ALBUM REVIEW: Nest - "Metempsychosis"

By: Charlie Butler

Album Type: Full Length

Date Released: 03/03/2018

Label: Independent

The thick distortion-encrusted tones are riddled with a nasty evil buzz that brings to mind a union of Unearthly Trance and Unsane that sometimes veers into psychedelic realms worthy of Yob. “Metempsychosis” is an awesome offering from Nest that demonstrates their startling power and a terrifying amount of potential for the future.

“Metempsychosis” DD track listing:

1. - (00:31)
2. The Cowardice And Rashness Of Courage (03:52)
3. Gallows Of Forever (03:16)
4. Heretic (02:38)
5. Divining By The Entrails Of Sheep (05:06)
6. Jewel Of Iniquity (03:59)
7. From The Darkness In Me, Illuminate (04:09)
8. Life's Grief (09:50)
9. - (00:27)

The Review:

2018 is still only a few weeks old but Nest are already making a strong play for end of year lists with new LP “Metempsychosis”. The Kentucky duo make a huge spaced-out sludge racket delivered with an aggressive noise rock attitude that really hits hard here.

Although there are many two pieces throughout the heavy underground that create a massive sound from minimal resources, Nest manage to construct a particularly impressive wall of noise from a single guitar, drums and vocals. I don’t know what set-up Kyle Keener is running his guitar through but it makes the crushing riffs that open up the likes of “The Cowardice And The Rashness Of Courage” and “Jewel oF Iniquity” register high on the Richter scale. The thick distortion-encrusted tones are riddled with a nasty evil buzz that brings to mind a union of Unearthly Trance and Unsane that sometimes veers into psychedelic realms worthy of Yob.

“From The Darkness In Me, Illuminate” is a mini-epic that covers the full width of Nest’s sonic spectrum in four minutes. Pummelling blast beats and lumbering doom riffs emerge from a cloud of menacing noise that brings an air of black metal mystery to the track. The second half of the track shows that the band are equally as captivating when they dial back the distortion to craft a hypnotic passage from minimal guitar picking and distant violin. This works as suitable preparation for the monstrous finale of “Life’s Grief”. Nest take everything that has come before and blow it up on a grand scale. Huge reverb-laden melodies pave the way for one final punishing riff that can only be silenced by a rising tide of harsh static and sonic manipulations.

“Metempsychosis” is an awesome offering from Nest that demonstrates their startling power and a terrifying amount of potential for the future.

“Metempsychosis” is available to preorder here

Band info: bandcamp || facebook

REVIEW: No Funeral & Livid - "No Funeral / Livid" (Split)

By: Charlie Butler

Album Type: Split LP

Date Released: 15/08/2017

Label: Live Fast Die Records

The combination of these two bands on one mammoth slab of wax is a marriage made in hell. No Funeral and Livid are definitely acts to check out now if you like it slow, heavy and desolate.

“No Funeral / Livid” Split LP//DD track listing:

1). No Funeral - Infection

2). No Funeral – Disease Brought By Depression

3). Livid – False Hope

The Review:

This split LP brings together two Minneapolis doom heavyweights united in snail-paced drudgery. No Funeral and Livid both deal in punishing, immersive doom delivered in contrasting styles.

No Funeral immediately establishes an air of quiet foreboding with the cold, bare introduction of “Infection”. Clean guitars are quickly drowned under a torrent of filthy sludge as the band rumble into a lumbering evil riff. There are slight increases in tempo as the track progresses but a grisly doom crawl is maintained throughout, somewhere between Iron Monkey’s belligerent spite and Unearthly Trance’s bleakest moments. The mood of hopelessness is heightened by the nasty dual vocals, particularly the harsh howls of despair near the start of second track “Disease Brought By Depression”. Here the band dive deeper into the well of misery, building to a harrowing climax where a vocal sample detailing the effects of heroin withdrawal skips and repeats as the track unravels into chaos.

Livid’s side of this split is a single 19 minute epic titled “False Hope”. The oppressive atmosphere of No Funeral’s offering remains but the sludge has been dialled back in favour of spacious dark psychedelia in the vein of Yob or early Pallbearer. There is a stark contrast on the vocal front too but Cole’s Benson’s clean, reverb-assisted delivery instils a similar level of dread via a different mechanism. Over the first half of the track the band wring maximum impact from a gloomy chord sequence before letting a huge riff unfurl out of the dirge and develop over the second half.

The combination of these two bands on one mammoth slab of wax is a marriage made in hell. No Funeral and Livid are definitely acts to check out now if you like it slow, heavy and desolate.

“No Funeral / Livid” is available here

Band info: No Funeral || Livid

RIFF REWIND (04/03/2015): Warhorse - ‘As Heaven Turns To Ash’ (Reissue)

Bio:

In a time where doom is flourishing in all directions and manners, Southern Lord exhumed the sole full-length from Massachusetts' Warhorse. Long out of print, rabidly sought after, and unconditionally vital in foreshadowing the plethora of current acts who partake in long form, recklessly downtuned sound voyages, 2001's ‘As Heaven Turns To Ash’ was  reissued on double LP and digital formats on February 24th, 2015 combined with their final 7" EP, I Am Dying.

Formed in 1996 and lasting the best part of a decade, Warhorse wallow deep down, grooving at the kind of frequency usually associated with imminent natural disaster. But in addition to their intricate delivery, Warhorse possesses an experimental, verging on psychedelic streak which gave rise to gritty and memorable riffs, and saw them sharing stages with the iconic likes of Electric Wizard, Khanate, Acid King, High On Fire and Unearthly Trance.

‘As Heaven Turns To Ash’ and ‘I Am Dying’ are sinister demonstrations of ultra-heavy riffs as a weapon, and with Southern Lord delivered a stellear  rerelease, doom fans worldwide will need to start saving pennies for the subwoofer damage they are sure to inflict.  Today we are rewinding the riffs back a mere 2 years in order present “As Heaven Turns To Ash’. So if you missed it the first time or even following its reissue in 2015, be sure to remedy your error by checking out our review in full below.

By: Daniel Jackson

Album Type: Full-Length

Date Released: 29/09/2001 

(24/02/2015 for the reissue)

Label: Southern Lord

Were ‘As Heaven Turns To Ash’ to be released in 2017 for the first time, it would be in a league with 2014 standouts Conan and Ommadon and the reason, much like ‘As Heaven Turns To Ash’ itself is simple: execution. Especially for its time, but even now; Warhorse knew how to craft a deep fucking tone. If you told me that the guitars were tuned to a previously non-existent z flat and played through a baritone guitar, I’d believe you.

‘As Heaven Turns To Ash’ DLP//DD track listing:

1. Dusk

2. Doom's Bride

3. Black Acid Prophecy

4. Amber Vial

5. Every Flower Dies No Matter The Thorns (Whither)

6. Lysergic Communion

7. Dawn

8. Scrape

9. And The Angels Begin To Weep

I Am Dying EP:

1. I Am Dying

2. Horizons Burn Red

The Review:

Warhorse may not sound all that unique by today’s standards, but in 2001 ‘As Heaven Turns To Ash’ just wasn’t something you heard every day. It’s pretty easy to figure out from which wells Warhorse drew their inspiration: Black Sabbath, Sleep, and Eyehategod. In 2017, you’re going to look at that list and think “So? There are hundreds if not thousands of bands in that camp, and I’ve gotten my fill of it over the last 10 years”. That’s a fair point. It’s hard to argue that as of this writing, doom with stoner tendencies is a well-worn style and bands have needed to add more and more into the mix to come up with a fresh approach. There have been a few that have made stripped-down, basic doom in the Sleep and Eyehategod traditions work, though they’re often the exception rather than the rule.

Were ‘As Heaven Turns To Ash’ to be released in 2017 for the first time, it would succeed in that same way, with the added benefit of a much larger audience for their style. It would be in a league with 2014 standouts Conan and Ommadon and the reason, much like ‘As Heaven Turns To Ash’ itself is simple: execution. Especially for its time, but even now; Warhorse knew how to craft a deep fucking tone. If you told me that the guitars were tuned to a previously non-existent z flat and played through a baritone guitar, I’d believe you. The drums are given plenty of weight in both performance and in production. In a way, this album should serve as the bar which all bands in a similar style should strive to meet, at least production-wise.

The song writing here is strong, despite being deeply indebted to its influences. It also helps that whenever it sounds like the album might be stuck in a groove or idea for too long, the band knows when to include a softer dynamic break or change the emotional tone enough to keep things from getting stale. There are several softer instrumental pieces throughout the album, and along with the subtle diversions sprinkled in throughout the bulk of the album, they manage to avoid letting the bloom fall off the rose.

I’m not entirely certain what ended Warhorse after just one full length and a few EPs. I’d certainly speculate that it’s possible they just had the one album in them. The two songs from the ‘I Am Dying’ EP that came out the following year (also included in this reissue as bonus tracks) suggest that Warhorse were kinda running in place. Even on ‘As Heaven Turns To Ash’, nearly twenty minutes of the album had been recorded in demo form around three years earlier. It would be safe to say that even considering the brief window of time they were together; Warhorse wasn’t a terribly prolific band. They came together and created one great album’s worth of material and moved on. You’d have to try pretty damned hard not to respect that.

THE 16 MOST POPULAR ALBUMS OF YEAR SO FAR: The Sour 16 January - June 2017

As I reflect incredulously upon 2017 so far, it continues to confound my expectations that THE SLUDGELORD exists at all, let alone being able to reflect upon six months worth of albums. 

2017 is like any other, we predict this year’s releases will not top the last, but invariably we are proven wrong, there have been highlights and disappointments, shocks and surprises, and as we approach July, we’ll continue to separate the good, from the bad and the ugly.  But today we reflect upon the 16 most popular records at THE SLUDGELORD so far in 2017.   

This list does not reflect the contributors own tastes, rather they are articles that have received the most clicks, therefore by virtue of that, you could argue they’re the most popular (it’s a pretty loose hypotheses I know, but we wanted the list to reflect your tastes not ours).  The fact that the albums cover a variety of genres is indicative of how the site has grown and is central to the philosophy we promote, which is to review albums we like, not solely on the basis of genre.

The results of this chart as ever are compiled based on page views alone.  For more information on the bands, click the artwork.   We have included album streams wherever possible. (Total views since their publication is highlighted in red).  Thanks for reading. 

16). Brutus – “Burst” (1455)

Straddling the line between hardcore punk and a post-rock/metal riff fest, Brutus pounds, hurls, and howls at volumes so loud and levels so intense that it’s impossible to look away. Harmonies, hooks, and sing-a-longs are part of the Brutus recipe, but it’s the sheer intensity that will have heads turning, bopping, and banging.

15). Toke – “Orange” (1458)

Toke seamlessly blends the precise amount of head crushing, belly thumping riffs with greasy, bluesy lead breaks and melody. This band has struck a balance between tried and true classic archetypes within this genre and has pushed the envelope in so many forms of noticeable nuance.

14). Mutoid Man – “War Moans” (1529)

“War Moans” is fast, heavy and vocally arresting, it is an album that is certain to leave you breathless. 

13). Spidergawd – “IV” (1568)

“IV” is eight tracks that follow the verse-chorus-verse-chorus formula and does so with licks, vocals, lyrics and melodies that are sharp, fast, and poignant. As far as that’s concerned, there’s absolutely nothing to complain about

12). Bathsheba – “Servus” (1603)

The biggest strength of the album is its tactful and haunting use of atmosphere. This is achieved through the skilful use of dynamic contrast, organically unfolding transitions and changes in the timbre of the music, particularly in the playing of guitarist Dwight Goossens.  Tracks such as “Manifest” and “Demon” see Goossens change from chilling, ambient clean tones to rich, roaring fuzz tones that could satisfy even the hardest to please doom fans.

11). Sleep – “The Clarity” (1681)

“This track sounds like it could be the soundtrack to a huge robotic entity slowly trudging through space. ‘The Clarity’ is exactly what every Sleep fan wanted to hear after being dormant for such a long time. If these guys can pull an album out of the bag in the near future with anything remotely close to the calibre of power involved in this, then we are in for a serious slab of mind-altering, heavy doom.”

10). DOOL – “Here Now, There Then” (1698)

It is rare that an album is able to make one completely forget about their real world surroundings and bring them somewhere else entirely.  “Here Now, There Then” is an otherworldly brew of eeriness, effective hooks and nefarious rock and roll.  It is the soundtrack of a lost soul stumbling upon something evil and long forgotten, only to find it wide awake and waiting.

9). Unearthly Trance – “Stalking The Ghost” (1780)

8). Pallbearer – “Heartless” (1921)

“Heartless” is an incredible achievement from Pallbearer, a set of huge songs that consolidate the best elements of their previous releases while moving into fresh sonic territory. This is the album that should see the band make the transition into stadium-bothering all-time greats, and deservedly so.

7). Widows – “Oh Deer God” (2075)

The strongest part of “Oh Deer God” are the bloated, swaggering riffs that invade every one of the album’s seven tracks. The riffs loom over the music like a giant surveying a small village, resolve in just the right way, and give the album a raw, beefy strength that makes it so enjoyable. At just under half an hour total, “Oh Deer God” is a brief, but delightful venture into where vaporous desert rock meets viscous sludge metal.

6). Sepultura – “Machine Messiah” (2196)

Will this convert early-Sepultura-only fans? Unlikely. Will it convert Cavalera only Sepultura fans? I doubt it, as those people have made their decision and won't entertain that a Sepultura can exist without the Cavalera brothers. However, this is yet another high quality entry into the Sepultura discography and is one of the best records the band has made.

5). Dopelord – “Children of the Haze” (2516)

“Children of the Haze” is defined by loose grooves, ghoulish riffing and a very vintage sense of wickedness. Dopelord prove that, unlike many other stoner metal bands, they are not content to just create the same song several times over and call it an album.

4). Blaze Bayley – “Infinite Entanglement” & “Endure & Survive” (2819)

Both “Infinite Entanglement” and “Endure and Survive” are the best work of his entire career, better than Wolfsbane, better than his tenure with Maiden and better than his past solo work.  Blaze's fire is burning brighter than ever

3). Dead Witches – “Ouija” (3528)

This is another perfectly fuzzed out slab of doom from a band that doesn’t seem to know any other way.

2). Soen – “Lykaia” (3565)

On Soen’s third full length record their own explorative hunger is satisfied in the most delicious of ways, resulting in their most dynamically versatile but free flowing release to date.  An explorative and colourful record, there is a lot to take in with this record, many dimensions in which to get lost in. Repeat listens bear gorgeous fruits.

1). Telekinetic Yeti – “Abominable” (4181)

All in all, the recording has a huge sound and the production is absolutely amazing. It has everything you could ever want and I would rate it as a perfect 10. The album is truly remarkable and is sure to go down in history as one of rock’s greatest debuts. These guys are definitely heavyweight contenders to find their place at the top of the scene

RIFF REWIND (19/5/2014): Serpentine Path - "Emanations"

Serpentine Path circa 2014

“Emanations” was the sophomore album from NYC doom super group SERPENTINE PATH.  The band’s 2012 self-titled debut was a boldly grim statement of unforgiving misanthropy that referenced both the filthy riffs of Autopsy and the stoney doom of Sleep.  Now officially augmented by second guitarist Stephen Flam, the mastermind behind NYC doom/death legends Winter, SERPENTINE PATH were truly a heavy metal all-star team (the band also features current and former members of doom legends Electric Wizard, Unearthly Trance and Ramesses).  Sure, the pedigree is undeniable, but regardless of their ‘members of’ status, SERPENTINE PATH were one of the heaviest bands on the planet.  Although there is no word on the current status of the band, Unearthly Trance reformed and Tim Bagshaw formed With The Dead with former Cathedral front man Lee Dorian.  SERPENTINE PATH released a previously unreleased song called “Venom” on August 26, 2015 which is available via their bandcamp page, but today our focus is on their sophomore release “Emanations” as we rewind the riffs 3 years ago to the day and look back at this masterpiece of doom which was reviewed by Richard Maw on 19/5/2014.

By: Richard Maw

Album Type: Full Length

Date Release: 23/5/2014

Label: Relapse Records

It is with a great pleasure that I can say Serpentine Path have returned and consolidated the reputation built on the first album. This is an example of the genre done right- the essence of metal is here with all the horror and darkness you could wish for. Gripping and repulsive all at the same time.

“Emanations” CD//DD//LP tracklisting :

1). Essence of Heresy (03:48)

2). House of Worship (04:17)

3). Treacherous Waters (07:46)

4). Claws (07:31)

5). Disfigured Colossus (05:59)

6). Systematic Extinction (07:15)

7). Torment (08:25)

The Review:

Serpentine Path return with their second LP of hate filled doom/death. The band's pedigree (Electric Wizard, Ramesses et al) is well known, so let's cut to the music.

First off, this is destined to be one of the genre's greatest releases this year. It is an excellent record. From “Essence of Heresy” onwards, the record oozes menace and horror. The tempos are slow and the riffs suitably snaking, creeping forward with insistence.

“House of Worship” is slightly quicker with riffs/lead work that recalls the early 90's DM scene. Think Obituary, not Cannibal Corpse, though. “Treacherous Waters” ups the song length and downs the tempo to a crawl. The vocals are brutal, the drums slow, the riffs stellar. There is something very nasty about the vibe of the album- in that regard it carries on the work of the superb self-titled debut. Grim stuff, and compelling to listen to with it- the track has double bass drums, good riffs and progressions and that intangible extra quality of unpleasantness.

“Claws” has a lovely downtrodden and sinister guitar refrain in the intro as the song builds up the sense of dread and paranoia. Again, the deathly vibes are there along with the doom- not as overtly as Hooded Menace, say, but present all the same. This is doom, no doubt, but with a strong injection of the slower elements of death metal as well- and it makes the band unique.

“Disfigured Colossus” brings the band to the latter half of the album and it sounds as the title reads- massive, hulking and ugly. The track fits perfectly as a set up for “Systematic Extinction”. Seven minutes of pitch black darkness. The grooves created are head nodding, to say the least, and the overall effect is of a car crash happening in front of you in slow motion.

“Torment” finishes this doom colossus with well over eight minutes of iron-fisted spite. The song is a good example of what Serpentine Path are all about- unstoppable riffs and rhythms that just keep moving forward, crushing all in their path.

It is with a great pleasure that I can say Serpentine Path have returned and consolidated the reputation built on the first album. This is an example of the genre done right- the essence of metal is here with all the horror and darkness you could wish for. Gripping and repulsive all at the same time.

Band info: Facebook || Bandcamp