EP STREAM & INTERVIEW: "Prepare for sonic detonation" as Wolves Carry My Name usher forth their "Black Earth Tongue"

Thrown into life amongst the nothingness of Siegen/Germany in 2011, Wolves Carry My Name play a bastardised infusion of 90s Sludge-Metal and ruthless Hardcore, making for an undulating sonic onslaught of blackness.

October 14^th will see Wolves Carry My Name release their latest EP in the form of “Black Earth Tongue” and today you can stream it in full below.  This one is guaranteed hyberbolic earworm for fans of Wolves in the Throne Room, Eyehatehod, Thou, Electric Wizard and Ramesses.  So if you like how that sounds, remember the three rules of Sludgelord, “Stop, Look, Listen” and prepare for sonic detonation.   Check out the EP and pre-order/buy it here

If that wasn’t enough, check out my short interview with drummer Moritz about the roots of the band and how the new record came together. 

SL: Can you give us an insight into how you started playing music, leading up to the formation of Wolves Carry My Name

Moritz (Drums) Yeah, sure. Back then in 2011 some of us were on the lookout for people to start a new band/project. At that time we didn't even really know each other. It pretty much was a typical “a friend of a friend knows someone, who might be into it” thing that made us connect with each other and so we somehow ended up jamming out some riffs together. That worked out way better than we'd ever expected and a couple of months later we were a band with an EP.

All of us have been in several bands before. Tobi played in a band blending Alternative Metal/Rock with some Stoner vibes, Adil and Konstantin were into Thrash and Death Metal while Dennis and me were rooted in the Hardcore scene and played in a band together. I think that our different backgrounds helped us a lot with getting this band started. You know, all the basics like 'how to write a song', having connections to the scene, bookers and so on.

SL: Although you are set to release “Black Earth Tongue” which will serve as your 2nd official release, For folks unfamiliar with your band, is there any bands on the scene past and present that you would use as a reference point to describe your band, and who or what continues to inspire you and push you to try new things?

Moritz: This is a tough one. Some of our influences are pretty obvious, I guess. You know, like Eyehategod, Weedeater, Iron Monkey, The Abominable Iron Sloth... the whole Sludge Metal starter pack. This might be the common sense we have. Of course, each of us has his own favorites. Some are into the classic Nola bands or prefer a more stoneresque sound, you know, like Elder for example, some are into Post Metal, some like Crust, Hardcore, Black & Death Metal, Punk-Rock, Indie, Rap, 80s synth wave, whatever.

Not all of this is a real influence, but a lot of it inspires us in one way or another, maybe not even the style itself but the way some bands write songs, perform live, their artworks and attitude whatever. In the end each of us contributes his part. For me personally, Hang the Bastard were a huge influence, both their old and new stuff. I love that rough and angry hardcore energy mixed up with the Nola and Sabbath-riffing.

SL: What can you tell us about your upcoming record and where do you feel it sits within the context of current metal scene?

Moritz: After our first EP and the “Bone Carver” single we had trouble writing new stuff. We jammed out a shit load of riffs and had like up to twenty songs half finished. But it didn't even sound close to what we wanted it to sound. We also had some struggle because of the typical work issues. Some of us moved to other cities and it wasn't easy to manage the whole rehearsal and song writing process. It took us about two years and a serious period of laziness and bad mood to know where we wanted to go. We developed a more consistent sound. The songs are shorter and to the point, the riffs are bigger. It's pretty straight, pissed off and heavy. We skipped most of the atmospheric Post Metal influences and added a certain hardcore appeal. At least that's what it feels and sounds like to me. So long story short.. If you're into heavy riffs and pissed off vibes you should check out "Black Earth Tongue”.

SL: Does anything spring to mind when you think about the completion of your upcoming record and how is the mood in the camp at present?

Moritz: As I said before it was a long hard road with plenty of obstacles. We did a DIY pre-production in my apartment and the shitty drum machine sounds I used for the demo recordings (because I'm not a real technique freak or know much about programming drums) still haunt me. We've all put a lot of work and time into the production but it was worth it. We are really happy with the new songs. I think it really is a step up compared to the “Amongst Ruins And Ashes”-EP. After all the struggle with getting our shit together we now rehearse frequently and can't wait to play live again. Seems like the vibes in this band are way too positive for a nihilistic Sludge Metal band. Well, we'll be working on that, for now it feels really good.

SL: What stands out as your overarching memory from the recording sessions?

Moritz: I remember the first day of recording very well. We hooked up with Manu (Parabol Audio), a really cool guy I know from a recording session in the past. He told us he wanted to try something different with the drums. So when we arrived in Viersen it turned out that I would record drums in a huge hall that was built for orchestras. The setting was really impressive and the sound was really BIG. I felt pretty important, too, more like I was recording takes for a new Pink Floyd album. I think the whole recording session was a cool experience for each of us. Working with Manu was really chilled and he did a damn good job.

SL: With a solid new album in the bag, how is your schedule shaping up over the next 12 months?

Moritz: We will play a couple of shows this year and we plan to do waaaaay more shows next year! So to each and every promoter/booker who likes the new songs: just drop us a line, we seriously want to play your favourite club, church, living room, whatever! We will continue writing new songs in the meantime. Next step is a full length album. We'll see!

SL: Finally, do you have any final comments/word of wisdom you’d like to bestow upon us?

Moritz: We just wanna thank you for your support, Aaron! We really appreciate the time you put into supporting small bands like us. Cheers to our UK friends in Telepathy – check them out, if you're into mind-blowing atmospheric prog/post-metal!

Band info: facebook || bandcamp

Holly Hunt/Slomatics - Split 7" (Review)

Album Type: Split 7Inch

Date Released: 1/12/2014

Label: Black Bow Records, 

Other Electricities

Holly Hunt/Slomatics Split 7 Inch track Listing:

1. Holly Hunt - "Bill Ward" (04:12)

2. Slomatics - "Ulysses, My Father" (04:27)

Holly Hunt is:

Beatriz Monteavaro | Drums

Gavin Perry | Guitars

Slomatics are:

Chris | Guitars

David | Guitars

Marty | Drums, Vocals

Review:

Though they may be separated by an ocean, Holly Hunt and Slomatics both reach deep into the abyss and pull out an excellent split 7 inch stuffed with fuzz-soaked riff bombs, crash cymbal abuse, and, interestingly, absolutely zero bass players. (NB. Chris Fielding plays bass on "Ulysses, My Father")

Holly Hunt wastes no time tapping into the Iommian ether. Beatriz Monteavaro (of Floor/Cavity fame) grabs you with tasty, understated fills and busy snare patterns while Gavin Perry clobbers you over the head with riff after riff of saturated heaviness. These two fill up the space in a way that doesn't leave you wishing they had more members for even a second. Instrumental music can often feel aimless and/or self-indulgent -- this track avoids both pitfalls by keeping everything short and to the point. That is the marker of good song writing, one of the many positive characteristics of this release. At just over four minutes, the excellently-titled "Bill Ward" can't be listened to just once. It's that damn good.

Somehow Slomatics manage to sound even heavier with "Ulysses, My Father," albeit in a more traditional fashion. While Holly Hunt's offering is a bombastic, catchy slice of Floridian sludge (who would expect Miami to produce so much heaviness?), the B-side's tone and overall pacing are flat-out suffocating. This outfit get back to their roots here, slowing the pace and cranking the gain on their Dunwich Amplification-made fuzz pedals. The first note kicks you in the stomach, and the next four and a half minutes are no less devastating. The brief appearance of synths mid-song coincides with the tom-fueled respite; you have just enough time to catch your breath before being thrown right back into the thick of it. Though this cut harkens back to their earlier sounds, fans of their latest release ‘Estron’ will not be disappointed in the least.

You need this release. If you know these bands, then you know I'm stating the obvious. If you aren't familiar with either of these bands, take 8 and a half minutes of your time, turn your speakers up, grab a cold beer, and bang your goddamn head.

Words by: Ben Hutcherson

You can pick up a digital version at their respective bandcamp sites and the vinyl can be purchased here and here

For more information:

Slomatics – Bandcamp | Facebook | Official | Twitter

Holly Hunt – Bandcamp | Facebook | Twitter

Slomatics/Holly Hunt - Official 7" Vinyl Preview

Artwork by: Beatriz Monteavaro

In our recent interview with Holly Hunt, David Majury of Slomatics made no secret of his love for the band; therefore it comes as no surprise that Slomatics and Holly Hunt have teamed up for a forthcoming exclusive 7” Release.  

This release will see both bands releasing brand new tracks, Slomatics with ‘Ulysses, My Father and ‘Bill Ward’ by Holly Hunt.

Having been fortunate to hear this split, this is probably the best music these two bands have produced to date.  Having described Slomatics most recent record ‘Estron’ as ‘A real triumph of quality and structure, and a new height scaled in an already stellar career of amp vandalism.’ And ‘Prometheus’ as ‘A thudding and pulsating giant of a record!'  This is a bold statement to make, but make no mistake you will not be disappointment. 

It gives us great pleasure to bring you an exclusive first look of the stunning artwork by Beatriz Monteavaro.   As I’m sure you’ll all agree, it is awesome.  Not only that, you can listen to a sneaky clip of Slomatics’ contribution to the split below.  It is their heaviest material to date.  Enjoy and keep your eyes open for a forthcoming review.  This is a must have release.

The split 7" will released on 1st Dec 2014 (digital and physical), LTD 600 physical copies worldwide on black wax. Artwork by Beatriz Monteavaro.  Physical release comes with download code and will be available from the link below

http://www.blackbowrecords.com/
http://other-electricities.com/
https://www.facebook.com/SonicTITAN.ltd


And as a Digital release available (in full) via each bands Bandcamp 

http://slomatics.bandcamp.com/

http://hollyhunt.bandcamp.com/

Fuzz Wars: David Majury of Slomatics Interviews Holly Hunt

I don't remember how I first heard about Holly Hunt, but I do remember the first time I heard them, as I had to stop everything and go back to listen to "Manchurian Candidate" on repeat straight away. The sheer weight of their sound was electrifying, and their grasp of rhythmical dynamics was up there with the Melvins. They're a hard one to pin down (always a strength for any band), with reference points all over the map from doom to synth pop. Then there's THAT sound. With this being the age of the internet and all that I was chatting to both Beatriz and Gavin soon enough, and was mightily impressed not only by their innate understanding of importance of a good tune, but also their dedication to sculpting the sound of their records to achieve sonic nirvana. "Year One" and the following 12 inch "Prometheus" are both absolutely absorbing, relentlessly heavy, emotionally uplifting and fun listens. Add to this the fact that they are a two-piece, and that they use more amps live than most "full band" line-ups, and there's plenty for readers of the Sludgelord to be excited about. I fired these righteous dudes some questions, which they were kind enough to find time mid-tour to answer

David Majury: Holly Hunt is quite an unusual name for a heavy band, and perhaps doesn't give much away. Was that your intention?

Gavin: In the beginning when we were still in the process of defining our sound we had a couple ideas about the direction the band would take. I think we all agreed it would be heavy, sonically influenced, brutalist and fairly aggressive. I wasn’t interested in an obvious doubling down on that with our band name. I wanted a name that didn’t implicate our sound, something not so obvious but that in an abstract way may lead to more questions and thought. My first choice was Carrie Fisher, a tortured soul, who despite personal failures purservered. We concluded this might cause some legal issues so we kept brainstorming. I brought up Holly Hunt as an alternative. I felt the name illiterated very well and was as far away from a traditional metal band name as any other.

Betty - Holly Hunt was Gavin's idea for the band name. At first I though it referred to an actress. His mother's name is Holly. There is a thing called a Holly Hunt, which has to do with winter and Odin and Norse mythology. There are over 100 women in the US named Holly Hunt, and probably many more in the UK. It reminds me of Adam Ant. The name is unusual for a heavy band… that was the intention.

DM: I know that both you and Beatriz are artists, do you see any connection between Holly Hunt and your visual art?

G: Absolutely. We try and maintain a distinct separation between the two but clearly both practices have begun to inform each other. Many facets straddle both the visual and the auditory but we choose not to blur the boundaries as much as possible. I think visually we both have a practice that explores similar concepts and themes as Holly Hunt. The same adjectives apply to both, naturally... brutal, heavy, entropic, dark.

B - Yes, both things are creative endeavors. Much of the same kind of problem solving takes place, from material usage (equipment) to rhythm (lines and patterns) to notes and tone (color) and possibly also size (volume). The biggest difference with the band is that we are collaborating on the music instead of being single creators, and the audience is different… perhaps it's more fun too.

DM: There's been an increase in the amount of two piece bands over the past few years. Was it always your intention to go for this format, and how does it affect your approach to writing/ playing live?

G: While we didn’t set out as a two piece, we have settled into the nuances and hurdles a two piece project entails. I think we always wanted to take a bare bones approach to our music as a three piece or two. As a two piece though our aesthetic of brutality has flourished. It has brought us closer creatively. Live it often feels like we form a fuller symbiotic connection. We are sharing an intimate experience.

B- We actually started out as a 3 piece, we played a few shows that way. It didn't work out with our bass player. We decided to try it as a 2 piece. With just there being the 2 of us, we have come to value the power of the wheel for moving equipment. Dollies and hand carts make everything better. 

DM: The Miami scene is well known for bands like Floor, but also as a bastion of death metal. How does Holly Hunt fit into that whole area scene?

G: Miami has proven to be a very eclectic scene. We’ve played with garage bands, rock-a-billy acts, noise shows and of course traditional metal shows. As an artist, I think you can gain something useful from all live shows. As someone who has insatiable curiosity, I am thrilled to have access and exposure to this much diversity of ideas and projects. We are humbled and honored to be accepted by the wide array people we’ve played with and for.

B- The DIY scene here consists of Punk (Punk, Crust, Hardcore, Grind), Noise (all kinds), and Metal (from slow and heavy to, slow with very fast parts, to super technical)… there's also outlaw country, garage, post-punk, surf, and all kinds of blends of these styles. So the scene is open to anything that is interesting and earnest. Somehow, we've managed to play shows with all the different styles I just mentioned. It's a great scene.

DM: One for the gear nerds now. You run a pretty impressive set up, can you tell us about your gear, and how important is it to the band?

G: I am a self professed gear junkie. When I started back into music I was inspired by a sound, a quality of tone I heard while at a Torche/Harvey Milk show. What I heard left an indelible mark on me. I needed to have that tone I heard. I needed to have the ability to recreate my experience as often as I wanted. So began the odyssey that has been the making of my rig.

When we lost the bassist, I knew that we would need to focus on recovering the frequencies often relegated to the bass player. With that in mind I figured I would run a biamp set up. One side would focus on mids and highs, while the other would focus on lows. As a long time fan of Pete Townsend and my close proximity to George Scholz (who worked with Harry Joyce of Hiwatt) I slowly gravitated towards Hiwatts as my primary amps.

Currently I own a dr103 and a dr201, the 103 powers the treble side and the 201 the bass. They are beefy and every bit the hype that surrounds them. As far as my guitars, I started this project with standard length guitars that I tuned as low as they would go (Ibanez Artist and a Charvel reissue). I knew I wanted Electrical Guitar Company aluminum but just couldn’t get one early on. When I was able to order my custom I knew I wanted to tune lower still so I decided on a baritone scale (27.5”). I simply love my EGC’s. They are an animal all unto themselves. I have a pretty extensive set of pedals, mostly fuzzes. These are the most fluid parts of my rig. I find myself always pulling one out or putting a new pedal in. The tone trip is never ending. It can be frustrating but in the end is always rewarding.

B- I'm playing a 1984 Tama Artstar Cordia kit right now, 24" bass drum, 18" floor, 13" rack, and a 70's Ludwig Supraphonic. I'm also playing Paiste Rude and Alpha cymbals. The kit is very loud, and needs to be, because of Gavin's equipment, and basement shows.

DM: The way people consume music has changed radically over recent years. What are your feelings about digital releases/ iTunes and all that?

G: I think it has helped relieve some of the climb to get your material out. It has certainly reduced the distance between bands and audience. Personally, since I have acquired a turntable I’ve been listening to more vinyl. It is the most organic way in my opinion to listen to music.

B - I prefer Vinyl, but I've also got an iPod. The more ways for people to share and listen to music, the better.

DM: A lot of bands are using the pledge approach to funding recording and tours. What are your views on Kickstarter and the like?

G: To each his or her own. It’s not a format for which I’ve found a suitable use. I choose a more DIY approach but have found some crowd funding projects I’ve supported.

B - For me personally, I'd rather have people 'pledge' to us by coming to shows and buying our merch. However other bands want to fund themselves is up to them.

DM: What were the last three records you bought?

G: Music Blues. YOB. Aphex Twin.

B - I honestly couldn't tell you as we just came back from tour and we haven't unpacked our tour booty yet. I know I bought a used copy of the Evil Dead 2013 soundtrack… can I just list my favorite bands that we played with during these 2 back to back touring runs?

Tuurd, Christworm, Drose, LB!, Empty Vessels, Shit Brains, Permanent Makeup, Set and Setting, Recreant, Wage Slave, Alma, Foehammer and Ex-Breathers.

DM: What inspires the Holly Hunt creative process?

G: Entropy.

B - Everything and anything. I will say, I'm most inspired when I see a band I've never heard of before, absolutely kill it.

DM: Finally, the obvious question - what are your plans for the future, and will we experience the Holly Hunt live assault in Europe?

G: After a long run of touring this past summer, followed by the production of the split with Slomatics we are preparing to get back into the lab to write the next full length. Nothing concrete as to completion or sound but we are definitely in the start up phase. We have been discussing Europe as a possibility for some time next year. It would be a huge undertaking for us but we would have a blast I’m sure.

B - Our plan is to continue, and to challenge ourselves, and yes to make it to the UK and Europe, hopefully next year. We have a split 7" coming out later this year with Slomatics. We're really excited about that.

Intro & Interview by : David Majury

You can read our review of their latest record 'Prometheus' here

For more information:

http://hollyhunt.bandcamp.com/ 
http://other-electricities.com/album/oe037

https://www.facebook.com/HOLLYHUNT.LTD

Holly Hunt - Prometheus EP (Review)

Album Type: EP

Date Released: 29/4/2014

Label: Other Electricites

‘Prometheus’ DD/Vinyl track listing:

1). Meano

2). Saturn Devours Children

3). Prometheus

Bio:

Following their highly lauded full-length album Year One, Holly Hunt returns with a 3-song, 12’’ EP, Prometheus. Recorded by Jonathan Nuñez of Torche and mastered by New Alliance East, the record builds on the two-piece’s reputation for metal that’s crafted with the heaviest alloys, and a most magisterial patterning - the type that drones vehemently and drowns in the blues.

Drummer Beatriz Monteavaro (Floor, Cavity) and guitarist Gavin Perry have demonstrated themselves as a loud and lumbering giant of the Miami music scene. The visceral impact of sound - the raising heart rate, neck chills, the warmth spreading throughout your torso - this is Holly Hunt’s raison d'être. Prometheus manages to transmit an almost perfect rendering, delivering listeners to a heightened physical (and mental and spiritual) state. The record conjures the image of an approaching behemoth, striking paranoia and fear until the final, exhilarating sweep of humanity’s total destruction.

Where Year One established the bedrock of Holly Hunt’s punishing sound, Prometheus thunders with the clarity of a crack of lighting. It establishes a supremely balanced, critical distance between amp worship and riff devotion, rising and falling with ecstatic highs and sublime lows. And while Year One represented the genesis of the band's existence; Prometheus stands as a churning, threatening hint of things to come.

Prometheus is a joint release by Other Electricities and Sonic TITAN.

The Band:

Beatriz Monteavaro | Drums

Gavin Perry | Guitars

Review:

There is something inherently beautiful about that feeling you get when you first remove a vinyl from its sleeve and place the needle on it. When listening to any album this feeling exists but when it comes to the fuzzy & sludgy stuff nothing quite hits the needle like it. The blend of crackles with the grime is perfection, and in some way the sounds from a vinyl take on a more 3D life force with each instrument almost floating in its own space.

There is little situation more fitting than putting the needle down on Holly Hunt’s Prometheus. “Utter Sludge Perfection”, is an apt description and if you aren’t familiar, let’s have a short catch up session.  Holly Hunt is a 2 piece instrumental act from Florida that features Beatriz Monteavaro (FLOOR\CAVITY) on Drums & Gavin Perry on guitar. ‘Prometheus’ is the follow up to 2012’s Year ONE which was rapturously received and also worth getting your hands on at the same time as ‘Prometheus’, at a  mere 3 songs, every minute counts on this EP.

They open with ‘Meano’, a massive wall of fuzz and girth acts as the prelude to the pummelling that ensues.  Indeed, this is the musical equivalent of an elephant charging at you in slow motion. Equally ominous is the pulsing ‘Saturn Devours His Children’ reminiscent of Jesu/Godflesh where chords create cliffhangers amongst the pulsing waves of percussion. Then we have the title track ‘Prometheus’, 9m 40s of downright sludge gold. There is a hypnotic feel about this release, I found myself nodding and wobbling back and forth throughout both sides of the vinyl EP.

In summation, ‘Prometheus’ is an absolute must have for any fan of sludge/doom.  It does what few instrumental acts can do. It keeps your attention and draws you in like a tractor beam.  It is a thudding and pulsating giant of a record!

Below you will find the links to both the digital and vinyl versions of the record. I suggest you buy the vinyl, add some drinks, a great set of speakers and a blind fold (or just close your eyes).  Sit back and soak this in properly

Words by: Stephen T. Barton

For more information:

Digital Version http://hollyhunt.bandcamp.com/

Vinyl VERSION http://other-electricities.com/album/oe037

The Band’s Facebook - https://www.facebook.com/HOLLYHUNT.LTD