All Them Witches - “Dying Surfer Meets His Maker” (Album Review)

By: Victor Van Ommen

Album Type: Full Length

Date Released: 30/10/2015

Label: New West Records

Groovy and slow like the rocking back and forth of a fishing boat on a quiet lake seems to be the state of mind, but it’s not a lazy album. The free falling jams are certainly laid back and the songs are no different, such as the case with “Open Passageways,” a prime cut that tells a bizarre story while being guided by a wonderful string section that takes this song to a whole new level.

“Dying Surfer Meets His Maker” CD//DD//LP track listing:

1). Call Me Star

2). El Centro

3). Dirt Preachers

4). This Is Where It Falls Apart

5). Mellowing

6). Open Passageways

7). Instrumental 2 (Welcome To The Caveman Future)

8). Talisman

9). Blood and Sand / Milk and Endless Waters

All The Witches is:

Charles Michael Parks, Jr. | vocals/bass

Ben McLeod | guitar

Allan Van Cleave | keys

Robby Staebler | drums

The Review:

Nashville bred; anything-goes rockers All Them Witches will release their New West Records debut titled “Dying Surfer Meets His Maker” on Friday, October 30th. It is not sludgy, far from doomy, and the fuzz on it doesn’t remind of muscle cars or open roads. But what this album isn’t doesn’t detract from the fact that All Them Witches have a unique way of providing a solid lesson in what heavy is by way of their instrumentation and delivery on these gentle, melancholic psychedelta blues songs.

The common thread in “Dying Surfer Meets His Maker” is how the electric guitars twist through the clear, steel-stringed acoustic guitars. As far as drums and bass are concerned, let alone vocals, these dip in and out through the album’s run time, either pushing or accentuating the songs in such a way that they blend into each other, giving “Dying Surfer Meets His Maker” that album feel. “Call Me Star” opens the 45 minute run time with a bouncy picking of acoustic guitars which are quickly joined by a cool drum beat fed by feel rather than a metronome, representing the cool flow of what’s to come. But before things get too cozy, All Them Witches dive into a pulsating kraut rock jam followed by “Dirt Preachers,” which is as close as the album gets to the band’s prior output. Things settle down into swampy psychedelta rock from this point on, deeply planting its roots into the soil that Parks, Mcleod, Van Cleave, and Staeblet keep moist with their fluid jams. All Them Witches truly are nestled in the bosom of creation.

By the time the opening three tracks have passed and the echoing whispers in “This is Where it All Falls Apart” float above the bluesy Fender six string, All Them Witches branch out from their rockin’ past into a new sound that is difficult to pin down. Though equal parts heavy 70s, blues, and psychedelic, there’s no band that springs to mind as a comparison for what these guys do. Groovy and slow like the rocking back and forth of a fishing boat on a quiet lake seems to be the state of mind, but it’s not a lazy album. The free falling jams are certainly laid back and the songs are no different, such as the case with “Open Passageways,” a prime cut that tells a bizarre story while being guided by a wonderful string section that takes this song to a whole new level. Its beat is infectious and stands out as one of the album’s strongest moments, begging to be played over and over. “Talisman” is another standout, and though the sing-talking keeps the general mood mellow, it exudes a sure-footed confidence which is an essential ingredient for the album’s success. This confidence will no doubt be translated well into a live setting, convincing the riff-hungry crowds that their take on the genre is just as delicious as their peers, as All Them Witches hit the road with Kadavar and The Sword.

If any of this speaks to you then please do yourself a favor and cancel your plans for Friday. Head out to the record store and pick this album up. A bottle of red wine will enhance the experience but if that’s not your thing, fear not, this album stands strong on its own. Dim the lights, turn on the fireplace, and give the volume knob an extra nudge. All Them Witches have made something very unique and special with “Dying Surfer Meets His Maker,” and I’d like to strongly recommend that you get down with their trip.

“Dying Surfer Meets His Maker” is available here

Band info: Facebook | Bandcamp | Instagram

Prophets of Saturn - Retronauts (Album Review)

By: Peter Man

Album Type: Full Length

Date Released: 17/7/2015

Label: Hevisike Records

The album as a whole succeeds in its goal of importing 1960’s heavy metal into the 21st century.  While each song bares the same intrinsic engineering and fuzz-loaded basics, they each explore a unique path and keep the listener engaged for all 35 minutes.

‘Retronauts’ CD//DD//LP track listing:

1). Retronaut

2). Ultra Wizards

3). Witch Rider

4). Damavand

Prophets of Saturn is:

Ben | Guitars

Max | Bass

Duncan | Drums

George | Vocals

The Review:

For those who dug the Prophets Of Saturn's 2013 self-titled, debut album, they will be extremely satisfied with the 2015 follow-up, 'Retronauts'.  The band's sound is heavily driven by a retro, fuzz core that adds layers of psychedelic/stoner rock, and doom.  'Retronauts' runs with that sound from the first release, and improves the production quality and overall song consistency to produce a signature album that grooves quite easily.

The album as a whole succeeds in its goal of importing 1960’s heavy metal into the 21st century.  While each song bares the same intrinsic engineering and fuzz-loaded basics, they each explore a unique path and keep the listener engaged for all 35 minutes.  Vocalist George Sanderson steers the ship with equal skill using aggressive, primal yelling as he does with the desperate wailings of a cosmic apparition.  Guitarist Benjamin Shore's wah-induced solos take you on a funky joy ride around the nearest moon or asteroid belt, while still allowing the rest of the songs to maintain present course.  Both albums incorporate long portions of instrumental music, but as 'Prophets of Saturn' includes two separately focused instrumental tracks, 'Retronauts' puts their money down and rolls them all into a single 16-minute metal monster, titled 'Damavand'.

The first track, ‘Retronaut’, opens with a dirty guitar riff and is soon joined by the rhythm section to form an infectious grind.  Two minutes in, the vibe gets extra heavy, as they drop an octave and start introducing otherworldly noises.  A brief guitar solo explosion precedes a total breakdown into Sanderson’s reverberated, almost indiscernible chanting.  Max Mead’s bass joins the procession, signalling another impending, full-blown groove which arrives right on time and carries the track for four more minutes to completion.  The second offering, ‘The Ultra Wizards (Of Neptune 9)’ tops out just under seven minutes and brings equal parts gusto and guitar riff to a stylish, retro tune.  The third track, ‘Witch rider’, is a relatively short, high energy song that contrasts nicely with the album’s fourth and final track, the aforementioned epic ‘Damavand’.

Two of the band's members, vocalist George and bassist Max, also play in the band Slow Worm, an ambient/doom outfit that is very worthy of your listening time; George is that band’s drummer and Max strums the guitar.  Considering their diverse musical talents, look for Prophets Of Saturn to continue delivering, and perfecting, their fuzzy blend of vintage, stoner doom that worked so splendidly on ‘Retronauts’

‘Retronauts’ is available here

FFO: Electric Wizard, Uncle Acid And The Dead Beats

Band info: bandcamp | facebook | twitter

The Sludgelord News: Godflesh, Crowbar, Truckfighters, Egypt and more acts confirmed to play DESERTFEST LONDON 2016!

UK's #1 stoner, doom, sludge and psych event DESERTFEST LONDON is thrilled to announce the second wave of artists who will be taking the stage at the 2016 edition, taking place in April 29th to May 1st across multiple venues in the legendary musical hub of Camden Town... 

NOLA's sludge metal heroes CROWBAR will be heading back over seas to make ears bleed, bringing their influential slow-and-low sound to an eager, ready, and willing Desertfest. Kirk Windstein and his crew of titans haven’t graced UK revellers with their rowdy presence since 2014; and Crowbar has never played Desertfest London. Making for a truly exciting, and long over-due, addition to the already stellar proceedings next year has in store.

Desertfest are also pleased to reveal that our friends at Old Empire will once again be curating a stage, bringing an eclectic and exciting array of acts to broaden the pallet. First to be announced are industrial legends GODFLESH, who will be headlining the Old Empire offerings. Their experimental and aggressive sound has established the Birmingham-based duo as one of the most innovative bands in industrial music, cited as influencing everyone from Metallica to Faith No More. 

As if all that wasn’t enough to process, there’s of course a healthy helping of doom and stoner rock goodness joining the mix for Desertfest 2016. Heavy-hitting warriors TRUCKFIGHTERS will be chucking riffs left, right and centre, alongside fellow Swedish fuzz lords MONOLORD, who will be riding easy and destroying all in one slow, hard and loud blow. Psychedelic monsters WO FAT are a welcome return, having well and truly mastered the art of trippy doom – many can do it, but few do it as well as the Dallas desert trio. EGYPT will also be heading over and hitting the bill hard to bring some Dakota doom goodness to the haze, alongside eccentric instrumental gurus ROTOR. Southern rock lovin’ PLANET OF ZEUS are bringing their raw grooves out of the Greek underground and into thirsty a London, and finally heavy rockers MOTHERSHIP will be taking fans well out the galaxy – musically speaking, of course. 

- DESERTFEST LONDON 2016 -

April 29th to May 1st in Camden, London (UK)

Weekend tickets available AT THIS LOCATION

Current lineup is as follows:

ELECTRIC WIZARD

GODFLESH

CROWBAR

TRUCKFIGHTERS

ELDER

EGYPT

CONAN

WO FAT

MOTHERSHIP

MONOLORD

ROTOR

RAGING SPEEDHORN

PLANET OF ZEUS

WITCHSORROW

Get more infos at www.thedesertfest.com 

Follow the festival on Facebook, Twitter and Instagram

The Sludgelord News: Witchcraft ANNOUNCE NEW ALBUM 'NUCLEUS' 15.01.16 Pre-orders now online!

Swedish classic / doom rock masters WITCHCRAFT have announced the release date, tracklist and cover for the band's eagerly anticipated new album.

'Nucleus' is scheduled for a January 15, 2016 release worldwide via Nuclear Blast and will be available as CD, lavish digipak (also as a t-shirt bundle), vinyl (black, clear, splatter, gold) and digital download.

The first single, 'The Outcast' will be released as a digital download on December 4.
The single will include the NIRVANA cover 'Even In His Youth'.

Pre-order Nucleus here:

Limited Edition Double Gatefold Gold Vinyl: here

Limited Edition Double Gatefold   Splatter Vinyl: here

Limited Edition Double Gatefold Clear Vinyl: here

Limited Edition Digipack CD/T-Shirt bundle: here

The tracklists for both releases read as follows.
'The Outcast' single:
Side A
01. The Outcast (edit)
Side B
02. Even In His Youth (NIRVANA cover)

'Nucleus' 
01. Malstroem
02. Theory Of Consequence
03. The Outcast
04. Nucleus
05. An Exorcism Of Doubt
06. The Obsessed
07. To Transcend Bitterness
08. Helpless
09. Brekadown
Limited digipak CD & 2LP vinyl bonus track
10. Chasing Rainbows

The successor of 2012's globally extremely successful album, Legend, will be entitled Nucleus and is said to be mixing the rawer side of Witchcraft’s early roots with a slightly more melancholic modern sound.

With an all new line-up (Rage Widerberg on drums and Tobias Anger on bass) the band sounds more hungry and powerful than ever before.

In combination with the thrilling, yet very down-to-earth production by Pelander himself, Philip Gabriel Saxin and Anton Sundell it just throws you in dreamy sonic landscapes that will mesmerize and haunt you alike.

Band info: official | facebook | label

'Conversing With The Dead': An Interview with Lee Dorrian

By: Phil Weller

"Now Autumn's fire burns slowly along the woods and day by day the dead leaves fall and melt."  William Allingham

With The Dead are no super group. This is no get-rich-quick scheme, gimmick or marketing ploy. As Lee Dorrian says himself, this is just the sound of three blokes making “the most uncompromising, oppressive and most crushing record we possibly could. That was the only rule from the start.”

Indeed, the nature of the band does cry ‘super group’ – with the ex-Cathedral/Napalm Death bellower fronting the filthiest rhythm section in existence with Mark Greening (drums) and Tim Bagshaw (on guitars and bass), who need no introduction on the hallowed pages of The Sludgelord. And yes, this is an Avengers fashioned ensemble of well-known and deeply admired characters within the doom scene, but their birth was not forced through any form of heroic gesture. It just made sense.

“I think it’s a bit of a ridiculous term myself but people will call us that. That’s fine. We’re just a bunch of underground kids really, it’s not like any of us have had any major success. None of us have been in fucking Gun N’ Roses, we’ve just sold a few records across the world over the last 20/30 years. If you want to be successful then you wouldn’t have written a record as heavy as this.” 

With regards to the band’s beginnings, Dorrian explains that he was never intended to be a member as the Ramesses twosome first got together to make some noise.

“Obviously Tim and Mark go back a long way, and they’ve been playing in Ramesses together for years. Then Mark had the whole drama with Electric Wizard a year and a half ago and found himself without a band. So they just talked about having a jam and seeing if they came up with anything, it was as loose as that at first.  “Tim contacted me to see that, if they did get something together, would I be interested in releasing the stuff through Rise Above. I’ve always been a fan of their work so of course I was interested and asked to be kept updated. There was no intention of me being involved in the band.  “Eventually they sent over a few demo tracks and I instantly thought that it sounded great; it was unpretentious, heavy and raw, with big fuck off riffs.”  

But things didn’t play out like a drearily fucked up version of some fairy-tale. A year ago the band found themselves demoing tracks in Dorset, but as much as Lee “loved the tracks,” he felt that “the recordings didn’t do them any justice.”

He illustrates: “So instead of panicking to get something out there, step back for six months, come back to it with fresh ears and start again from scratch. By this point I’d already agreed to do vocals. So during that time we had chance for the songs to sink in a bit more. Once we had the focal point of writing the heaviest songs we could everything became a lot easier. There are few times in your career when you can be that channelled into an idea and all be on the same page. We were just totally focused in making the most brutal record we could. There wasn’t any messing around with experimentalism.

“This was the easiest record I’ve ever done to be honest. I did all the vocals in about two hours; we just kept the first takes. In Cathedral I’d spend weeks and weeks and weeks on just one line so that it just looked right on paper. I had no social life, I’d torture myself. It was so liberating to get away from that and sort of do something off the wall.” 

As dismissive as he is of the super group label slapped across this band by excited fans and media types, he is aware of the resulting factors of this collaboration. It’s a branding akin to the ‘as seen on TV’ found on many books and albums, as retailers scramble for a unique selling point. In the band’s situation however, the desire is for the music to speak for itself and not depend on notoriety like a new born baby suckling its mother.

Since founding Rise Above Records however, his perspective and understanding of what can so often be a cut throat industry has marked his actions.

“I make no bones about it; it’s very easy having myself, Mark and Tim together in a band. It’s made things more instantly recognisable and marketable. Things are gonna be easier for us due to that fact we’re recognised musicians. People might say that we got together because it’s easy for us to sell a lot of records, I can see why people would say these things, but what are we supposed to do, not do it because we were worried about what people might think?

“[Because of that] people are obviously gonna have expectations of us three being together. There’s a big burden of responsibility that comes with that. That’s why I didn’t want to rush anything after hearing those initial demos. Consequences are something I think about with the label every day. One false move and that could be the label done for, so I have to be very careful. I don’t know if that’s a business perspective or just a caring perspective. I wouldn’t be in this band if I thought the music was just average – what would be the point?” 

After reconvening six months after those first sessions together, the band’s chemistry exploded. What they now have – and what we, the public can now gleefully drown within – is by far one of the most gut-wrenching albums of 2015. It belies a choking sense of gravity, the sheer weight of each song as unrelenting as it is personalised by the three lauded souls who have breathed life into these compositions. 

“It’s fucking killer,” he gushes. “Tim and Mark are just awesome really. I think on this record they’ve really excelled themselves. The production is very raw and abrasive and I think it captures them in the best way; this is the best they’ve ever sounded. There’s a fine line between making the record sounding garagey and too polished – to have it intense and heavy while still audible.

“Hopefully it just sounds like a genuine record. We wanted to put as much as ourselves and relate to it as personally as we could. You don't have to be original to make good music. Just put your soul into it. If it’s not pretentious it’s gonna sound fresh because there’s only one you. I mean, on the grand scale of our existence as people rock n’ roll is still relatively new. Too many people are trying to reinvent the wheel, but you just have to be yourself. As long as it sounds like you.” 

As a short but damnably sour body of work – from ‘The Cross’’ towering cacophonous grit, which sounds like a nastier Uncle Acid at times, to the slow motion earthquake of ‘I Am Your Virus,’ capped by a dominant performance from Dorrian – this self-titled offering is hard to fault. It breathes honesty and integrity, reflecting the hearts and minds behind the music. 

The question on everybody’s lips right now, and quite naturally too, is what happens next?

“There’s no big masterplan for this band. It’s a major relief to have the music finished and out there but with everything else we’re just taking things as they come. Hopefully we’ll do some shows next year and another record. I don’t want this to be another studio project that doesn’t do anything. Personally I think this record is too good to just leave it and there’s more stuff that we can do. I’d like to think that this isn’t a one off.

Obviously in a live scenario Tim’s gonna be playing guitar so we’ll have to find a bassist, maybe a second guitarist. So there’s a lot to think about but we’re not ruling anything out.”

And with that, The Sludgelord can hear the echoic clamour of thousands of prayers hoping that this band is here to stay, and not just a flash in the pan, not just an adrenalised and inspired meeting of much revered minds.  Amen!! 

You can read our review of ‘With The Dead’ here

Band info: facebook

Grave - 'Out of Respect For the Dead' (Album Review)

By: Richard Maw

Album Type: Full Length

Date Released: 16/10/2015

Label: Century Media Records

…there are no surprises, but what you get is one of the best Swedish death metal bands playing some of the best Swedish death metal around. Really, that should be more then enough. Sure, some people will always just stick on “Like an Everflowing Stream” again and again, but they are missing out on some superb modern death, of which this album is right up there.

‘Out of Respect For the Dead’ CD//DD//LP track listing:

01. Intro / Mass Grave Mass

02. Flesh Before My Eyes

03. Plain Pine Box

04. Out Of Respect For The Dead

05. The Ominous “They”

06. Redeemed Through Hate

07. Deified

08. Trail Of Ungodly Trades

09. Grotesque Glory

CD 2 (only included in the ltd. CD box set)

01. Venial Sin *

02. Morbid Ascent *

03. Possessed (Satyricon) *

04. Epos (Risen From The Tomb Mix) *

05. Reality Of Life (New version) *

* (originally released 2013 on the “Morbid Ascent” EP)

Grave is:

Ola Lindgren | vocals, guitar

Ronnie Bergerståhl | drums

Tobias Cristiansson | bass

Mika Langrén | guitar

The Review:

Well, with Entombed now a farcical parody and Dismember gone to the great gig in the cemetery, Grave remain the oldest old schoolers in the world of Swedish death metal. The question is, what have they got left in the tank? Some death metal acts are consistent (Vader) some are up and down (Entombed) and some are consistently OK, but never really get to the heights they threaten to. I will leave you to your own opinion of Grave's career, but never let it be said that these Swedes are anything less than seminal in their chosen field. Since their timely reformation in 2002 they haven't put a foot wrong and simply continue to plough their furrow of death metal, now shorn of all death and roll elements that came in during the 90's.

So what have Grave given us this time around? It won't surprise you to learn that there is sinister atmosphere from the opening track; there is then a frenzy of thrashing old school death. It is all rough and ready drums, bassy undertow and the expected feral guitar sound. There are slower sections, as Grave have never been a band afraid to mix in doom elements, and of course lots of thrash tempos.

It would be completely misleading to suggest that this album is a progression or departure of any kind. This is high quality Swedish death metal, end of. The likes of ‘Flesh Before My Eyes’ could have appeared on any death metal album since 1990- and I say that as a very positive thing. ‘Plain Pine Box’ is classic death metal with a doom feel- the subject matter hits the nail on the head (no pun intended!) and shows the band are still true to the original blueprint. The title track is of similar high quality- lots of dragging doom to be found in there too.

As per with Grave, some tracks are faster, some slower, but all are crushing. Yes, there isn't much in the way of variety per se, but the overall effect is very convincing. ‘The Ominous “They” is another head nodding delight. Consistency is a key ingredient with this record- most songs (barring the monster closer) are somewhere around the four or five minute mark. ‘Redeemed Through Hate’ is a Rager, for sure, keeping the pedal to the metal effectively and showcasing the excellent trait of Swe-death that involves pacey thrash rhythms without ever slipping over into the endless blasting so beloved of their American counterparts.

‘Deified’ is a superb track; all dramatic riffs and blinding hatred. Fantastic stuff. With only two tracks to go, the album begins its descent towards conclusion. Don't feel short changed, though. ‘Trail of Ungodly Trades’ is suitably feral, while the majesty of ‘Grotesque Glory’ ensures that at nine and a half minutes plus, the band gets to play low and slow and shift through the gears only towards the end, offering up a wholly satisfying platter of death metal delight.

As noted earlier, there are no surprises, but what you get is one of the best Swedish death metal bands playing some of the best Swedish death metal around. Really, that should be more then enough. Sure, some people will always just stick on “Like an Everflowing Stream” again and again, but they are missing out on some superb modern death, of which this album is right up there.

‘Out of Respect For the Dead’ is available here

FFO: Dismember, Entombed, Bolt Thrower, Asphyx

Band info: facebook |twitter

The Sludgelord Exclusive Interview: Marcus Jidell of Avatarium

By: Aaron Pickford

Leif Edling's involvement in any doom project is bound to bring excitement with it, indeed rewind back to 2013 and AVATARIUM was born.  Unleashing their critically lauded debut ‘Avatarium’ to the masses in November of the same year and lauded by this very website as one of the finest doom releases of the year, AVATARIUM are back with their latest doom filled offering, which was released to the masses  last week. Entitled ‘The Girl With The Raven Mask’ Bassist Leif Edling had this to say about the result:

“Think we have created something unique this time with AVATARIUM! The songs are more written to be just songs and there are some really nice moments on the record that I personally love… the straight forward title track, the beautiful ‘January Sea’, the riff in ‘Ghostlight’ and the groove in ‘Run Killer Run’. The organ and the Rhodes piano are ridiculously loud in the mix at times, even Dr. Carl agrees hehe, but i think it gives even more edge to the songs! I hope people will dig »The Girl With The Raven Mask« as much as I do myself, and if they don’t, it’s their problem. A band can’t deliver more than we have done here, so it is an album close to perfection! When an album is perfect…shoot me!“ 

With band set to hit the road for a 12 date European Tour, kicking off on 18 November 2015, AVATARIUM will play their first UK show at The Underworld in Camden on November 22nd, supported by The Vintage Caravan.  Today it gives us great pleasure to present The Sludgelord Exclusive interview, we spoke with guitarist Marcus Jidell about the new album, which you can view below

Tickets for the show at Camden on 22/11/2015 can be purchased here and you can order the album here.  Full details of the European Tour can be view below.

Band info: official | facebook | twitter

Recitation - 'Carrion' (Album Review)

By: Richard Maw

Album Type: EP

Date Released: 09/10/2015

Label: Indisciplinarian 

‘Carrion’ is one twenty seven minute (!) track that is funereal in its approach, downbeat in its execution and extremely dark in content.  Massively heavy and plodding, incorporating vocals of the inhumanly low variety, the guitars are similarly tuned and the drums are massive and unforgiving.  Overall the record is an exercise in vibe and endurance.

‘Carrion’ DD//LP track listing

1). Carrion

The Review:

Recitation is a Danish “project” (so the internet says) that is very, very doom. ‘Carrion’ is one twenty seven minute (!) track that is funereal in its approach, downbeat in its execution and extremely dark in content. The vocals are of the inhumanly low variety, the guitars are similarly tuned and the drums are massive and unforgiving. The riffs are repeated ad infinitum, as you might expect, and there are not a huge number of them. The record is an exercise in vibe and endurance. Massively heavy and plodding until around 17 minutes in, when things pick up and the vocals are buried in the mix. Of course, it all slows down again later...

If you are a fan of the funeral end of doom or enjoyed the last Conan or Foehammer release, then you will most likely enjoy this. For me, these Danes are not the equal of either of those bands, but they certainly make a dark and heavy noise which is well worth checking out. Just don't expect dynamics or surprises.

‘Migation’ is available here

FFO: Conan, Foehammer, Ahab, Warhorse

Band info: bandcamp | tumblr

Attan - 'From Nothing' EP (Review)

By: Hunter Young

Album Type: EP

Date Released: 30/11/2015

Label: Shelsmusic

The ferocity never waivers, never pulls its hand away from your throat. Attan have given a dirty peak into their troubled souls, and it's already leaving track marks. ‘From Nothing’ will leave you spent and shaking, but it's just so easy to press play again....

‘From Nothing’ DD//LP track listing:

1). Nocebo (I Shall Harm)

2). Lost Words of The Mothkeepers

3). Full Circle/Full Stop

4). Black Liquid Marrow

5). Edward

The Review:

Except for almost all that is (genre) core, mixed methods are exactly that on inspection: mixed. However, out of this cesspool we have dredged a fresh body: ‘From Nothing’ by Attan, who forge a new deadly sound out of Black Metal and metallic Hardcore.

Pulling both of these genres together breathes quite a bit of ferocious life into the resulting offering, and Attan harkens back to the days of the budding hardcore scene where bands would rip your face off wherever they could fit their equipment. The energy involved in this album is undeniable, and their sound wouldn't be out of place in an industrial plant or a skatepark. This sound doesn't care; it just demands your attention no matter the setting.

‘From Nothing’ is absolutely heavy. Let's get that out of the way. This album is low frills, all brutal, and combines the absolute hurricane of fists and blast beats of hardcore with the bleached bone tone and vicious riffage of black metal. Its antifreeze syrup and it's forced fed with a frothing smile as they pummel away through 23 minutes of broken ice, raw as hell vocals, and a scalding delivery that will take your breath away from the first bar to the last. Attan waste no time, and they want you to get as pissed as they are IMMEDIATELY. 

‘From Nothing’ rolls from slow to fast like the way a predator stalks: fast when it has no concern for being known, and ambling along just above your tasty head. And then it explodes when it pounces. All the tracks are delivered aggressively, but no two are alike. Attan don’t repeat themselves, so don't ask. The "radio song", ‘Black Liquid Marrow’, is the most indicative of their purpose, ploughing through listeners like an armoured truck with no brakes. They slam forward with the only direction being THAT WAY, basically grating their guitars along the insides of your ears, and then slowing it down to give you the eye of the storm before they push you down again. Another fun time is the previous track, ‘Full Stop’, having all the energy of a violent mental breakdown in an office building. It's methodical, unhinged energy pushes further and further with no resolve for the anxious battery of music pumping out at you. 

Attan ends the album with the track ‘Edward’, which feels like a sludgy grunge style song for all of the excruciating 7+ minutes. It rolls up like the sleeve of a junkie, and they push their needle in slowly until about the four and a half minute mark. The ferocity never waivers, never pulls its hand away from your throat. Attan have given a dirty peak into their troubled souls, and it's already leaving track marks. ‘From Nothing’ will leave you spent and shaking, but it's just so easy to press play again....

‘From Nothing’ is available here for preorder from 03/11/2015

FFO: Converge, Emperor, Neurosis, Will Haven and VOD

Band info: facebook