suffering” could limp out of the speakers as a crude mess which lacks emulsion.

The resulting album, however, is a blistering portrayal of tunnel vision brutality and is far more hateful and savage than you could have ever assumed. One glimpse at the track-list and one is confronted with a mission statement: “Everything Is Fucked”, “Need For Death”, “Human Error”, “Deep In Hell”, “We Have Failed Us”. It is abundantly clear what the socio-political outlook of this band is, and they remain unapologetic of this stance throughout the 13 tracks.

Musically, the album is more than simply an amalgam of 3 Inches of Blood and Baptists. A wretched combination of Trap Them, Entombed, Brutal Truth, Darkthrone and Infest, the sheer sound of what they produce is totally arresting. The performances on this album are all superb, with Hooper’s vocals finally able to tear in the way they threatened to while in 3 Inches of Blood, now more untamed than ever before. In his old-band, he was sharing vocal duties with Cam Pipes, whose Halford-esque wail providing a startling offset to Hooper’s shriek. Here, he is the sole vocalist, and the pressure is on to capture the audience’s attention and man the mission solo,  and it is a joy to announce he has more than stepped up to the plate and given what is perhaps the most accomplished performance of his career.

 The band is on similarity savage form, with the apocalyptic rhythm section underpinning the chaotic guitar-work. The production accents the attack, the songs aren’t written with a gentle touch, nor are they strokes of genius, but when performed with such conviction, this hardly matters at all.

The only shame of this album is timing, and that’s hardly the band’s fault. 2018, as a year, has proven the most difficult time for hardcore bands, solely due to competition and the ensuing struggle to stand out. Code Orange have popularized the genre and achieved Grammy nods by incorporating elements of IDM, industrial music and 90s alternative metal like that of Type O Negative and Pantera.

Turnstile have become the hottest commodity in the scene with their absolutely astounding sophomore effort “Time & Space”, a joyous amalgam of Trapped Under Ice, Metallica, Helmet and Jane’s Addiction. Outfits such as Employed To Serve, Palm Reader, Jesus Piece and Harm’s Way have all released diverse and critically-acclaimed albums in the last two years and so for many people, the no-frills hardcore presented on “Maximum Suffering” may fall short of the mark. 

Those people are doing themselves a disservice, as this album is one of the finest examples of pure blistering hardcore to be released in some time. By no means are Erosion reinventing the wheel, they are instead fashioning it into a buzz-saw.

If Hydra Head are going to continue being highly selective in their releases, fans are only going to remain loyal to the label if the quality is maintained. With “Maximum Suffering”, it is clear that Turner maintains his keen ear for outstanding, uncompromising music and Erosion ought to be very proud of what they have accomplished here.

“Maximum Suffering” is available HERE

Band info: facebook || bandcamp

ALBUM REVIEW: Centuries - "The Lights of This Earth Are Blinding"

By: Charlie Butler

Album Type: Full Length

Date Released: 26/01/2018

Label: Southern Lord Recordings

“The Lights Of This Earth Are Blinding” is a compelling release with a split personality,  like a cross betweeb Cursed with subtle hints of black metal and the crushing sound of “Remission” era Mastodon with a more direct punk aggression.

  

“The Lights of This Earth Are Blinding” CD//DD//LP track listing:

1. The Lights of This Earth Are Blinding
2. Wooden Hands
3. Bygones
4. Soil
5. A Bow Across A String
6. The Climb
7. The Endless Descent
8. May Love Be With You Always
9. Fury
10. Nul Orietur

The Review:

Originally from Florida, the members of Centuries are now scattered far and wide between Pittsburgh, Nashville and even Manchester in the UK. Fortunately geography hasn’t got in the way of them making a great second LP in the form of “The Lights of This Earth Are Blinding”.

The record rips into life with the raging title track, a two and a half minute blast of crusty hardcore riddled with hard sludge riffing. This sets the tone for the first half of the LP which comes across like Cursed with subtle hints of black metal. The breakneck rush of “Bygones” is especially furious, bolstered by some pummelling blastbeats.

“The Climb” opens the second half of the album with a marked drop in tempo but maintains the same level of venom and bile. This track marks a shift in tone as the likes of “May Love Be With You Always” and “Nul Orietur” see Centuries metal leanings coming to the fore. This results in a crushing sound reminiscent of “Remission” era Mastodon but with a more direct punk aggression.

The biggest surprise here is “Fury” which begins as a dark acoustic lament that erupts into a grand finale. The sparse opening section of the song makes sense of the acoustic instrumental “Wooden Hands” which appears earlier in the album. On first listen this piece feels jarring after the explosive title track despite its moody restrained menace but further listening marks it out as a premonition of the heaviness to come.

“The Lights of This Earth Are Blinding” is a compelling release with a split personality. It will be interesting to see what path Centuries tread from here but whatever happens it is sure to be a heavy ride.

“The Lights of This Earth Are Blinding” is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Mammoth Grinder – "Cosmic Crypt"

By: Mark Ambrose

Album Type: Full Length

Date Released: 26/01/2018

Label: Relapse Records

Mammoth Grinder isn’t some newfangled blackened tech fusion melodic death metal.  This is Neanderthal music, meant to crush, rend, rip and destroy to.  In less than 30 minutes, this Paleolithic power trio blast out 11 tunes that don’t reinvent the wheel – they lay waste to anything so civilized as that nonsense.  

“Cosmic Crypt” CD//DD//LP track listing

1. Grimmenstein

2. Servant of the Most High

3. Blazing Burst

4. Divine Loss

5. Molotov

6. Superior Firepower

7. Human is Obsolete

8. Locust’s Nest

9. Mysticism

10. Rotting Robes

11. Cosmic Crypt

The Review:

Now that the true deep freeze of winter has crept into the northeastern US, my daily soundtrack has mostly been the coldest black metal I can find.  Shrill, inhuman, alienating dissonance with tracks lasting ten or twenty minutes transporting me to a land of northern darkness as vast as a Lovecraftian planetscape.  But this year, the muck and humidity has burst through unexpectedly, like a deep rot thought excised.  The stink of swamp gas behind my home bubbles up at random intervals, reminding me that while the grim sterility of winter reigns on the surface, there’s a limitless, festering putrescence ready to boil through the icy cracks.  How appropriate that the long dormant Mammoth Grinder rises from the tomb to unleash classic death metal in the midst of this strange, damp season. 

               

Mammoth Grinder isn’t some newfangled blackened tech fusion melodic death metal.  This is Neanderthal music, meant to crush, rend, rip and destroy to.  In less than 30 minutes, this Paleolithic power trio blast out 11 tunes that don’t reinvent the wheel – they lay waste to anything so civilized as that nonsense.  From the opening salvos of “Grimmenstein”, the emphasis on filthy low end tones pairs perfectly with bassist-vocalist Chris Ulsh’s cave troll vocals.  Throughout “Cosmic Crypt”, Ulsh sounds like he’s bellowing from the deepest underground chambers, daring you to come face the horrors within.  Drummer Ryan Parrish, meanwhile, alternates between hardcore influenced, straightforward metal beats, complemented by precise, slick fills.  Mark Bronzino is definitely copping from the old school, post-thrash vanguard (a la Slayer and Possessed) of shrill, whammy bar throttling leads – but he does it so damn good, who would complain?  Aspiring rhythm riffers would do well to study his no frills, catchy as fuck style.

               

The standout tracks here are the most frenetic: punky thrash death rager “Blazing Burst”; “Divine Loss”, that turns on a dime from 6/8 dirge to straightforward death (with some nice rhythmic eccentricities smattered here and there); and “Human is Obsolete” – which trudges through a deliciously sludgy intro and has a simple but hypnotic guitar solo.  The final one-two punch of “Rotting Robes” and “Cosmic Crypt” is an excellent crescendo of fury on an already solid record.  “Rotting Robes” is your standard death metal before throwing in this beautifully rude, swaggering riff, riding on the excellent rhythm section.  The titular, final track is definitely elevated by Ulsh unleashing his most unhinged vocals.  Not to be outdone, Bronzino lays down his most restrained, memorable solo.  It’s easy to see why, with an unmatched performance, Mammoth Grinder closes the eponymous record with this mini-masterpiece. And before you know it, the seething decay has receded. 

Mammoth Grinder doesn’t wear you out with any extended bullshit.  They come to unleash slaughter and crawl back into whatever nightmare dungeons they lurk in when not decimating unwitting victims.  I hope to hell we get more filthy death from this trio before 2023, but at least I know they’re lurking at the edges, ready to erupt when the world seems sterile and just too serene.

“Cosmic Crypt” is available here

Band info: bandcamp || facebook

RIFF REWIND (24/06/2013): Reproacher - "Nothing To Save"

Reproacher began in late 2009 in Cheyenne, Wyoming. Formed from the remnants of dissolved local bands, Joel joined TJ and Jarret and produced two demos in 2010. Jon joined in late 2010 and the band began writing and touring more seriously. After a handful of shows in March 2011, Reproacher travelled to Salt Lake City to record a self-titled album with Andy Patterson, which was self-released. The band did two west coast tours with defunct Denver grinders Clinging To The Trees Of A Forest Fire and Death Of Self. Reproacher would later record a Tour Demo in October of 2011 with Patterson once again which was released via Dimlight Records. In the summer of 2012, Reproacher drove coast to coast in a 38-day US tour

“Nothing to Save” their second full length dropped in June 2013 and the band’s misanthropic sophomore release delivered 11 merciless tracks of metallic hardcore mixed with rumbling blasts of low-end vocal snarls. “Nothing to Save” was recorded in 4 days during January 2013 in Salt Lake City by Andy Patterson (Gaza, Call of the Void). 

Fast forward three years and split 7 later, Reproacher would return with their third full length, “Nature’s Bastard” an album where huge, awkward riffs dominate the landscape and their ugly, discordant racket is reminiscent of Converge at their nastiest.”Nature’s Bastard” is a mighty offering, a captivating combination of savage intensity and considered dynamics, but today we’re rewind the clock 4 years to the day and revisiting an album that exposed THE SLUDGELORD to this amazing band, a band you’d be a fool to miss second time around.  So if you missed it the first time, be sure to remedy you error by checking out our review of “Nothing to Save” in full below. Reproacher breeds hate and disease through sonic decimation. 

By: Richard Powley

Album Type: Full Length

Date Released: 11/06/2013

Label: Self Released

“Nothing to Save” is a remarkable album, marrying grind, crust, sludge and hardcore, yet never failing to provide anything other than caustic forward momentum. The inclusion of more subdued moments adds wonderfully to the emotional weight of the lyrics whilst also giving the record great replay value. Basically it rules.

“Nothing to Save” DD track listing:

1. Intro
2. Casemate
3. Sophists
4. Averse Arrest
5. Ballast
6. Marginal Being
7. Repose
8. The Champion is Fucked
9. A New Dark Age
10. Crippled Wolves
11. New Skin

The Review:

I’m going to go ahead and admit I had never heard of Cheyenne, WY’s Reproacher before receiving “Nothing to Save” to review.

I am now a massive fan of Cheyenne, WY’s Reproacher.

“Nothing to Save” contains 11 crusty, sludge fuelled hardcore tracks, overflowing with bile and rage. The fact that Reproacher wouldn’t sound out of place on a bill with Cursed, Full of Hell, Baptists et al is big praise indeed, but one the band wholeheartedly deserves with this release.

As soon as Intro’s pummelling build up is complete, Reproacher lurch into “Casemate”, complete with Colohan-esque distorted vocals, short grind bursts, dissonant breaks and a propulsive tempo, with the latter three setting the band apart from the many Cursed copyists formed in their wake. Further across the first part of the album, Reproacher fuse elements of d-beat, sludge, hardcore and Converge style tempo changes and dissonance into a disgustingly cohesive whole.   

With “Ballast”, the band has crafted a perfect centrepiece to the album. Slowing things down ever so slightly and giving more emotional weight to the bleak and desolate lyrical content, the track ends with a plaintive, mournful riff bringing the first half of the album to a suitably grim climax.

“Marginal Being”’s downtempo, doomy intro belies the tracks surge into furious hardcore, whilst “The Champion is Fucked” tells of the treachery often born of greed and ambition over a furious amalgam of grind and d-beat hardcore. “Nothing to Save” closes with “New Skin”, opening with a slow feedback laden riff that wouldn’t sound out of place coming from Manatees, before settling into a calmer passage that’s ends the record in an unexpectedly thought provoking manner.

“Nothing to Save” is a remarkable album, marrying grind, crust, sludge and hardcore, yet never failing to provide anything other than caustic forward momentum. The inclusion of more subdued moments adds wonderfully to the emotional weight of the lyrics whilst also giving the record great replay value. Basically it rules.

Band info: Bandcamp || Facebook

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

ALBUM REVIEW: Trap Them - "Crown Feral"

By: Conor O’Dea

Album Type: Full Length

Date Released: 23/09/2016

Label: Prosthetic Records

...the tracks that are strong, like “Hellionaires” and “Revival Spines” in particular, really need to be considered the best stuff Trap Them has ever written. And while opening track “Kindred Dirt” didn't immerse me in the album in the way I'd hoped, by the time we reach “Twitching in the Auras”, there can be no doubt that Trap Them have made a definitive and impressive move forward on all fronts.  The sound is overall excellent. Lyrics are angry and powerful and riffs are deep and plentiful. Strongly recommend, and an excellent reason to continue to follow this excellent band closely.

‘Crown Feral CD//DD//LP track listing:

1). “Kindred Dirt”
2). “Hellionaires”
3). “Prodigala”
4). “Luster Pendulums”
5). “Malengines Here, Where They Should Be”
6). “Speak Nigh”
7). “Twitching In The Auras”
8). “Revival Spines”
9). “Stray Of The Tongue”
10). “Phantom Air”

The Review:

There's an overvaluation of novelty and groundbreaking composition in music criticism, and metal reviewers in particular seem prone to this unfortunate default. While the avoidance of derivative work is obviously important, music is always composed with historicity and within a continuum; 'truly new' would de facto be unrecognizable as music, let alone as an example of a genre. Trap Them do not fall into the category of relentless reinvention nor of mind-shattering novelty, but what they have done, persistently and doggedly, is carefully reinvent their sound, reconsidering both paths they have already crossed and staking out roads they wish to follow. “Crown Feral” represents a substantial and strong instance of that continued process of reinvention. While not necessarily a pinnacle moment for the band, the album is an important and recognizable evolution of sound.

By my measure, Trap Them's identity as a band first coalesced in “Darker Handcraft”. While “Sleepwell Deconstructor” and “Seizures” both clearly set the belligerent tone and forceful energy of the group, it's really with their third full-length that we see a concrete approach and sound emerge. “..Handcraft” is solid, angry and driving, deeply rooted in crust and grind subgenre inspirations, but bringing that HM-2 sound to the fore that sets the band apart from its peers.  While 2014's “Blissfucker” has taken a shit load of criticism as a misstep, it represents some serious revamping, experimenting and rethinking by the band. Successful? Not always, but definitely commendable and a reminder to the hesitant that sometimes breaking something down allows it to be better rebuilt. Which brings us to “Crown Feral”.

“Crown Feral” is not just a good course correction for some of the experiments that didn't really work on “Blissfucker”, but one that manages to push the band beyond the earlier sound of “Darker Handcraft”. Some 'duller' moments, but fuck, the tracks that are strong, like “Hellionaires” and “Revival Spines” in particular, really need to be considered the best stuff Trap Them has ever written. And while opening track “Kindred Dirt” didn't immerse me in the album in the way I'd hoped, by the time we reach “Twitching in the Auras”, there can be no doubt that Trap Them have made a definitive and impressive move forward on all fronts.

Originally when drafting this review , my sense was that it was a strong, slightly uneven album in which the unevenness comes mainly from the fact that some songs are in the 'pretty good' range while the best tracks hit mind=blown level of just excellent. Upon reflection, what I think I am hearing is a band that is still growing and developing and hasn't quite settled into this more mature evolution; a collection of good and great songs that doesn't quite meet the mark of an excellent album.

Production is a bit brickwalled, and can get tiring, but the sound is overall excellent. Lyrics are angry and powerful and riffs are deep and plentiful. Strongly recommend, and an excellent reason to continue to follow this excellent band closely.

‘Crown Feral is available here

Band info: bandcamp|| facebook

RIYL: Black Breath, Nails, The Secret, Rotten Sound

Reproacher - "Nature's Bastard" (Album Review)

By: Charlie Butler

Album Type: Full Length
Date Released: 03/06/2016
Label: Crown & Throne Ltd

Huge, awkward riffs dominate the landscape, their ugly, discordant racket is reminiscent of Converge at their nastiest.  This is a mighty offering, a captivating combination of savage intensity and considered dynamics.

“Nature’s Bastard” DD//LP track listing:

1). Intro

2). Celestial Blackout

3). Poisonous Miasmas

4). Garotte

5). Sundown

6). The Endless Tide

7). Futility

8). Old Blue Clay

9). Nature’s Bastard

10). The Great Equalizer

The Review:

“Celestial Blackout”, the second track of Reproacher’s new LP “Nature’s Bastard”, provides an apt description of the widescreen carnage they deliver. The track roars into life out of the smouldering ashes of “Intro”, a perfect hybrid of brooding post metal and furious, Hydra Head-style noisecore. The Wyoming bruisers mine this seam of inspiration for untold riches over the course of the album to create their distinct visceral sound.

Reproacher’s music is based on a solid foundation of gnarly noise rock heaviness but the tone shifts as the record progresses. The opening double whammy gives way to the harder edged likes of “Poisonous Miasmas” and “Garrote”. Huge, awkward riffs dominate the landscape, teeth-shaking low end and piercing high end squalls combining to emulate the punishing broken grooves of Coalesce. The tempo increases during the album’s mid-section dominated by the furious d-beat of “Sundown”. The ugly, discordant racket is reminiscent of Converge at their nastiest and peaks with a wild, adrenaline-soaked lead guitar break.

As the end approaches, the mood darkens. The title track is the closest Reproacher get to something resembling a ballad. Although the volume is dialled back and the vocals are subdued to a faraway, half-spoken drawl, the slow-burning menace exuded here is as heavy as their full-on attack. This makes the bludgeoning climax all the more crushing when it finally arrives with grim inevitability. “The Great Equalizer” continues this trajectory, falling away to near silence in the middle and building to a powerfully restrained climax, woozy chords ringing out as the band grind to a halt like a drunken cowboy.

“Nature’s Bastard” is a mighty offering from Reproacher, a captivating combination of savage intensity and considered dynamics.  

“Nature’s Bastard” is available here

Band info: bandcamp

The Sludgelord Video Premiere - "Masocutter" by Negative Thought Process

 

Negative Thought Process is a 2 piece Crust/grind/powerviolence duo formed by Daniel Page (Hibernacula Records, Victorian Whore Dogs, Exquisite Ending) and Kyle Townsend (Ex-Strike Offensive)

 

Their debut album “Methylene Butterfly” is due out through Hibernacula Records on September 17th, featuring 11 tracks of furious blasts, D-beats, HM-2 laden guitar riffs and brutality. Fans of Nails, Doom, Magrudergrind, Agoraphobic Nosebleed and Napalm Death are going to shit themselves, because this is full on rage. 

 

Conceptually dealing with battles of self harm, drug addiction, destructive relationships and suicide.  Today we are exclusively streaming the track “Masocutter” which you can check out below and can be pre ordered here



 

 

Band info: facebook