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Presenting up to date news, reviews & interviews for riff addicts around the world.
This is 'Liberation through Amplification.'
Hailing from Álftanes, Iceland The Vintage Caravan, this trio of immensely talented musicians
are set to hit the road again, instruments in tune, in hand and ready to
astound with their new record “Gateways”, officially released today Friday 31st
August 2018 via Nuclear Blast
This delightful trio appeal to every part of THE SLUDGELORD’S blackened heart, their bluesy classic
rock, their psychedelic leanings, their prog and doom twists and slants, all of
it works harmoniously with a heavy enough sound that even the most diehard metal heads can rejoice. Today to celebrate
the release of “Gateways”, you can check out an exclusive acoustic version of
album track “On The Run”, which you
can check out below. “Gateways” is
available HERE
Called an
"enormously toned groove engine," Hollow Leg's train just keeps on a'
rollin.' Now on the eve of their fourth full-length release since
2010, as well as a tour run with Witchkiss this October,
the band is poised to raise their
profile further still with the release of “Civilizations”, featuring
nine tracks of sludge vitriol akin to Crowbar, Weedeater, and Eyehategod, the
album will be available late 2018/ early 2019 via Argonauta Records.
Whilst the
new album may be way off yet, today we can exclusively debut a brand new track
entitled “Mountains of Stone” and for those of you who are familiar with
the band, the heaviness and brutality of previous albums
continues, built upon a foundation of dirty
riffs, heavy bass and the assault & battery
of the drums, this track demonstrates that there will be no stopping
Jacksonville's finest over the next 12 months.
Tune in and Let your speakers die.
Forming The Void channel the best of Monster Magnet
through a heavy psychedelic doom filter, alternating between massive riffs and
passages of cosmic grandeur
“Rift” CD//DD//LP track listing:
1).
Extinction Event
2).
On We Sail
3).
Arcane Mystic
4).
Transient
5).
Arrival
6).
Ark Debris
7).
Shrine
The Review:
It’s
hard not to get excited by an album cover that depicts a woolly mammoth jumping
over a mountain in space. Fortunately the contents of Forming The Void’s
new LP “Rift” deliver on these weighty cosmic expectations.
The
Louisiana quartet waste no time getting down to business with the crushing
groove of “Extinction Event’. The
track channels the best of Monster Magnet through
a heavy psychedelic doom filter, alternating between massive riffs and passages
of cosmic grandeur. This is a trick Forming The Void hone
to perfection over the course of “Rift”. The middle section of the album finds
the band recreating the thunderous majesty of self-titled LP era Torche, particularly the monstrous opening to “Arrival” and the smouldering
sky-kissing solo that rounds off “Transient”.
“Ark Debris” and “Shrine” provide a powerful end to the album with Forming The Void at their slowest and most hypnotic. The
former is a particularly absorbing slow-motion voyage into the beyond with
huge, lush layers of sound giving way to bursts of triumphant doom. These
tracks particularly highlight the importance the production plays in the
success of this record. Chris Munson’s recording has captured the interstellar
scale of these compositions with the smoothness of a classic rock or prog album
but with more than enough dirt that no-one forgets this is a doom album at
heart.
“Rift”
is a strong collection from Forming The Void. These
massive tracks sound like they could take the band to a wider audience while
maintaining enough low end crunch to satisfy underground riff aficionados.
OnFriday31 August 2018, Sweden’s Wheel In The Sky
are certain to turn some heads with new album, 'Beyond The Pale', a concept
album about darkness and death. Formed in 2014, their urge to create something ostentatious
and grand in scale was conceived. Debut
album “Heading For The Night”, was eight
tracks of pure rock energy combined with the fury and drug-induced psychosis of
sixties garage. Spiced with the anger of punk, the haunting sadness of
post-rock and the epic sounds of seventies classic rock.
Fast forward to the present and now almost 3
years later Wheel in
the Sky’s journey continues with an album that overflows
with melody and a dark gothic energy, while tracks such as 'Burn Babylon Burn' and 'The
Only Dead Girl in the City' also contain catchy pop hooks. More importantly Wheel In The Sky
tells stories and “'Beyond The Pale'” is certain to take you on a journey and
today at THE SLUDGELORD were offering you the chance to take
that journey with us as we premiere the album in full below. Orders are being taken HERE
“Lux Tenebris” is absolutely terrifying
in its delivery and atmosphere, by the time the slower riff of “Cupio Dissolvi’
cascades into the ether, you’ll begin to wonder whether you’ve listened to an
EP or been sacrificed to a dark entity.
“Lux
Tenebris” DD//LP track listing:
1).
Vertigo
2).
The Sorrowful Void
3).
Cupio Dissolvi
The Review:
Italians
The Secret
are a band that are difficult to pigeonhole. Equal parts blackened hardcore,
sludgy crust and nihilistic grind, with a pinch of apocalyptic doom for good
measure, they seem to get heavier...and indeed better, with each new release.
So it comes as no surprise that ‘Lux Tenebris’ the new 3 track EP is a
maelstrom of hell fire and fury.
From
the slow build of 'Vertigo' with its
evil melodies penetrating the methodical black magic ceremony within, it
switches gears as it struggles to contain the raging beast that is 'The Sorrowful Void'. Absolutely
terrifying in its delivery and atmosphere, the track takes no prisoners and the
blastbeat halfway through is almost a respite from the oppressive nature of the
music.
Closer
‘Cupio Dissolvi’ is probably the
blackest and nastiest the band have ever sounded; the tremolo riffs, blasts and
d-beats create a magnanimous and utterly filthy piece of music that stands out
among this year’s releases. By the time the slower riff cascades into the
ether, you’ll begin to wonder whether you’ve listened to an EP or been
sacrificed to a dark entity.
Black Tusk, as the title of the album
suggests, are taking care of business in the most direct and ferocious way. No
fat, no let up- just pure high energy rock n roll.
“T.C.B.T.” CS//CD//DD//LP track listing:
1). A Perfect View of Absolutely Nothing
2). Closed Eye
3). Agali
4). Lab Rat
5). Scalped
6). Ghosts Roam
7). Ill At
Ease
8). Rest With the Dead
9). Never Ending Daymare
10). Orange Red Dead
11). Whispers
12). Burn the Stars
The Review:
Punk
rock fury. That's what Black Tusk are bringing with them to this
particular party. Corey Barhorst of Kylesa fame has taken over from Athon (having
seen the band live with both line ups, no one could replace Athon, per se) and
he holds down the low end and his portion of the vocals impressively and never
without anything less than 100% conviction.
Through
their previous records, the band has channelled stoner, sludge, metal and rock
n roll to go with the punk element, but it is the band's punk tendencies which
shine here. The album is raw and angry and the first three tracks after the
intro clip by at an astonishing intensity. The sound expands with “Scalped” and “Ghosts Roam”, but the band really are taking care of business in
the most direct and ferocious way. No fat, no let up- just pure high energy
rock n roll. To say that if you crossed Sick of It All with Mastodon you might get Black Tusk...
well, it's not wide of the mark.
I
confess to being a big fan of the band and this album was never going to
disappoint. Their finishing statement with Athon, “Pillars of Ash”, was
reviewed by me for THE SLUDGELORD a couple of years ago and that
still stands as a vicious and rocking slab of primal screams- “T.C.B.T.” is
different but no less good. Through releases such as “Tend No Wounds” and “Taste
The Sin”, Black
Tusk have always put their own personal stamp on their approach and
sound and have never really sounded like the other Savannah bands (Kylesa,
Baroness
et al) by virtue of their directness and energy. They remain a different
proposition here and perhaps can be viewed as the Motorhead of the Savannah scene: cool,
uncompromising and having a good time, all the time- even through the worst
times.
Through
the twelve tracks here the band are intense and on fire. Sure, not every riff
is memorable and not every hook is golden, but the band make up for this with
shear commitment and will. Equally, picking stand outs is tricky here as every
track has something to offer and every track is bursting with energy. “Never Ending Daymare” is a fine example
of what the trio do best; and the energy with which they do it, but I couldn't
argue with any listener picking out “Closed
Eye” or “Ill At Ease” or...
pretty much any song here.
The
final three tracks on the record burn just as brightly as the first three and
with that, the record is over. If there is any criticism to be levelled here,
it is not at the band themselves but the cover art leaves a little to be
desired. To go from the beautifully haunting imagery of John Baizley's art work
on previous releases to the stark black and white dullness of the cover here,
well, it should have been better.
That
said, Black
Tusk, as the title of the album suggests, are taking care of Black Tusk
(“T.C.B.T.”) in the only way they know how: with full on enthusiasm. The album is a
joy to hear and shows that triumph can come from tragedy and can happen without
compromise. I for one am very glad that the band are still around. We are lucky
to have them.
it
is absolutely clear that Famyne will be both
leading the way for British doom in the years to come and also may well become
a band apart from the genre and the “scene.”
“Famyne” CD//DD//LP track listing:
1).
Wearthless
2).
Faustus
3).
Slave Ship
4).
Ghosts
5).
Tremor
6).
Dreamweaver
The Review:
The
UK is the de facto home of doom- what with Black Sabbath kicking
off the genre (and heavy metal in general) way back when. In recent times,
though, Maryland in the US, Sweden and Germany have all had thriving scenes
going on and the UK's fortunes faded with the demise of Cathedral.
Not any more, though.
The
UK can boast several first class doom bands- that's doom, not sludge. Famyne have placed themselves neatly into the upper
echelons of the current (and the “been around for donkey's years”) crop of
bands. This is traditional doom; low slow and weighty. The vocals are clean,
the guitars and bass distorted, the drums pound (and drummer Jake Cook uses a
fair amount of subtlety with his snare grace notes as well) and the songs
sprawl and soar.
Epic
opener “Wearthless” sets the tone
with an impressive rhythmic foundation and no small amount of Doors inspired psychedelia in the vocal production and
delivery. The band tackle the big subjects in “Faustus”- big in the realms of metal, that is- and provide
appropriately big riffs to go with it. Convincingly double tracked vocals are a
nice touch and the overall production job is worth noting for its weight and
clarity.
“Slave Ship” utilises
dynamics effectively, introducing a diversity of sound not too often found in
the trad doom world. Tom Vane's vocals are a defining stamp on the band's
sound- they lend it an ethereal quality. As the album progresses through “Ghosts” and “Tremor”, there are numerous influences that can be picked out here
and there; maybe some AIC, maybe even some
shoe-gaze type stuff? This is certainly not an average, meat and potatoes Sabbath rip off; even if the Sabs are
audible in the witches brew the band have concocted.
The
touches of violin, the soaring vocals and the rock solid instrumental work of
all band members add up to make this record both engaging and even surprising.
It is very accomplished stuff; streets ahead of most band's debut records and
with a unique sound.
As
the album progresses through the nine and a half minutes of “Dreamweaver”- no, not that “Dreamweaver”, so beloved of Crowbar and Wayne's World- it is absolutely clear that Famyne will be both leading the way for British doom in the
years to come and also may well become a band apart from the genre and the
“scene.”
There
is no way of knowing how far the band is going to go, but if they get the right
cards dealt to them it will be a lot further than opening band status. They are
young, they are unique and they are undoubtedly going to give all the UK doom
bands a run for their money. Sabbath are gone, Cathedral and Iron Man likewise, Pentagram are headless, Saint Vitus
have lost one original member already and Wino won't be around forever. If you
were placing bets on who was going to carry the torch from here... Well, check
out this superb debut and hear for yourself as we stream the sublime “Faustus” below
Following
the release of their debut full-length album “Fuel! Flames! Blast!”, a thrilling experience that THE SLUDGELORD recommend very highly. Indeed until the new High On Fire album is releasedthen this band’s new sophomore release“Horde”is your next must have album. High praise, you might say, and rightly so, but
it is most definitely justified. One play
through of "Horde" will have you chanting “Hail Satan”, whilst watching your speaker
melt because of the sludgy, waxy build-up their riffs will leave on the speaker
material.
“Horde” sees The Crotals going for a heavier route, combining the raw
and corrosive riffing of Entombed, Motörhead and
High On Fire with the groovy vibes of Kvelertak
and Black Cobra. “Horde”is
set for release on CD and LP on September 7th via Tenacity Music
(available HERE)
and today at THE SLUDGELORD, we're excited to debut their heavy
as balls new video for “Falling”. Check it out below and let your speakers
die!!!
Formed in 2012, Mantar perhaps first exploded onto the scene in 2014 (they released a 7" in 2013) with their lauded debut album “Death By Burning”, which was hailed by fans and
writers alike as the standout record
of the year. Like any band attempting to
make their mark, few could have predicted (the band included) what would happen
next. Originally released via Svart Records, “Death By Burning” would eventually sell
out and see at least 3 repressings, by Svart Records (twice) and via the American
imprint Brutal Panda
Records, an understatement then to say that Mantar had exceeded what
expectation they may have had, however their nifty amalgamation of Melvins-esque sludge,
twinned with the grim black / punk attitude of Darkthronewould see the band court the attention of label
heavyweight Nuclear Blast
Records,and
in 2016 the band would release their follow up “Ode to the Flame”, soon to be
followed up by the EP “The Spell”, a year later.
THE SLUDGELORD is proud to say that we
have followed the band from day dot and Mantar’s strength lies in their ability to
maintain a perfect balance of dirty, underground grit and catchy
stadium-bothering rock’n’roll ambition, and on their new album “The Modern
Art of Setting Ablaze”Mantar’s
unique brand of heaviness is growing ever more potent. With the release of the new record set to hit
the shelves this Friday, 24 August 2018, we hooked up with Mantar riff dealer
Hanno to discuss some of his favourite records.
Welcome to Records of their Years, with guitarist/vocalist Hanno
Klänhard
SL:
Favourite album from the year you were born?
PETER
SCHILLING, “FEHLER IM SYSTEM”(1982)
It’s super weird
German new wave (?) stuff. Peter is the guy who also wrote “Major Tom”.
There is an English version of the title track, as well as a whole English
version of the album (‘Error in the
System’) as he also had some success in the US and UK, as far as I’ve been
informed anyway. That single is a little played out, but as a matter of fact,
the whole album is just pure magic. His soothing but spooky voice together with
this early 80s synth layers... it’s still haunting. You can even hear parallels
to some weird ass Pink
Floyd shit. Just crazy. The whole thing, especially the lyrics
influenced me a whole lot. The lyrics were much underrated. With his
apocalyptic future visions he was ahead of his time, and somehow punk as fuck in
a new wave sound. Epic. The best song is “Die Wüste Lebt”.
SL: First
record you bought with your own money?
AC/DC,
“LIVE AT DONINGTON VHS” (1992)
I saw it in a record
store somewhere on vacation with my parents when I was 10 or 11 years old. It
was my first self-bought AC/DC
album ever. Many albums followed, mainly on cassette tape as they were so much
cheaper than CDs. I bought “Live at
Donington” on VHS because I thought: “Why
buy the record when you can HEAR and SEE the music at the same time??” And
as my first record (cassette as well) was “If
You Want Blood...” I had a thing for live records. Also I knew what to
expect as that particular Donington Live show was screened in our local small
cinema in Bremen, Germany for ONE DAY only. I saw the advertisement in the
local newspaper, so I went with my best friend. Only one other person was in
the cinema that day back then. But I totally remember every second... the
goosebumps... the excitement of seeing the people who are responsible for this
wonderful music for the first time... it was an intense moment. My whole room
was covered in AC/DC
posters ‘till the day I moved out.
SL:
Favourite non metal / rock album?
PORTISHEAD,
“DUMMY” (1994)
I got this record from
a friend when I was a teenager. His parents had it, they’d bought it after
seeing their song “Roads” being featured in the shower scene of “Tank
Girl”. They didn´t seem to pay further attention so I just grabbed that
record. I remember that I never ever felt that kind of sadness and desolation
in music before. Teenage depression and booze, that record was a dangerous
mixture. I remember spending whole nights drinking by myself, listening to that
record and literally just staring at the walls of my room. There was something
about the sadness that was captivating. I thought I was the saddest kid in the
world. The whole record is beyond awesome. Later I tried using it as the
soundtrack for my first sexual experiences which made them also very sad of
course. But I thought that the ladies probably didn´t wanna listen to Anal Cunt (little did I
know) while being seduced by sexy Hanno and I had no further non-metal/rock
records. Later I found out that all that doesn´t mean shit and just gave up sex
music for good.
SL: Album
that most disappointed you?
SEPULTURA,
“ROOTS” (1996)
I just didn´t get it.
I was confused. Especially as “Chaos A.D.”
meant the world to me. I know it might be not be the coolest and truest
album from this band to start with, but when you make your Mom go to the local
record store and buy it for your 12th birthday, it is. I saw a cool
ass commercial on German MTV back then (when that was still a thing) and I knew
I had to have it. Once I had it in my hands I was shocked by the booklet and
the gruesome pictures inside. It scared the shit out of me. But at the same
time I was hypnotized by the insanely heavy music and groove. After my birthday
I didn´t leave my room for days listening to that record, being scared by the
artwork and eating candy. I still LOVE that record. It is Sepultura´s “Nevermind“. The song writing is perfect,
without losing any heaviness and focus. A masterpiece. But yeah... back to the
actual question... even though I know it´s good, “ROOTS” didn´t do anything for me. Sorry.
SL: Favourite
album of all time or if you prefer album (s) you’d run back into a burning
building to rescue
AC/DC,
“IF YOU WANT BLOOD (YOU`VE GOT IT)”(1978)
When I was about six
years old my dad used to make some money with any kind of stuff next to his
main job, so any kind of flea market shit would be good business for him. One
day he got two big boxes of old cassette tapes second hand, ready to flip. He
never got rid of them so I listened to every single tape in these boxes, which
was 99% horrible trash. But there was ugly old orange tape in it with a
guy with a guitar sticking in his belly. That cover got me curious
and that´s how I discovered the most important record of my life. From the
first second, I was hooked. That energy, the volume of the crowd screaming, I couldn´t
believe it. EVERYTHING about this was great and it was EVERYTHING I have been
looking for in my six year old ‘till then meaningless life. After the first
listen I was 100% sure what I wanted to do with the rest of my existence. Be
like them.
SL: Favourite album (s) of 2018?
DEATHRITE,
New Album soon
I am a very ignorant
person when it comes to new music and rarely ever pay attention or go see new
bands. I neither read music magazines nor do I check out new stuff on the internet.
I also don´t collect records. Back home in Florida I usually listen to AM radio
and that´s mostly Bluegrass that I enjoy quite a bit, sitting on my porch. I am
sorry. But our dear friends in DEATHRITE are about to release a new record and I don´t
expect anything less than face melting craziness. So that thing will be good
for sure.
SL:..and
finally The last album you bought?
URSUT,
“KÖP DIG LYCKLIG” (2016)
It’s already a year
ago that I got this thing, but it’s still great! It’s hardcore punk from Malmö,
Sweden. And as with everything that Swedish people do, of course it´s fucking
awesome. If you like your D-Beat high quality but still fucked up in a good way,
this is your jam. It also has Swedish lyrics which is kinda cool. Not that I
get a single word, but neither would I if it was in English. I think I saw them
live in Hamburg, back in 2012 and was smitten right away. I never saw them
again. I think we have to invite them to tour with us at some point. But they probably
think that we are mainstream capitalist fucks. Which is true. But maybe they
still wanna come along.
The End
‘Mantar’s
new album ‘The Modern Art Of Setting
Ablaze’ will be released on 24th August via Nuclear Blast, available HERE.Mantar will be touring the UK in December alongside Skeletonwitch.
Welp, it didn’t take long, but life
got in the way and I missed several weeks worth of “Sludgecamp”. I don’t believe this is going to be a recurring thing,
so hopefully I’ll be a lot more consistent from here on in! This week is
another largely black metal affair, with a bit of death thrown in for some
balance. It’s also heavy on new pre-orders as opposed to albums released this
week. As always, I hope you find something to love here!
Released
this week:
1). Rebel Wizard, “Voluptuous worship
of rapture and response”
This album is garnering plenty of
praise and hype, and with good reason! The music is an infectious blend of
NWOBHM and black metal, housed within the harsh, fuzzy production B. Nekrasov
has favored from the project’s inception. With wild song titles (“Drunk on the wizdom of unicorn semen”,
for example) and brilliantly crafted riffs, Rebel Wizard
feels like something of a sure bet, with each new release improving over the
last. When you combine this kind of excellent songwriting with flashy lead
guitar work, and then wrap it in this kind of bat-shit crazy exterior, the
appeal seems so obvious that greater success feels like an inevitably at this
point.
2). Ladnah,“Within
Dark Realms”
Coming to us from Greece is Ladnah, with the two tracks available offering two very
different experiences. “The Awakening”
has a very strong Emperor vibe, circa ‘Wrath of the Tyrant’ and the self-titled
EP. The other song, “Belial Rises From
The East” has much more of a current day Sargeist
kind of feel to it, but both are well done. This is a total throwback, and
would have fit in amazingly well as one of the super underground bands featured
in one of those old Blackened compilations back in the 90s. This is well worth
checking out if you have an affinity for that mid to late 90s symphonic black
metal sound.
New
Reissues on Bandcamp:
3). Mactätus, “Provenance
Of Cruelty”(Napalm)
In something of a fun coincidence
given the previous band’s similar stylistic choices, underrated symphonic black
metallers Mactätus have made their way to bandcamp via
their old label home Napalm Records, and
they’re ready to rouse your late 90s symphonic black metal nostalgia as only
they can. Released originally in 1998, this album strikes a nice balance
between the early Emperor material and
pre-Galder Dimmu Borgir.
New
Pre-Orders:
4). Dödsrit,
‘Spirit
Crusher’(28th of September)
Prosthetic Records
has been on something of a tear this year with well-regarded albums from Skeletonwitch, Monotheist, and now
this week’s Rebel Wizard all under their belts this
year. They’re coming back very quickly with another can’t miss album. This
time, they’re presenting us with a brand new Dödsrit album;
less than a year following their remarkable debut, and the preview song plain
old fucking kills. Their last album was on my year end list, and by the sound
of this, they’re damn well likely to be there again this year. If you have any
interest in atmospheric black metal, crust, or both: buy this. Immediately.
5). Mutilated by Zombies, ‘Scripts of
Anguish’(5th of October)
Awesome old school death metal,
though of a different sort than you might be thinking. This one should appeal
more to the Morrisound, Florida death metal devotees of the world, offering
that early Deicide viciousness with the rhythmic chops
of prime Dying Fetus and Deeds of Flesh.
6). All My Sins, ‘Pra Sila - Vukov
Totem’(23rd of September)
Raging melodic black metal out of
Serbia, and self-described as “South Slavic Black Metal Mysticism”. The
relentless blasting here is paired with icy tremolo riffs with a touch of folk
sprinkled in throughout, with the end result approaches something like the
current day Finnish black metal sound, only at hyperspeed and with a cleaner
production. “Vetrovo Kolo”, the song available to preview, rarely stops long
enough to let you catch your breath, but the ride is well worth the exhaustion.
Kurokuma prove once again, that trends in heavy music never last, but creating something unique and personal within the boundaries of heavy music, undoubtedly will.
“Dope Rider” CD//CS//DD//LP track listing:
1).
Dope Rider Part 1
2).
Dope Rider Part 2
The Review:
I'm
always drawn towards bands that tread their own path, so it's rather fitting
that I get to review the phenomenal Kurokuma's latest EP, 'Dope
Rider'. While the concept maybe based on a comic strip from marijuana themed
publication High Times, fans of traditional stoner will be shocked at the lack
of copy and paste pentatonic riffs and banshee wails.
Part
one of this 2 part release teases the eardrums with Joe E. Allen's always
hypnotic, tribal drumming while feedback and droning guitars build slowly. The
verse riff is superb showing just how unique the band are in their approach to song
writing and riff crafting. Driven by Allen's drumming, vocals are traded back
and forth between guitarist Jacob Mazlum and bassist George Ionita to
accentuate the rhythmic flow and as the track draws to its natural conclusion,
awash with gritty psychedelic textures, it's Allen's use of the mighty cowbell
that closes.
Part
Two starts off meatier than a caveman barbecue with devastating, muted riffs
amid drumming that seems off kilter but is nevertheless absolutely on point.
The tremolo riffing caught me off guard and had me gurning and nodding in
definite approval. By the time the most accessible closing riff bleeds out to
some droning, notes, listeners will want to press play all over again. At least
I did...about 6 times...
Kurokuma
prove once again, that trends in heavy music never last, but creating something
unique and personal within the boundaries of heavy music, undoubtedly will.
“Dope
Rider” is available digital here.
Cassette and CD available at www.doomstew.com/store/.
Vinyl coming September 2018.
