Welcome to The Sludgelord!
Presenting up to date news, reviews & interviews for riff addicts around the world.
This is 'Liberation through Amplification.'
Rarely does a recording
embody the dynamism of heavy music, while being legitimately artful and
musically resplendent, "Mareridt," just happens to be one such album
and with it, all your expectations will be exceeded.
"Mareridt" CD//DD//LP track listing
1.
Mareridt
2.
Måneblôt
3.
The Serpent
4.
Crown
5.
Elleskudt
6.
De Tre Piker
7.
Funeral (featuring Chelsea Wolfe)
8.
Ulvinde
9.
Gladiatrix
10.
Kætteren
11.
Børnehjem
The Review:
What
metal fan hasn't had the talk with a friend, partner or acquaintance? You know the talk? It is that moment of judgment.
It is at once an inquiry of a sound as it is a question about you are as a
person. What attracts you to this howling? Implicitly, because it is less
polite, is the query: what in you is broken that prompts you to listen to this?
It
is a thematic inquiry too of course. Extreme music's foreboding images and
confrontational sound are disquieting for listeners of many other styles of
music. Like the ghosts in our stories, the specter of Tipper Gore and the ParentsMusicResourceCenter hangs heavy. For
every genuinely curious question, there are three value-laden ones, which probe
scarring of listeners to such noxious aural assaults.
Without
a doubt, plenty of metal is proudly noxious. The music is by its very
definition bellicose. So, when a recording appears that embodies the dynamism
of heavy music, while being legitimately artful and musically resplendent, it
is singular. Such is the case with the return of Myrkur's new release, "Mareridt."
The
one-woman project of multi-instrumentalist and vocalist Amalie Bruun, Myrkur has specialized in the classic sound of
black metal with folkloric as well as orchestral flourishes. Bruum's 2014 debut drew much praise for
its virtuosity. "M," the
2015 follow-up, saw assists from members of Mayhem, Arch Enemy and Ndingr
and received international awards. Buoyed by a live record last year, interest
in Myrkur
has only grown since "M."
You
will have every high expectation exceeded with "Mareridt,"Myrkur's latest. Its title is Danish for "nightmare."
It is anything but.
With
the title track opening the new record, tinges of folk metal with its waves of
ceremony and menace wash over your mind. In addition to being a fantastic start
to the many moods you catch across 11 tracks; it is simply an impeccably
composed song. Outstanding vocals and exemplary instrumentation make it a great
beginning, lolling into crisp guitar work of the fast but understated second
wave of black metal. Like some other cuts on the recording, such as "Gladiatrix" and "De Tre Piker," the title
track sets a blueprint for a blend of metal snarling and otherworldly singing.
Many artists have employed this mode of attack over the years. Myrkur
just happens to do it exceedingly well.
Back
to the talk. To many people, this style of metal is unexpected. For a
mainstream that associates most metal with volume and corpse paint, the
variants like this will challenge opinions. Most labels and more observant fans
recognize the potential for music like this is break boundaries and attract new
audiences. Consider the regard for French act Alcest when it surged to
prominence in the mid-2000s with a black metal style that engulfed shoegaze and
pop strands at points. Having a sound that is at once bold yet divergent is a
blessing and a curse, certainly. By "The
Serpent," your internal conversation may be quite active, as you may
ponder if there is no limit, in truth. It and the following track, "Crown," are easily the most
accessible on the album. Both are appreciable for their artistry. They're also
unlikely to be considered metal by American hardcore fans or the mainstream.
Regardless these cuts, and several other moments, are sure to make you step
back, beyond extreme music, and appreciate their creativity and fearlessness.
Myrkur deserves much
praise for presenting a fully imagined release, one that goes from gauzy to
portent in the blink of an eye. From the efficaciously strong "Funeral," with
singer-songwriter Chelsea Wolfe, or the closer, "Børnehjem," a supernatural first-person
tale, Bruun is sure to prompt you,
and the friends wanting to have the talk, to think about extreme music in a
renewed way.
As the haze of sunshine finally appears to be descending for the last time and with it the end of summer, let us not despair and instead rejoice as we usher in another feast of music for your listening pleasure, a veritable smorgasbord of riffs, this can only mean one thing? The Sludgelord’s ‘Sour 16’. Welcome, all lovers of the riff, you know the deal by now, however for those of you that do not, let us recap. Each month, you the reader are unwittingly compiling a list of the top 16 records of the month, covering all genres of metal, but predominately the best the doom, sludge, stoner-psychedelic genres have to offer. It is not a chart, in which reviewers or contributors extol their opinion about their favourite music, but simply, the ‘Sour 16’ are the records you guys (readers) have been most interested in over the last month and checking out on this page.
So here is the The Sludgelord’s ‘Sour 16’for August 2015, the 16 records you’re most looking forward too or are currently checking out. Dig in, spread the word and perhaps revisit some records you may have overlooked. The results are compiled based on page views alone and calibrated into the list below. So without further ado, enjoy the ‘Sour 16’. Roll up, kick back, chug a beer and Hail the riff! All review/band links can be accessed by clicking on the artwork. (Total views at the time of publication are highlighted in red)
16). Eschaton – ‘Sentinel Apocalypse’ (312)
For anyone with an interest in death metal from Revocation to Morbid Angel to Immolation to Death, then this album should definitely be checked out. I enjoyed it hugely and recommend it highly.
15). Nightfell – ‘Darkness Evermore’ (320)
“Rebirth” sees the band playing with different melodic black metal elements… which make for a wonderful musical counterweight to the resonant doom n’ death rumbling of the album’s general comfort zone.
14). Fight Amp – ‘Constantly Off’ (348)
‘In short, I’ve been missing out. I’m really happy to have had a reason to sit down with a band I already thought I knew and find out there’s still so much more to them. I can only highly recommend ‘Constantly Off’, and after this I’m off to check out all the stuff I’ve missed.’
13). Lucifer ‘Lucifer I’ (352)
‘All in all, “Lucifer I” is a solid release, song-per-song. It’s sure to be a hit for all the ‘70s obsessive’s and the proto-metallers, but it also has moments that are evil enough and dark enough to satisfy those who need a little more intensity beyond the black rainbow.’
12). = Myrkur - ‘M’ & Gnaw Their Tongues – ‘Abyss of Longing Throats’ (354)
At this juncture, Myrkur has proven to be capable of material that is truly special, with the sort of vivid musical imagination welcome in any genre, metal being no exception. What’s most exciting is what an even deeper exploration of this kind of folkish black metal, rich with creativity might yield a couple of years from now. ‘Gnaw Their Tongues has opened up a portal into hell and is dragging you with him. Fear the worst. Expect to suffer. If you make it out alive, expect some severe emotional trauma.’
10). Six Feet Under – ‘Crypt of the Devil’ (357)
‘This is as pure a strain of death metal as you are ever likely to find: crushing, sawing guitar riots? Check. Throat-expanding guttural vocals? Check. Lurid, obscene song titles, including ‘Broken Bottle Rape’ and ‘Compulsion to Brutalize’? Check mate. If it’s classic death metal grooves you’re after, look no further.’
09). Limb – ‘Terminal’ (371)
All in all, Terminal builds on what Limb have already achieved and is ultimately better than their top notch debut. The tracks on Terminal are well crafted, and the whole piece is tighter throughout. Absolutely no time is wasted on the album with every note being completely integral to the success of the album
08). Locrian – ‘Infinite Dissolution’ (400)
‘Standout track ‘An Index of Air’ leans into emptiness with a rattling drone, an almost imperceptibly off-time drum pulsing the intro before expanding out into tidal-waves of anguished convulsions blended with blissed out droning black that Deafheaven would burn gasoline-soaked churches to attain.’
07). Carousel – ‘2113’ (420)
‘2113’ is a blur of dynamic, late night booze fuelled journeys filled with timeless hooks and immensely powerful solos. A band that knows how to capture your attention; they filter the music of their childhood heroes add a contemporary twist and their unique flair and create magic. They build on their concrete foundation of strong vocals and catchy choruses, wrap up some tight backing and present a very pleasing album complete with a jazzy little bow.
06) Hivelords – ‘Tapered Limbs of a Human Star’ (424)
'Cavern Apothecary' was a glimpse into the potential this band had at that point. On ‘Tapered Limbs of a Human Star’, they've smashed through the glass ceiling and surpassed the promise they showed. The fact that they're signed to Anthropic Records is both a blessing and a curse; it makes those who know about the band seem like part of a secret club and preserves their cult status. However, had this been released on a label like Relapse, Profound Lore or Candlelight, everyone would be losing their shit and proclaiming this as the best album they've heard this year. It’s simply stunning.’
05). DoctoR DooM – ‘The Seed We Have Sown’ (534)
‘It's a monstrous sound, reminding me of a club scene in many a Bond film, but replace lounge piano or jazz with a much more upbeat rock band. This is Everyman Rock. And they love to stay around with their songs, so look forward to an album full of 4+ minute slabs that will take you along sonic highways of old.’
04). Ahab – ‘The Boat of Glen Carrig’ (551)
‘It's hard to sum the record up, such is the scope and depth on offer within the record, but suffice it to say this: it will feature in year end lists, it will grow on you and is definitely one of the more unusual and ambitious releases of the year. This is fine stuff, but then again coming from Napalm Records, does anyone expect anything less?! Dark, atmospheric and powerful. A fantastic record.’
03). Pentagram - ‘Curious Volume’ (710)
Overall, for my money, Curious Volume is a better album than Last Rites- more focused, more inspired and it crackles with life, it really does. It is the best album from Pentagram in a long while and for that we should all rejoice. Legendary for a reason!
02). The Sword – ‘High Country’ (1377)
The length of the album, at 15 tracks, does make getting acquainted with this record a slow process, but in the end you’ll discover there aren’t any dips in form. ‘High Country’ is rich in consistency and across its span, Cronise, Shutt and co. dispel any fears you may have about this release all the while oozing a slick professionalism. They’ve been at this song writing malarkey for a while now, they’re hardened pros and this stands testament to their brilliant legacy.’
01). Ghost – ‘Meliora’ (5382)
‘Today, Ghost still manage to shock and surprise us in a society where we’ve seen and heard it all before. People are fascinated, fixated even with finding out their true identities. Their music is more powerful than it ever has been too. ‘Meloria’ is a spellbinding listen and one which will see them elevated to greater plains of existence. It affects you, leaves you shaken. They can make you laugh or cry without so much of a flick of the wrist and, although the music we love is basking in something of a purple period right now, a band as potent as this is still a rarity.’
This list features reviews by, Chris Bull, Philip Weller, Kat Hilton, Hunter Young, Richard Maw, James Harris, Dominic Walsh, Chris Markwell, Daniel Jackson, Erik Sugg & Greg Sheriff
At this juncture, Myrkur has proven to be capable of material that
is truly special, with the sort of vivid musical imagination welcome in any
genre, metal being no exception. What’s most exciting is what an even deeper
exploration of this kind of folkish black metal, rich with creativity might
yield a couple of years from now.
‘M’ CD//LP//DD track listing:
1. Skøgen Skulle Dø
2. Hævnen
3. Onde Børn
4. Vølvens Spådom
5. Jeg er Guden, I
er Tjenerne
6. Nordlys
7. Mordet
8. Byssan Lull
9. Dybt i Skoven
10. Skaði
11. Norn
Myrkur is:
Myrkur
| Piano, guitars, vocals
Teloch
| Bass & additional guitars
Myrvoll
| Drums
Guests:
Ole-Henrik
Moe | Íslensk fiðla, hardingfele & violin
Håvard
Jørgensen | Acoustic guitar
Tone
Reichelt | Horn
Martin
Taxt | Tuba
Chris
Amott | Additional guitars on "Mordet"
The Review:
When
originally sitting down to write this review, the first two hundred-plus words
of it came out as an angry tirade directed at anyone expressing the opinion
that Myrkur being a woman is a detriment to the
music, or are saying anything about “hipster metal” or “metal tourism”. In the
interest of addressing the “issue” but not letting it overrun the review I’ll
just say that if a woman making metal music bothers you: you’re an idiot. If
you’re worried about metal tourism: shut the fuck up. I can guarantee you’ve
failed your carefully constructed “metal” persona every day of your life in
some way or another just by living your life as anyone would. Enough.
With
that out of the way, ‘M’ is an
always good and often great album. The improvement between last year’s
self-titled EP and this year’s debut full length is substantial. In my review of the ‘Myrkur’ EP last year, I essentially said that while there was
promise, Myrkur wasn’t quite “there” yet. With ‘M’,Myrkur
arrives fully-realized, and much more well-rounded. It’s by no means a perfect
album, but it musically satiates my thirst for music in the style Ulver’s ‘Bergtatt’,
which Ulver themselves have no intention of
revisiting. That isn’t to discount Myrkur’s own
inventiveness and artistry, which is ever-present throughout the whole album.
Some
songs work better than others, though I’d still describe the least effective
song as above average. At the top of the pyramid, we have “Skøgen Skulle Dø”, which may be the most scintillating opening to
a metal album this year. After some light, plaintive choral singing; the song
erupts with resounding toms and piercing fiddle. It conjures the sort of
roaring atmosphere that so many surgically-recorded folk metal bands seek to
capture but clinical production techniques won’t allow.
Another
fantastic highlight is “Onde Børn”,
which has the strongest Ulver influence of
anything on the album. A more accurate assessment might be to say that it
shares an adjacent space to Ulver’s music, working
a familiar-enough vibe into the song to warrant comparison, but different
enough that it can stand proudly on its own. In that sense, it’s in good
company alongside "Les Feuilles De
L'olivier" from Les Discrets’ debut
album ‘Septembre Et Ses Dernières
Pensées’. “Mordet”, on the other
end of the emotional spectrum, is a snarling and much better-conceived
counterweight to the album’s overall tone. Where “Onde Børn” is something of a pleasant musical fantasy, “Mordet” is driven by traditionally
bleak black metal songwriting with added musical theatrics. Blast beats, dissonance
and rage keep the album from losing steam at the midway point and also serve to
keep the album away from treading the same water for too long.
The
weaker moments on the album come in the form of songs like “Byssan Lull”. While they
are easy on the ears, they also leave an impression of agreeable filler rather
than vital to the whole of the album. Perhaps that was the point. The album is
perfectly lean at thirty seven minutes, so perhaps a couple of these
two-to-three minute interludes are meant to keep the album over thirty minutes.
They’re never really detrimental, but perhaps they might have been better
utilized as pieces of the proper songs instead. It might have also been better
to make use of the two choice songs from the EP. They could have been used here
in place of the aforementioned interludes and had a much greater impact with
the richer sound of ‘M’.
Even
with a few less-than-memorable moments from a couple of filler tracks, the bulk
of ‘M’ contains some of the best
material I’ve heard this year. At this juncture, Myrkur has proven to be
capable of material that is truly special, with the sort of vivid musical
imagination welcome in any genre, metal being no exception. What’s most
exciting is what an even deeper exploration of this kind of folkish black
metal, rich with creativity might yield a couple of years from now.
You can pick up a
digital copy here and a CD/LP copy here.
