Birth Of Joy - "Get Well" (Album Review)

By: Dominic Walsh

Album Type: Full Length

Date Released: 26/02/3016

Label: Long Branch Records/SPV

A hightlight of the album is the longer, more epic sounding “Numb”, which has a huge “Meddle” era Pink Floyd feel to it with a chug reminiscent of parts of “Echoes”, and organ work not to dissimilar from the great Rick Wright. Stunnenberg also gets chance to showcase his solo chops on guitar too. “Get Well”, the penultimate track on the album, also has the same feel. The sprawling tones from the band, and otherworldly vocal make for some great psychedelic progressive rock.

“Get Well” CD//DD//LP track listing

01 Blisters (03:28)
02 Meet me at the bottom (04:10)
03 Choose sides (03:33)
04 Numb (06:07)
05 Midnight cruise (04:42)
06 Carabiner (03:01)
07 Those who are awake (04:16)
08 You got me howling (03:31)
09 Get well (08:06)
10 Hands down (04:26)

The Review:

Birth Of Joy are a Dutch trio from Amsterdam who deal in the sounds of psychedelia, firmly rooted in the 60’s. Think of an influential band from that era and you will almost certainly get a hint of that here. Deep Purple, Pink Floyd, The Doors, Led Zeppelin etc could all be namechecked here.

Throughout the album, the organ of Gertjan Gutman propels the band; whether it be plugging away in the back ground or taking centre stage. Opening track, “Blisters”, opens with a simple organ melody before the guitar and drum crash in. “Blisters” is a good name for the opener as it’s pace is urgent and sets the precedent for a fuzzy trip back in time.

“Meet Me at the Bottom” slows the pace after the opening. The rolling bass line moves fluidly with the organ before a quite magnificent coalescence of all quarters of the band blow the record wide open with a brilliant mid song riff. This coming together of the band using all their facets is used expertly on “Choose Sides” too.

Kevin Stunnenberg’s vocals throughout the album showcase a wide variety of styles from harsher, gravelly tones to a near falsetto in parts. Throughout the vocal range, the sight of psychedelia is never lost. This style is also enhanced by the excellent production on the album.

A hightlight of the album is the longer, more epic sounding “Numb”, which has a huge “Meddle” era Pink Floyd feel to it with a chug reminiscent of parts of “Echoes”, and organ work not to dissimilar from the great Rick Wright. Stunnenberg also gets chance to showcase his solo chops on guitar too. “Get Well”, the penultimate track on the album, also has the same feel. The sprawling tones from the band, and otherworldly vocal make for some great psychedelic progressive rock.

Bob Hogenelst makes up the triumvirate on drums. His work on the single, “Hands Down”, is splendid. The changes in tempo from the drumroll that opens the track to the dance infused beat over the chorus are excellent. As the album closer, it is just as urgent as the opener. Between the beginning and the end, the band navigate through the best parts of an era that when played well, is sublime.  Any fans of the aforementioned bands/styles will lap Birth Of Joy’s latest release up with joy.

“Get Well” is available here

Band info: facebook

Tombs - "All Empires Fall" EP (Review)

By: Chris Bull

Album Type: EP

Date Released: 01/04/2016

Label: Relapse Records

Tombs are swiftly becoming a force to be reckoned with in today's bloated extreme metal landscape. They are a band that take no prisoners and continue to push the envelopes in terms of originality. This EP is quite simply exceptional.  Mike Hill's vocals are more acerbic than in previous efforts as the blackened riffs from Hill and Evan Void are full of contempt as they burn and scrape like razorwire being dragged across bare skin.

“All Empires Fall” CD//DD//LP track listing:

1). The World Is Made of Fire

2). Obsidian

3). Last Days of Sunlight

4). Deceiver

5). V

The Review:

When something new from atmospheric blackened sludge troupe Tombs is released, there's only one guarantee; your face will melt.

Opening track and instrumental 'The World Is Made Of Fire' is a brief yet fitting introduction to this EP, shredding guitars assault the senses while new addition Fade Kainer on synths/keys provides the atmospheric backdrop. 'Obsidian' is pure hellfire. Mike Hill's vocals are more acerbic than in previous efforts as the blackened riffs from Hill and Evan Void are full of contempt as they burn and scrape like razorwire being dragged across bare skin. Remember the song 'Hearts Filthy Lesson' from David Bowie's 1995 industrial album '1. Outside'? Well, describing 'Last Days Of Sunlight' as an occult, industrial black metal version of that would be doing the originality of the song a huge injustice but it may give you an inclination of it. The minimal guitars serve to let the exceptional talents of Kainer shine. Flecks of throat singing and Hill's iconic voice lend the song its esoteric feel.

'Deceiver' was the first full song to be aired by Relapse Records, this track going some ways to prove just how versatile Tombs can be. The pounding rhythm and simplistic chugging guitars providing a stark contrast to the previous song. Those of you who check YouTube often may have seen the video for fifth song 'V'. It seems to have picked the best pieces from 'Winter Hours', 'Path Of Totality' and 'Savage Gold' and wrapped them up in a cocoon of industrial synths. Hill and Kainer trade vocals over the penetrative rhythm of bassist Ben Brand and drummer Charles Schmid while guitarist Evan Void and Hill himself shed a path to Hades.

Tombs are swiftly becoming a force to be reckoned with in today's bloated extreme metal landscape. They are a band that take no prisoners and continue to push the envelopes in terms of originality. This EP is quite simply exceptional.

“All Empires Fall” is available here

Band info: facebook || bandcamp

Prong - "X - No Absolutes" (Album Review)

By: Hunter Young

Album Type: Full Length

Date Released: Steamhammer/SPV

Label: 05/02/2016

Prong is one of those bands that seem to be able to move effortlessly through differing genres, usually within one song. Typically categorized under thrash, they move through many guises and for that reason, it is a very hard to pigeonhole, but it's always fun to hear and “No Absolutes” is absolutely no exception. “X-No Absolutes” begs further listens after it kills the last note, it's a deep cave to explore, and one that will have your neck at the breaking point rather quickly once it hits full swing. Prong fans, new and old, will be able to appreciate this for years to come.

“X-No Absolutes” CD//DD//LP track listing:

1.Ultimate Authority (2:54)
2.Sense Of Ease (4:05)
3.Without Words (3:18)
4.Cut And Dry (3:51)
5.No Absolutes (3:17)
6.Do Nothing (3:40)
7.Belief System (3.21)
8.Soul Sickness (3:05)
9.In Spite Of Hindrances (2:45)
10.Ice Runs Through My Veins (4:04)
11.Worth Pursuing (3:12)
12.With Dignity (3:14)
13.Universal Law (Bonus Track)

The Review:

MMMMMMMMM that new Prong album smell!

For those of you that don't know the Prong freight train, whether too young or you simply didn't get the memo, they've been around since 1986 and despite demolishing in several other projects, including Danzig, Prong is always going to be his home. Classic tracks to check out for the curious include “Whose Fist is This Anyway?”, “Beg to Differ” and, of course my personal favorite, the brutal “Snap Your Fingers, Snap Your Neck”. Their new endeavour, entitled “X-No Absolutes” is a perfect return to form for these metal legends.

Prong is one of those bands that seem to be able to move effortlessly through differing genres, usually within one song. Typically categorized under thrash, they move through many guises and for that reason, it is a very hard to describe pigeonhole, but it's always fun to hear and “No Absolutes” is absolutely no exception. It's a hodge-podge of styles that mix like gin and tonic: perfectly.

Opening up with “Ultimate Authority”, you have a solid thrash base, accompanied by heavy chugging with high gain crunchier than fresh popcorn. Victor continually keeps it heavy, with his alt picking rhythmics and savage shreddery, classed up with tapping and runs galore sprinkled liberally on the album. Examples of just titanic guitar work can be found on “Sense of Ease”, “Cut and Dry”, and the latter half of “Belief System”.

Something I have always loved about Prong is their ability to carry a melodic streak without sounding forced  and Tommy Victor absolutely nails the clean vocal sections,  indeed the title track, “No Absolutes” and “Do Nothing” are hauntingly beautiful as he almost croons to you, bringing the mood into a deep shadow. Victor plays his voice like his guitar, casting a wide net to ensnare the listener.

“X-No Absolutes” begs further listens after it kills the last note, it's a deep cave to explore, and one that will have your neck at the breaking point rather quickly once it hits full swing. Prong fans, new and old, will be able to appreciate this for years to come.

“X-No Absolutes” is available now

Band info: facebook

Monolith - "Mountain" (Album Review)

By: Richard Maw

Album Type: Full Length

Date Released: 18/03/2016

Label: Final Gate Records

“High Horse” is a rampant beast which rocks hard at mid tempo. “Moonshine Medication” positively stomps and swings (hard to do) and has tales of alcohol soaked glory and despair. “Lies and Deceit” has an upbeat feel to the riffs and much like everything else on the record it is more rock than doom. “Tide” continues the record with a bit more of a laid back feel but then the track brings the doom in with a great feel to it.  Hailing from Germany may not give these guys the cred that goes with a Californian Zip Code, but that does not matter to me; this is good stuff and ahead of other more hyped acts in terms of production, delivery and material.

“Mountain” CD//DD//LP track listing:

1. Mountain

2. Vultures

3. Standing Tall

4. High Horse

5. Moonshine Medication

6. Lies & Deceit

7. Tide

8. Blackbird

The Review:

Traditional Doom mixed with good old heavy rock is a tricky beast to get right. Go direct to the source too much, and you may come off as retro hipsters. Try to modernise and be accused of not being traditional at all! Monolith tread a careful path here. This is traditional heavy rocking doom but it also benefits from quite a bright and clean production. The vocals are of the traditional sung variety (think Ozzy, not Dio) and the drums rumble very convincingly- it sounds like they were recorded in a good sized live room. You can hear the hiss over the track at points when the band drops down to bass only, so analogue points are surely scored as the band lean towards the retro stylings beloved by some and derided by others.

There is plenty of doom to be had in the likes of “Vultures”, while the band make like 70's rock behemoths on “Standing Tall”. Hailing from Germany may not give these guys the cred that goes with a Californian Zip Code, but that does not matter to me; this is good stuff and ahead of other more hyped acts in terms of production, delivery and material.

“High Horse” is a rampant beast which rocks hard at mid tempo. “Moonshine Medication” positively stomps and swings (hard to do) and has tales of alcohol soaked glory and despair. “Lies and Deceit” has an upbeat feel to the riffs and like much like everything else on the record it is more rock than doom. “Tide” continues the record with a bit more of a laid back feel but then the track brings the doom in with a great feel to it. There are strong hooks on this one and for me it stood out. Acoustic guitars come to the fore on“Blackbird” and closes the album with three and a half minutes of very seventies rock, complete with harmonica. It is a fitting coda to an album which falls into the doom bracket, but also offers much in the way of traditional seventies styled hard rock. For fans of bands of either genre.

“Mountain” is available here

Band info: facebook

Wake - "Sowing The Seeds of a Worthless Tomorrow" (Album Review)

By: Charlie Butler

Album Type: Full Length

Date Released: 26/02/2016

Label: Sentient Ruin Laboratories

“Wretched Tongues” offers the first taste of the unexpected when its mid-section collapses into pummelling, weighty doom - ominous open chords pierced through with shards of jagged guitar. “Drones” adds death-metal flourishes into the mix while “Better Living Through Apathy” has what could almost be deemed a chorus - memorable bursts of two chord punk-rock anger bubbling to surface above the relentless drumming.

“Sowing The Seeds of a Worthless Tomorrow” CS//CD//DD track listing:

1. Burn Well
2. Wretched Tongues
3. Drones
4. Better Living Through Apathy
5. Low
6. Unrelenting Hate
7. Vultures
8. Endless Decay

The Review:

When an LP tears through 8 songs in twenty minutes you know it’s not going to be pretty. “Sowing The Seeds of a Worthless Tomorrow” is the latest album from Calgary hellraisers, Wake and it’s a fast, ugly ride.

The album rips into life with the raging “Burn Well”. This sets expectations for a solid, no-frills grindcore album in the vein of Nasum, but Wake don’t stick to the script. The band is devastating when unleashing blast-fuelled punishment, but it’s the moments when they stray from the path that really elevate them.

“Wretched Tongues” offers the first taste of the unexpected when its mid-section collapses into pummelling, weighty doom - ominous open chords pierced through with shards of jagged guitar. “Drones” adds death-metal flourishes into the mix while “Better Living Through Apathy” has what could almost be deemed a chorus - memorable bursts of two chord punk-rock anger bubbling to surface above the relentless drumming. “Low” begins with spidery guitars and subdued, skittering drums, bringing a Keelhaul-style math-rock feel to proceedings. Blastbeats soon make their presence felt again, transforming the song into an unusual, but effective, melding of styles and providing the album’s highlight.

“Sowing The Seeds of a Worthless Tomorrow” covers more ground in twenty minutes then most bands do in double that and completely slays in the process. Wake put themselves above the competition here and set the standard for quality grindcore in 2016.

“Sowing The Seeds of a Worthless Tomorrow” is available here

Band info: facebook

Hexvessel - "When We Are Death" (Album Review)

By: Doza Hawes

Album Type: Full Length

Date Released: 29/01/2016

Label: Century Media Records

All in all, the album marks a stark departure from the band's previous offerings, stripping away the atmospheric, acoustic folk instrumentation and eerie choir vocals for a mainly electric guitar-centred rock and surf sensibility.  I definitely recommend giving this album a chance, see what happens when traditional forest dwellers put down their folk instruments, pick up an electric guitar, take some acid, and head to the beach.

“When We Are Death” CD//DD//LP track listing:

1. Transparent Eyeball

2. Earth Over Us

3. Cosmic Truth

4. When I’m Dead

5. Mirror Boy

6. Drugged Up On The Universe

7. Teeth Of The Mountain

8. Green Gold

9. Mushroom Spirit Doors

10. Hunter’s Prayer

11. Last Lovers In Hell (bonus track)

The Review:

After years of summoning spirits in the forests of Scandanavia, Hexvessel needed a vacation-- so they went to the beach, or so their latest album implies.

I first discovered Hexvessel whilst browsing the line-up of the legendary Roadburn Festival back in 2012. Described as "enigmatic, spirit-trafficking, Finnish forest-psych weirdos," I had to give them a listen based solely on their description. The music of Hexvessel, which spans 3 albums and a 2-song 7", began as primarily acoustic, atmospheric, and trance-inducing.  Their eerie, captivating sound has held my attention ever since, as I revisit their catalogue quite frequently.

In 2013 they released “Iron Marsh”, which took a slightly new direction, adding electric guitar and some rock elements to their sound, but primarily kept the ethereal quality of their earlier records.

The latest album from Hexvessel, “When We Are Death”, continues the altered trajectory set in their previous record, and goes much further in its electric instrumentation, revealing a band experimenting with new sounds and musical avenues (for them at least), primarily into the realm of surf rock, psychedelia, and alternative pop. The album, as a whole, is much more diverse than their previous offerings, which might be a bit jarring to listeners expecting the transcendent forest spirituality of their previous albums. If you can abandon any expectations you might have, based on their previous recordings, you might be able to get into "When We Are Death."

The opening tracks, “Transparent Eyeball”and “Earth Over Us”, immediately let the listener know that the band is taking a new direction. Centred around the electric guitar, these tightly-constructed psychedelic surf rock songs are upbeat and a far departure from the spirit realm of the forest. Track 3, “Cosmic Truth”, brings us back to the band's acoustic roots, and is a shining gem on this album. Lyrically, it's captivating, and the lilting vocal melodies combine with a melancholy piano drone to create a truly beautifully crafted song. “When I'm Dead” returns to the upbeat psychedelic/surf formula, with an interesting electric slide guitar meandering throughout, and a prog rock-inspired ending. “Mirror Boy” is a minimalist, soothing and stripped down tune, reminiscent of earlier records. “Drugged up on the Universe” sees the band venturing into a harder, yet spacey, perhaps Hawkwind-inspired bad acid trip. “Teeth of the Mountain” is a finely-crafted psychedelic rock song, with a beautiful mellotron overlay.

“Green Gold” continues along the same lines, finding a nice middle ground between the acoustic and electric realms that this album inhabits. “Mushroom Spirit Doors” gives us one last upbeat tune before the album seems to leave the beach and return home to the forest and close the album with the haunting melodies of “Hunter's Prayer”.

All in all, the album marks a stark departure from the band's previous offerings, stripping away the atmospheric, acoustic folk instrumentation and eerie choir vocals for a mainly electric guitar-centred rock and surf sensibility.  I definitely recommend giving this album a chance, see what happens when traditional forest dwellers put down their folk instruments, pick up an electric guitar, take some acid, and head to the beach.

“When We Are Death” is available now

Band info: facebook || bandcamp

Matriarch - “Magnumus: The 44th Scribe and Lorde of the Hallucinaunts” (Album Review)

By: Eric Crowe

 

Album Type: Full Length

Date Released: 20/04/2015

Label: Self released

 

 

This is really an amazing release, from start to finish. It took me a minute to catch the feel of the album, but once it hits home, it really hits you. Tons of tone and texture, beautiful and unrelenting and a complexity these guys have really tapped into. This is recommended for fans of Buried At Sea, FULCI or Sea of Bones. Give it a solid listen, support these guys and tell them The Sludgelord sent you their way!

 

“Magnumus: The 44^th Scribe and Lorde of the Hallucinaunts” DD track listing:

 

1. Moonburn

2. Bathed In Blue Light

 

The Review:

 

This 4 piece hailing from Denver, CO delivers one heavy and diverse slab in just 2 tracks. Described as “no frills caveman dope sludge, delivered via a pants-shitting wall of sound at a catatonic, gravity-bending crawl”, I would have to agree on all accounts. Made up of a lot of ex-members from a variety of awesome bands, including, Rebreather, Low Gravity, Garthok & Siamese Royalty, it all comes together perfectly here, but that’s enough talk about what you

 

can read online, here’s what’s in the music…

 

The journey begins with “Moonburn” with a sonic washing of tonal build and feedback, before breaking into the first riff, which has a light airy feel to it, comparable to early Pelican. The riffs have a lot of movement and progression within them, not just generically recycled over 32 measures, but there is a continuous flow to them and the song. Right around the 3 minute mark, perfectly grimy vocals charge in, adding another layer of filth in this ever evolving track, which turns for the heavier at this point. The vocal parts are sparse and not too wordy, but well spaced to keep it interesting. The delivery is mid ranged and throaty and once you start to feel the hypnotic effect and flow of the riff, it totally drops out to a deeply mellow place, keeping you in a light float; executed with excellence, and this is where “Bathed In Blue Light” takes over. Such a seamless transition in tracks, I love it.

 

Building and playing off of one another, that light floating feeling begins to sink, and the drones and absolute heaviness of the tone begins to pull you under. So slow and weighty, just simply go with it and enjoy where the journey takes you. Vocals keep flowing in and out at intervals, just slightly keeping you grounded. Within the drifting drones, added layers of solos wash in with perfect taste and don’t get all noodley and distracting. Then with beating the last bits of life out of the final riffs, it comes full circle with a minute of feedback and tonal washing.

 

This is really an amazing release, from start to finish. It took me a minute to catch the feel of the album, but once it hits home, it really hits you. Tons of tone and texture, beautiful and unrelenting and a complexity these guys have really tapped into. This is recommended for fans of Buried At Sea, FULCI or Sea of Bones. Give it a solid listen, support these guys and tell them The Sludgelord sent you their way!

 

“Magnumus: The 44^th Scribe and Lorde of The Hallucinaunts” is available here

 

Band info: bandcamp

The Sludgelord Song Premiere - "Blood" by Messa

Described as playing obscure and evoking doom with deliciously haunting female vocals, Messa, a four piece from Italy, recently signed to Aural Music home to some brilliant and notable artists such as Arcana 13, Void of Sleep, Fen and Imperial Triumphant.   

Today we have been given the pleasure of premiering the track “Blood” from Messa’s upcoming debut album “Belfry”, which is set to be released via Aural Music on May 6^th.   Influenced by the likes of Pentagram, Bellwitch, Windhand, Jex Thoth, Sabbath Assembly and Bathory, that is a mouth watering prospect in terms of what this band deliver. It is for that reason we are beyond excited to present this exclusive premiere in association with our friends at Aural Music and we hope you dig it.

Preorders will starts from April 6th here

“Belfry” track listing:

1. Alba
2. Babalon
3. Fa°ro¨
4. Hour of the Wolf
5. Blood
6. Tomba
7. New Horns
8. Bell Tower
9. Outermost
10. Confess

Band info: facebook

Zun - "Burial Sunrise" (Album Review)

By: Victor Van Ommen

Album Type: Full Length

Date Released: 25/03/2016

Label: Small Stone Recordings

The slowness of “All That You Say I Am” or the moment in “All For Nothing” that the bass loses its raunchiness and transforms into a lush swelling of lower tones, define this record. The mood is laid back, the pretense is absent, and the vocals that drift by like a breeze on a cold night add up to something special.  “Burial Sunrise” is a record that is musically spot on as well as one that encapsulates the spirit and soul of Desert rock.

“Burial Sunrise” CD//DD//LP track listing:

1). Nothing Farther

2). Into the Wasteland

3). All For Nothing

4). Come Through the Water

5). All That You Say I Am

6). Solar Incantation

The Review:

Zun’s “Burial Sunrise” is pushed by serene melodies that reflect the peacefulness of a clear and vast night sky. Helmed by none other than Gary Arce (Yawning Man) and fronted by two of the most recognizable voices in the desert - John Garcia (that guy from Kyuss) and Sera Timms (Ides of Gemini) – Zun’s debut has been regarded as one of the most anticipated albums of the year. To further support this claim, there’s Mario Lalli (Fatso Jetson) on bass, Robby Krieger (The Doors) on electric sitar, Bill Stinson (Ten East) on drums, and Harper Hug (Brant Bjork) playing the role of producer as well as contributing some drum tracks and synths.

Despite the cast of musicians, I’d hesitate to call Zun a supergroup. There’s a unified vision on “Burial Sunrise,” and a unified vision is not something that is inherent in the concept of a supergroup. This makes for a sense of togetherness and in doing so avoids the potential pitfall of each contributing musician fighting for the limelight. Sure, Zun might have been put together by Arce, but there´s no sense that this is his band or that he is the boss. The sounds and grooves contributed to “Burial Sunrise” by this family of musicians therefore sound free, like everyone involved had the greater good of the record as their goal. This chemistry has resulted in an arresting mix of spacious melodies, malleable grooves, and a laid back atmosphere.

This being a collective effort is the through-line of the six songs that make up “Burial Sunrise.” Arce’s guitar is instantly recognizable in that he writes sounds, not riffs. Arce uses Zun to continue his quest in experimenting with effects, driving the mood of the record by way of hypnotic passages. His playing is underscored by a rolling rhythm section which keeps a steady push to the meandering songs, upon which Garcia and Timms are able to build. Be it the march of “Into the Wasteland” or the to and fro of “Come Through the Water,” the bass and drums are kept in the center of the mix, having the other instruments rotate around them like planets rotating around the sun. Both rhythmic and free, Zun has succeeded in capturing the psychedelic sound of the low desert.

This relaxing vibe resonates through these songs. The slowness of “All That You Say I Am” or the moment in “All For Nothing” that the bass loses its raunchiness and transforms into a lush swelling of lower tones, define this record. The mood is laid back, the pretense is absent, and the vocals that drift by like a breeze on a cold night add up to something special. Neither Garcia nor Timms have been hired to help sell this record, they are just straight up a perfect fit for these songs. Garcia’s quiet croon in album opener “Nothing Farther” is unintelligible but no less a key ingredient in the overwhelming vibe of the track. Timms adds to this with her melancholic delivery, allowing her voice to seep through all of the empty spaces in the mix, pushing the music far apart which in turn adds to the spaciousness of the album.

“Burial Sunrise” is a record that is musically spot on as well as one that encapsulates the spirit and soul of Desert rock. Zun will probably never tour and might not even make another album, but “Burial Sunrise” makes for a worthy stopgap for each one of these artists involved. It’s nice to hear something as fresh as Zun while waiting for that new Yawning Man album to make the scene.

“Burial Sunrise” is available here

Band info: facebook