ALBUM REVIEW: Angel Witch, "Angel of Light"

By: Richard Maw

Album Type: Full Length

Date Released: Metal Blade Records

Label: 01/11/2019

“Angel of Light” CD//DD//LP track listing:

1. Don’t Turn Your Back
2. Death from Andromeda
3. We Are Damned
4. The Night Is Calling
5. Condemned
6. Window of Despair
7. I Am Infinity
8. Angel of Light

The Review:

Angel Witch are probably THE band that most will think of when it comes to NWOBHM bands that are not Maiden, Saxon or Leppard- with the possible exception of Diamond Head, of course. Their debut from four decades ago still crackles with arcane power and Kevin Heybourne remains something of a voice archetype for many trad doom bands. Their reactivation in 2012 with “As Above... So Below” was good- if a little meandering at points.

With “Angel of Light”, the band have delivered a strong and competent set of songs rooted in the early 80's Brit metal scene and with a warm and live production feel that suits the music down to a tee. Not for Angel Witch the pro-tools, triggers and processing of many modern metal releases. This sounds like a band playing their tracks in a large live room with a wooden floor and is all the better for it.

Opener “Don't Turn Your Back” is sprightly and hooky with plenty of punch and speed. “Death From Andromeda” takes a sci-fi turn and is a galloping riff fest- if a little overlong. It is perhaps a small criticism which could be levelled at much of the album; the songs are a little long, but then again, after seven years Heybourne and cohorts must have had a lot they wanted to lay down. It's not like Maiden are known for conciseness theses days and as for Leppard, well...

Elsewhere, the charming aspects of the band's debut are present; Heybourne's excellent wail, the sharp guitar work and weighty riffage. In fact, this record very much picks up where the debut or “As Above...” left off. It is especially pleasing that the rather doomy atmosphere of the debut is resurrected here. “We Are Damned” and “The Night is Calling” are very much cousins to Witchfinder General and myriad other doom inflected bands that came after- and the latter has a really nice riff and solo passage down the back stretch.

“Condemned” and “Window of Despair” pick up the metal pace with direct riffs and structures that will get your head banging, while maintaining that mournful vibe beloved by fans. “I am Infamy” is another rager with a nifty faded in intro. The title track just caps off this confident and expertly played comeback in style.

Thirty nine years on from the debut, Kevin Heybourne has proved he still has something to say musically and has delivered a very worthwhile fifth Angel Witch album. There is no place for disgrace here and this is better than “As Above...” which was in itself a solid and emphatic comeback. The songs may be a little overwrought in places and the band's sound as a whole may be an acquired taste, but for anyone who has ever chanted along to that chorus on the debut, drunk or otherwise, this is a rare and convincing treat. I hope they don't leave it so long next time, as it is clear that there is more music to come that deserves and needs to be heard.

“Angel of Light” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Age of Taurus, "The Colony Slain"

By: Richard Maw

Album Type: Full Length

Date Released: 18/05/2018

Label: Rise Above Records

Age of Taurus still have the hunger and riffs to compete with the very best of the genre and the very British delivery elevates them far above their American counterparts 

“The Colony Slain” CD//DD//LP track listing:

1. From the Hills to the Halls
2. Taken to the Tower
3. The Trial of Blackwynn Chaise
4. In Dreams We Die
5. The Lost Garrison
6. Beyond the Westward Path
7. For Treason We Rise
8. The Walls Have Ears
9. To Seal a Mountain
10. As Ice Into Blood
11. The Colony Slain

The Review:

Age of Taurus return with their second full length release, some five years after “Desperate Souls of Tortured time”. The Londoner's appetite hasn't dimmed, even if line-up changes have seen metal stalwart Alastair Riddell depart the ranks and the bassist Richard Bruce also leave. The band still deliver doom; no fuss, no branching out- just a very traditional British metal/doom sound.

After a mood setting intro, “Taken to the Tower” brings a surprising turn of speed and the familiarly mournful sounds of Toby W Wright's vocals. The NWOBHM influences are still firmly present here as are the much more downbeat doom stylings- “The Trial of Blackwynn Chaise” being a solid example of the latter.

There is a lot of reverb in the mix this time around, maybe even too much in places, but the quality riffs and arrangements are still easy enough to hear. Amongst the more rocking material, traditional doom can be found (“The Lost Garrison”) and once again, the lyrics and themes are historical, mythical and magical. By the time of “For Treason We Rise”, the album's pattern is fairly firmly established; slow doom intros often abound, faster riffage and galloping rhythms often replace it and the atmosphere is one of melancholy.

Truthfully, there is nothing new here and certainly nothing that you won't have heard, but that is not to say that the delivery is convincing and the performances absolutely committed. Yes, Wytch Hazel are doing this type of stuff with more subtlety- but Age of Taurus are just as effective as on their debut and take on the mantel of bands like Witchfinder General (probably their closest older brother) with deftness and aplomb.

For doom rock in 2018, look no further than this album. “The Walls Have Ears” and “To Seal A Mountain” are solid proof that Age of Taurus still have the hunger and riffs to compete with the very best of the genre and the very British delivery elevates them far above American counterparts trading on occult themes and something to do with biker gang films from the 60's.

The title track closes proceedings with three and a half minutes of convincing NWOBHM flavoured doom- much like the tracks that preceded it. There is much to recommend here and if you like the style of either of the bands mentioned above you cannot go wrong by getting hold of this. Doom on compatriots.

“The Colony Slain” is available here

Band info: facebook

ALBUM REVIEW: Witchcryer - "Cry Witch"

By: Ben Fitts

Album Type: Full Length

Date Released: 19/01/2018

Label: Ripple Music

The riffs are infectious, the grooves hit you right in the gut and their well written songs are accentuated by climatic dynamics and impassioned performances by all members of the band.  Witchcryer have created something really quite special on “Cry Witch”, a debut surely worthy of addition to the doom metal cannon.

“Cry Witch” CD//DD//LP track listing:

1). Cry Witch

2). Ricochet

3). The Preying Kind

4). Ma Kali

5). Embryo (Instructions)

6). Great Divide

7). For The Slaves

8). Witchfinder General (Witchfinder General Cover)

9). Lapis Philosophorum

The Review:

Do you like fat, fuzz soaked guitar tones? What about heavy, blues based riffs with a gloomy, vintage vibe? A singer who belts raspy, darkly melodic vocals about witches, vengeance and fighting systematic oppression? Well if you are reading THE SLUDGELORD, there is a pretty decent chance that you are here largely to find more bands that do exactly what was just described above. If that’s you, then “Cry Witch”, the debut album by Austin based doom quarter Witchcryer, does not disappoint.

Witchcryer play a form of classic doom metal revival that owes its biggest musical debt to the bands that played doom before there was a name for it (Witchfinder General, Black Sabbath, Pentagram). Their chosen musical territory is far from uncharted by its very definition, but Witchcryer play it with so much fire that it feels fresh regardless. The riffs are infectious, the grooves hit you right in the gut and their well written songs are accentuated by climatic dynamics and impassioned performances by all members of the band. Some highlights include brooding, psychedelic track “The Preying Kind” and the vicious, gravely stomper “For The Slaves”, but the album’s finest moment is unquestioningly its the thunderous title track. Somewhat reminiscent of early The Obsessed, “Cry Witch” is a hard-hitting doom metal track at its finest, with just enough punk rock muscle to give it its needed edge. Its main riff is also an earlier contender for the best metal riff of 2018.

“Cry Witch” is the band’s first and only release following a three-track demo titled “The Preying Kind — Demo MMXVI” from 2016. While those familiar with their demo will recognize Witchcryer’s ear for great riffs and knack for organic dynamic changes (as well new recordings of all three tracks), overall “Cry Witch” demonstrates significant growth for the band. They have grown much tighter and more confident as a unit (some of which may be due to the recent inclusion of their bassist, Marilyn) and have created something really quite special on “Cry Witch”, a debut surely worthy of addition to the doom metal cannon.

“Cry Witch” is available here

Band info: facebook || bandcamp

REVIEW: Haunt - "Luminous Eyes" [EP]

By: Richard Maw

Album Type: EP

Date Released: 28/01/2018

Label: Shadow Kingdom Records

Fitting in squarely with the likes of Cauldron, this is heavy metal of the old school done correctly and with affection. If you want traditional sounds with a dark edge to the songs, this is most assuredly for you.

“Luminous Eyes” CD//CS//DD//LP

1). Luminous Eyes

2). As Fire Burns

3). No Master

4). Fallen Star

The Review:

Haunt are brought to you by Trevor William Church of Beastmaker fame. This is four tracks of pure NWOBHM (or should that be NWOTHM?!) worship. Expect traditional sounds; solos, raw sounding drums, galloping rhythms and also a fair amount of melancholy. Pitched somewhere between Maiden and Angel Witch, this is straight up heavy metal. The title track is rather slow burning and thoughtful but things heat up appropriately with “As Fire Burns”. The track rocks hard and features a kind of revved up Witchfinder General vibe paired with a victory /vengeance-shall-be-mine theme. Killer.

The quality and energy level is kept right up there with “No Master”, which features the type of riffage which, had this been made by a band in 1981 from, say, Newcastle, would have inspired  Metallica to cover it many years later. The EP closes with the grandiose sounding “Fallen Star”- all widdly leads and riffs, coupled with the loping gallop that the EP exhibits at various times throughout.

Fitting in squarely with the likes of Cauldron, this is heavy metal of the old school done correctly and with affection. If you want traditional sounds with a dark edge to the songs, this is most assuredly for you.

“Luminous Eyes” is available here

Band info: bandcamp || facebook

INTERVIEW: "Nine Eternities In Doom" - An Interview with Trevor Church from Beastmaker.

By: Steve Wilson

Fresno California’s Beastmaker delivered one of the standout stoner/doom albums of 2016 with their debut “Lusus Naturae”. Their second album is out soon, to be followed by an extensive tour. Steve Wilson spoke to their founding member, singer/guitarist Trevor Church about his musical influences and plans for the band’s future. 

SL: You’ve just recorded a new album. What can fans expect when it’s released?

Horror and Doom. There is some Hitchcock inspiration and we’ve got some guest musicians on this album namely Johanna from Lucifer and Nate from Salem’s Pot. We wanted to continue where we left off on our debut writing dark riffs and lyrics of terror. I put some time into writing my guitars solos on this one. Our debut it was just improv solos. So, there are some subtle changes. Most importantly it’s heavy and filled with horror!

SL: Your debut album was released last year (“Lusus Naturae” - out on Rise Above Records). I’ve been lucky enough to hear an early version of the new one. It sounds a little more polished than its predecessor. Have you gone with the same studio, or do you like to try somewhere new each time you record?

We have built a studio at my house and that is where we do everything. Andy does all the mixing and mastering. I write all the music and engineer the record. We have an incredible dynamic together. We both pride ourselves in going through the learning curves and coming out on top. Coming from a place like Fresno there really aren’t any places I’d take Beastmaker to record an album. It’s costly to travel to record an album and we have no time limit. We can work as long as we feel we need too, getting the best result we can.

SL: “Lusus Naturae” and the accompanying 7” vinyl (“You Must Sin”) have artwork by Branca Studio. They have also designed merch for the band. How did you get together with them?

Branca Studio contacted me a little after the release of our demo. It really has been an amazing partnership. Sometimes in life things just click. It was fate that we crossed paths. I think he is the best graphic artist in the business. I don’t even have to give him direction. He just knows what’s up! You can’t buy that kind of friendship man. 

SL: You recently toured the UK and Europe in support of the first record. How did you find it? Was there anything you’d do differently on the next tour? 

Well, I would prefer to not break down multiple times in a rental next time around. We absolutely love touring the UK and Europe. The fans are amazing over there and it just makes it so worth the energy it takes to get on a plane. Hopefully this next time we have a driver. John and I drove and it was pretty interesting. Really it was an adventure. I got off the plane and next thing you know I’m driving on the other side of the friggin road going through roundabouts. We love that kind of thing though.

SL: Beastmaker are strongly influenced by horror movies, particularly those of Italian director Mario Bava (check out ‘Mask of Satan’ from the debut album). What are your favourites? Are there any obscure ones that have inspired Beastmaker songs that we should search out?  

I don’t know about obscure but the biggest influence when it comes to songwriting is “Tombs of the Blind Dead”. That is the epitome of what I’m trying to create musically. I like a lot of different movies from the 50’s to the 90’s. I like to create my own stories though as well.

SL: Moving on to musical influences now - what did you listen to growing up? What goes into the Beastmaker sound beyond the obvious Black Sabbath influence?

I can’t speak for my band mates on this but for me it all began with skateboarding. My cousin Michael was 5 years older and listening to punk/metal. I was like 6 years old when I started listening to bands like The Misfits, Metallica, Iron Maiden, Black Sabbath, Motley Crue, Dead Kennedys, The Exploited, Sex Pistols, etc…Witchfinder General, and Danzig are really big influences for me musically. I feel connected to what they do and I try to recreate it with my own twist.

SL: For those that don’t know, you come from a musical family. Your dad, Bill Church, played bass in legendary ‘70’s rock band Montrose alongside Sammy Hagar, who would later replace David Lee Roth in Van Halen. Not too shabby! While this must have influenced you growing up, would you say that it has helped you as a musician (in terms of how to start a band and keep it going), or did it not make much difference?

My Dad is an amazing musician, so not to be inspired by him wouldn't make much sense. I had musical instruments all over the house my whole life. Originally my folks wanted me to be a drummer. I have many drummers in my family actually. My Mom’s cousin is Denny Carmassi also of Montrose and Heart to name a few. But, I didn’t like drums much and that’s when guitars started coming around.

Once again my Cousin Michael played guitar and taught me quite a bit. I can’t remember a time in my life where playing music didn’t exist. My cousin’s Brandon and Daniel were also musicians and we learned from each other. I actually really avoided my Dad’s music in my teenage years. I was really embarrassed of “I Can’t Drive 55”.

I was listening to a lot of different music in those days, mainly punk rock and Sammy Hagar to me was a mainstream thing. I always loved the Montrose record though. “Rock Candy” was the first song my Dad taught me to play on guitar. We went camping and I remember saying “hey shows me rock candy” and boom, ‘You Must Sin’ was created. Maybe some people will hear the influence.

SL: Last question! Thanks for taking the time to do this interview. What are your plans for Beastmaker in the coming year?

We’ve got our new album coming out in spring. The rest will unfold. We will be hitting the road for sure. With some new things for our live show.

Band info: facebook | bandcamp

“11 is one Louder”: Cryptworm from New England Doom overlords Black Tomb picks his Top 5 sludge/doom albums

Hailing from New England, Black Tomb recently brought to the table their debut self titled release just in time for the Halloween season. Black Tomb are a band that brings the darkness out of you and your mind can’t help but get lost in powerful riffs drenched in the fumes of hatred and despair while the fuzz shakes your core and vibrates the cavity causing all vital organs to hit the floor with a splat, while you bang your head against the wall from sheer madness.

Their debut is certainly something very special, it is album you’ll want to play very very loud, with little regard to your own mental stability.  The band have virtually obliterated the doom scene this year with their scuzzed up tones, securing a deal with via Totem Cat Records in process, as well as slot on the upcoming Dreadfest in Leeds, England next year.

Today we asked Cryptworm from the band to turn his amp all the way up to 11 and choose his top 5 sludge doom albums in our weekly feature “11 is one Louder”. 

Acid Witch – “Stoned” (2010)

There's nothing better than punks playing doom. Unless it's punks playing death-doom with 80's horror keys behind it. There's nothing better than that. Every Acid Witch release is perfect - from the artwork, down to the maniacal witch laughter. This was the first album I heard by them and I was blown away that anyone could turn old school doom influences like Trouble and Witchfinder General into this very cohesive Frankenstein monster of death metal, doom, and punk rock. They continue to pull it off every time. Just like the heavy metal greats, they only take themselves as seriously as they need to, which leaves a lot of room for incredible Fastway covers and throwing spider webs into crowds.

Witchfinder General – “Death Penalty” (1982)

This record. This is one that changed my life when I was younger. There is zero fat on this record. Front to back, it's one of the best things I've ever listened to. The song writing is brilliant and the structure of the album kills as well. It's a wild ride of perfect NWOBHM and old school doom that reminds you just how important it is to keep your songs catchy. One of a kind.

 Serpentine Path – “Emanations” (2014)

The only downside to this record is that the serpent worshiping cult creatures on the cover aren't in the band. This thing drags you down from the very start with ruthless oppression. I love when an album just gets straight to the point like this one. Incredibly crushing tones are achieved and the vocals are mixed so well underneath those commanding riffs. One of the most menacing examples of sludge ridden doom.

Candlemass – “Nightfall” (1987)

One of the greatest things to ever happen... What can I say about Candlemass that hasn't already been said? 'Nightfall' is jam packed with epic hymns for the melancholy souls of doom. It makes you feel like you're trapped in the saddest Dungeons & Dragons campaign you could ever imagine.

Electric Wizard – “We Live” (2004)

The most obvious for last... I feel like not including Wizard on this list would be me trying too hard to come up with something different. To me, Wizard is to doom what Sabbath is to heavy metal. 'We Live' is dripping with hatred and despair. There's no phoning it in here. This is genuine discontent for the world. The haunting and repetitious leads just creep under your skin. They keep this record monumentally heavy and you can't forget a single part of it.

You can check out Black Tomb below and their album “Black Tomb” is available digitally here

Band info: bandcamp || facebook

Devil – "Magister Mundi Xum/The Noble Savage" (Review)

By: John Slaymaker

Album Type: Compilation

Date Released: 7/12/2012

Label: Soulseller Records

‘Time to Repent’ is much heavier and you can begin to hear all the influences like Witchfinder General and Pentagram. The band don’t seem to make nearly enough noise for five people but do make an excellent classic sounding atmospheric record with the NWOBHM influences riding high in the mix.’

“Magister Mundi Xum/The Noble Savage” CD track Listing

1) The Arrival (1:53)

2) At the Blacksmiths (4:11)

3) Spirit of the Cult (4:31)

4) Time to Repent (5:43)

5) I Made a Pact (2:33)

6) Welcome the Devil (4:39)

7) The Noble Savage (5:18)

8) Blood is Boiling (4:29)

Devil is:

Joakim Trangsrud | Vocals

Stian Fossum | Guitar

Thomas Ljosak | Bass

Ronny Ostli | Drums

Kai Wanderas | Guitar

The Review

Good evening,   I guess you’ve come to see the Devil!

After the initial creepy sample in ‘The Arrival’ the album kicks off with ‘At The Blacksmiths’ which starts with a stonking riff and Sabbath esque vocals of ‘alright now’ it canters along and evolves into one big catchy chorus that gets you singing along almost immediately.

‘Spirit of the Occult’ is another song that seems to be built around its chorus and the drumming and vocal style is very reminiscent of The Ramones. ‘Time to Repent’ is much heavier and you can begin to hear all the influences like Witchfinder General and Pentagram. The band don’t seem to make nearly enough noise for five people but do make an excellent classic sounding atmospheric record with the NWOBHM influences riding high in the mix.’

'Welcome the Devil’ continues this decent riffage with a laid back feel around the vocals, which lets the guitars carry the song in a good ole fashioned chugger. ‘The Noble Savage’ was originally a single with the last track ‘Blood is Boiling’ as the b side or double a. These two songs don’t particularly sound out of place but round off this collection nicely. ‘Devil’ are one of the better bands in this current resurgence of occult type doom bands. I look forward to their next full length release.

“Magister Mundi Xum/The Noble Savage” is available here

FFO: Witchfinder General, Pentagram, Hour of 13, Witchcraft

Band info: Official | Facebook