ALBUM REVIEW: Avatarium, "The Fire I Long For"

By: Richard Maw

Album Type: Full Length

Date Released: 22/11/2019

Label: Nuclear Blast

“The Fire I long For” CD//DD//LP track listing:

01. Voices
02. Rubicon
03. Lay Me Down
04. Porcelain Skull

05. Shake That Demon
06. Great Beyond
07. The Fire I Long For
08. Epitaph Of Heroes
09. Stars They Move

The Review:

Avatarium, originally Leif Edling's brainchild, are back here with album number four. Over the course of the last six years, the band has produced some top quality dramatic doom with the excellent vocals of Jennie Ann Smith being a huge selling point beyond the huge riffs and sometimes ethereal music offered up by both Edling and more so Marcus Jiddell.

“The Fire I long For” is not as immediate as “The Girl With the Raven Mask”, and not as hard rocking as “Hurricanes and Halos”. It is not really akin to the debut either- if that helps at all. It's ambitiously structured and is a rather downbeat listen- maudlin rather than dreamy. The first three tracks offer up plenty of melodrama but it's a very different type of melodrama to, say, “The Door To Doom.” by Candlemass

Opener “Voices” is a dark one- with a rather disappointing snare sound, but after that things pick up via “Rubicon” and “Lay Me Down”- reaching a first half peak with the sublime “Porcelain Skull”- great riffs and songwriting! There is also rock n roll aplenty here- “Shake That Demon” is hard driving rock of the best kind, bridging the two halves of the record and blowing away any atmospheric cobwebs. The BOC, Rainbow and Sabbath influences remain, of course, but Avatarium sound different to all other doom bands operating.

The epic “Great Beyond” and the title track share similar DNA; dark and spacey soundscapes of five minutes plus. The black as tar “Epitaph of Heroes” is the record's longest and darkest listen with no small amount of dramatic riffage. “Stars They Move” closes this intriguing and abstract record with varied instrumentation and an excellent vocal performance from Smith. The press release refers to Leonard Cohen as a writing influence and I can see and hear it here. This is a different album for Avatarium; progressive and ethereal, hard to grasp and a grower. You'll get a great record out of repeated listens. Another sublime record.

“The Fire I Long For” is available HERE

Band info: facebook

TOP 16 ALBUMS: The Sour 16 June 2017

Vokonis (2017)

Yes, it is that time again O ye lover of riffs, “THE SOUR 16” returns.  You know the drill by now, each month you the reader are unwittingly compiling a list of the top 16 records of the month, covering all genres of metal.  Is it not a chart, in which reviewers or contributors extol their opinion about their favourite music.  To put it simply, “THE SOUR 16” are the records that have been trending the most at THE SLUDGELORD Headquarters.

The results are compiled based on the amount of page views the reviews have received and are then calibrated into the list below.  All reviews can be viewed by clicking the artwork and we have included album streams wherever possible. (Total views since their publication are highlighted in the red)

16). Coltsblood - "Ascending Into Shimmering Darkness" (324)

Coltsblood refine their unique brand of bleak, bludgeoning doom to punishing effect on “Ascending Into Shimmering Darkness”. This is a mighty collection that marks out the band as one of the most underrated heavy acts in the world.

15). blyh - "Transparent to the World" (358)

Short, to the point, but excelling in both subtlety and savagery, blyh is a band to watch out for.

14). Iced Earth - "Incorruptible" (361)

This is the kind of album that Judas Priest should be making- and used to make. “Incorruptible” is a great metal album, it delivers on every level, with every band member excelling in their field. Time for me to get hold of the back catalogue as well, as “Incorruptible” has converted me to being a fan of the band. After nearly thirty years of albums, Iced Earth are deadlier than ever.

13). Avatarium - "Hurricanes And Halos" (395)

This is another great record from Avatarium and one which places the band firmly in the upper echelons of doom outfits operating today. There is nothing to fault here. If you enjoyed the band's previous work, don't hesitate. If you have never heard the band, then this is as good a place as any to start. Great record.

12). In Human Form - "Opening of the Eye by Death of the I" (467)

The complexity of the songwriting on all of the tracks leaves the listener discovering many layers over multiple listens. This band has some serious talent, and absolutely deserves your time. A massively unique release weaving together so many influences it’s difficult to quantify them all. This is excellent music, and I can’t wait for future releases from this band.

11). Schammasch - “The Maldoror Chants: Hermaphrodite” (EP) (471)

Schammasch have created something remarkable with this most recent artistic expression, sophisticated, complex and yet somehow, eminently accessible.  Get lost. It is worth your time to find a way out.

10). USA/MEXICO - "Laredo" (472)

This is the kind of garage rock where the car is still parked inside with the engine running, warping the bands minds with fumes.   “Laredo” is an awesome offering from USA/MEXICO, a perfect blend of dumb headbanging heaviness and tripped-out weirdness.

9). Bereft - "Lands" (490)

There are other bands creating doom in a similar style to Bereft but few do it on such a grand scale. The Wisconsin quartet’s latest release comprises  of four epic journeys into the abyss with a massive production that matches their towering ambition.  “Lands” is a fine album that is sure to win Bereft a legion of new followers.

8). Vallenfyre - "Fear Those Who Fear Him" (511)

All in all it’s another good album that sees the band dishing out shorter and faster songs than we’re used to getting from them, while not losing the razor sharp edge of that classic Vallenfyre musical mastery and might.

7). Pyreship - "The Liars Bend Low" (579)

The Houston quartet deal in a captivating brand of complex sludge with a perfect balance of melody and grit. “The Liars Bend Low” is a debut brimming with potential for a glowing future.

6). Mantar - "The Spell" (EP) (669)

Mantar’s strength lies in their ability to maintain a perfect balance of dirty, underground grit and catchy stadium-bothering rock’n’roll ambition. Opening track “Pest Crusade” demonstrates this in style. It is a complex track composed of shifting tempos and styles, encompassing shards of raging black metal, stop/start riffage and blasts of no-nonsense stoner punk.  The three flawless tracks that make up “The Spell” demonstrate that Mantar’s unique brand of heaviness is growing ever more potent.

5). Bison - “You Are Not The Ocean, You Are the Patient” (707)

“You Are Not The Ocean, You Are the Patient” is an amalgamation of everything that Bison does well. If you love anything in the realm of sludge or stoner metal, this is a must for you.

4). Beastmaker - "Inside The Skull" (762)

It's impressive that, only a year and a bit after their debut, Beastmaker have taken their sound and improved upon it with sharper song writing and an impressive grasp of what makes music of the trad doom genre tick.

3). Paganizer - "Land of Weeping Souls" (787)

Rogga Johansson shows no sign of letting up at all; another album, another line up, another master class in Swedish death metal. This is absolutely business as usual for Paganizer, possibly the finest and purest exponents of this type of metal around. Highly recommended.

2). Elder - "Reflections of a Floating World" (822)

Reflections of a Floating World’ is both a glance back and a stride forward. The direct nature of some of the riffs and the weight of their execution sit it comfortably between ‘Spires Burn/Release’ and ‘Lore.’ The expansion of ambition and variety in musical approach however, keep Elder’s eyes firmly fixed on the horizon

1). Vokonis - "The Sunken Djinn" (964)

Whilst being undoubtedly heavy what makes this sophomore effort stand out is the variation employed in the bludgeon. By embracing less traditional doom landscapes ‘The Sunken Djinn’ has allowed Vokonis room to demonstrate the full raft of their audio-weaponry, and in doing so propelled them to the forefront of the heavy underground.

A big thank you as always to our amazing writers, your dedication knows no boundaries and for that I am truly grateful.  June 2017’s “SOUR 16” features reviews by:  Richard Maw, Andre Almaraz, Charlie Butler, Conor O’Dea, Brandon Green, David Jupp & Mark Tremblay

ALBUM REVIEW: Avatarium - "Hurricanes And Halos"

By Richard Maw

Album Type: Full Length

Date Released: 26/05/2017

Label: Nuclear Blast

This is another great record from Avatarium and one which places the band firmly in the upper echelons of doom outfits operating today. There is nothing to fault here. If you enjoyed the band's previous work, don't hesitate. If you have never heard the band, then this is as good a place as any to start. Great record.

“Hurricanes And Halos” CD//DD//LP track listing:

1. Into The Fire - Into The Storm (4:14)

2. The Starless Sleep (4:47)

3. Road To Jerusalem (5:48)

4. Medusa Child (9:00)

5. The Sky At The Bottom Of The Sea (5:25)

6. When Breath Turns To Air (4:46)

7. A Kiss (From The End Of The World) (7:14)

8. Hurricanes And Halos (3:22)

The Review:

Avatarium are proving to be a rather prolific band. The brainchild of Leif Edling (Candlemass) they have now put out three full lengths and an EP since 2013! After the excellent “The Girl With The Raven Mask”, I wondered where the band would go next. That particular album struck me as somewhat Dio-esque- with all the drama and storytelling of the miniature vocal maestro.

This time around, Dio still looms large in the influences I can hear; but more from his Rainbow era rather than his solo work. Uriah Heep offer a reference point here as well- with the rolling rhythms and Hammond organ work of “Demons and Wizards” being present and correct. The record offers up a couple of the epic song lengths that fans will expect and Jennie Ann Smith's vocals are as haunting as ever and are a real selling point of the band, not to mention a highlight of the album.

There is a lightness of touch to songs like “The Starless Sleep”, despite the weight of riffage, while there are more whimsical acoustic sounds in tracks like “Road To Jerusalem”. “Medusa Child” offers something of a centrepiece to the album at the half way point. It's a fantastic track, full of changes, production flourishes and a darkness and gloom that is always found in the best doom.

Elsewhere, “Easy Living” by Heep is echoed, Led Zep at their more morose is to be found and the downbeat grandeur of Sabbath can be heard in “A Kiss (From The End Of The World)” before the strange outro of a title track closes the record.

This is another great record from Avatarium and one which places the band firmly in the upper echelons of doom outfits operating today. There is nothing to fault here. If you enjoyed the band's previous work, don't hesitate. If you have never heard the band, then this is as good a place as any to start. Great record.

“Hurricanes & Halos” is available now

FFO: Candlemass, Jex Thoth, Dio, Uriah Heep

Band info: facebook

ALBUM REVIEW: The Doomsday Kingdom - "The Doomsday Kingdom"

 

By: Richard Maw

Album Type: Full Length

Date Released: 07/04/2017

Label: Nuclear Blast

In summary, Edling has lost none of his Midas touch here. The Doomsday Kingdom is a record that delivers in every way that is expected. It melds doom and trad metal to great effect and does so whilst sounding fresh and inspired, with a great cast of superior musicians. If you have any interest in any of Edling's previous bands, this is a must. If you are looking for some doom in the trad style, then absolutely pick this one up. A sterling success all around, then!

“The Doomsday Kingdom” CD//DD//LP track listing:

1. Silent Kingdom (5:11)

2. The Never Machine (6:35)

3. A Spoonful Of Darkness (5:50)

4. See You Tomorrow (4:36)

5. The Sceptre (7:19)

6. Hand Of Hell (5:58)

7. The Silence (7:26)

8. The God Particle (9:17)

The Review:

Leif Edling is a name known to anyone with an interest in the doom genre. Via Candlemass and more recently Avatarium, he has written an impressive entry in the encyclopaedia of metal. With The Doomsday Kingdom's self titled debut he has added to his already stellar reputation. Where to start? Well, this is an impressive release which crosses doom with more traditional metal fare. Frankly, this is right up my street in terms of style. Having recruited Niklas Stalvind of Wolf, Edling has given listeners an idea of what to expect here.

Think Sabbath meeting Angel Witch and you have a pretty good reference point. “Silent Kingdom” comes with an impressive opening groove, while “The Never Machine” is a little darker in sound. “A Spoonful of Darkness” is doomier still, but without resorting to the crawling tempos beloved on Edling's original Alma mater.

Indeed, the first three tracks set the tone here; if you like them, the rest of the album will seem like a dream come true. It welds Sabbath, Priest and NWOBHM stylings to great effect. It rocks hard enough to keep your average trad metal fan's head nodding, but in tracks such as “See You Tomorrow” and “The Sceptre” it has enough maudlin darkness (the latter) and experimentation of sound (the former- a charming instrumental) to satisfy fans of Edling's past work.

The material on offer here is heavy for sure and the production is great- clear and thick at the same time. It sounds like every inch a modern doom/trad record, worthy of the names attached to it. There is more than enough texture to the sound as well- you can hear Hammond organ in parts, there are acoustic guitars on the album, even keys as well. When the band picks up the pace on “Hand of Hell”, it sounds convincing and evokes the sounds of Trouble or mid period Paradise Lost.

There are two doom epics which close the record out: “The Silence” and “The God Particle”. Both are as heavy as lead and finish the album in fine style. There is light and shade to “The Silence”, as well as vocal histrionics from Stalvind, to go with the weighty riffage. The final statement of “The God Particle” is perhaps closer to Candlemass than the rest of the record, in terms of weight and mood. Its post nine minutes of gloom are an impressive way to finish the record.

In summary, Edling has lost none of his Midas touch here. The Doomsday Kingdom is a record that delivers in every way that is expected. It melds doom and trad metal to great effect and does so whilst sounding fresh and inspired, with a great cast of superior musicians. If you have any interest in any of Edling's previous bands, this is a must. If you are looking for some doom in the trad style, then absolutely pick this one up. A sterling success all around, then!

“The Doomsday Kingdom” is available now



Band info: facebook



Candlemass - "Death Thy Lover" EP (Review)

By: Richard Maw

Albym Type: EP
Date Released: 03/06/2016
Label: Napalm Records

New vocalist, Mats Leven stamps his authority on this EP nicely and it would be accurate to say that Candlemass have always had plenty of biting metal within and around their melancholy and this EP is no exception to that career rule.  For fans of Candlemass, of course, this is essential stuff. You get four good tracks of uniformly high quality and a fine example of the Candlemass sound- where songwriting and riffs are much more important than what amp you are playing through. 

“Death Thy Lover” CD//DD//LP track listing:

1. Death Thy Lover
2. Sleeping Giant
3. Sinister N Sweet
4. The Goose

The Review:

Candlemass return with this four track EP. Their status as legends and front runners of the doom scene is set in stone- albeit their line up has never been the most stable of things. Naturally, this has always been Leif Edling's band and as he is riding high again with Avatarium, it should follow that his alma mater band would deliver the goods.

Indeed, Candlemass do deliver here. The EP's title track “Death Thy Lover” is a great song- it mixes traditional metal, mournful doom and melodic guitar and vocals to superb effect. Thematically, it is doom in the purest sense as well.

The band follows this up strongly with “Sleeping Giant” which contains a gripping vocal performance from Mats Leven who stamps his authority on this EP nicely. It would be accurate to say that Candlemass have always had plenty of biting metal within and around their melancholy and this EP is no exception to that career rule. When the band appeared on the doom scene with “Epicus Doomicus Metallicus...” there wasn't really a doom scene. There had been Sabbath, there was Saint Vitus and Trouble. Candlemass brought something new to the table; a distinctly Scandinavian take on the genre with a dark and cold sound.

The slick production on offer here does not really chill the blood, but the band's approach remains intact and distinct, being as they summon up woe and sorrow by the bucketload throughout the music recorded here. “Sinister N Sweet” is a fine summary of where Candlemass are at circa 2016. It's weighty and dark in equal measure, but counterbalanced by the prettiness of the melodies and, yes, cold sound of the vocals.

Ending on an instrumental is a rather strange touch for this, or any, EP. Titled, as it is, “The Goose” does not really summon up thoughts of impending disaster and misery, but the six and a half minutes is an effective riff work out which runs through the band's lower tempo gears well. There is good soloing to be had, too.

For fans of Candlemass, of course, this is essential stuff. You get four good tracks of uniformly high quality and a fine example of the Candlemass sound- where songwriting and riffs are much more important than what amp you are playing through. Who knows, for those unfamiliar this may be ideal; a bite sized entree to the world of Scandinavian doom.

“Death Thy Lover” is available here

Band info: official || facebook

Avatarium - 'The Girl With The Raven Mask' (Album Review)

By: Richard Maw

Album Type: Full Length

Date Released: 23/10/2015

Label: Nuclear Blast

At the end of it all, there is the feeling that you have heard something very unusual, but also very enjoyable. It is not a difficult record to listen to and some of the melodies and imagery conjured up are just sublime. It is most definitely a natural progression from the first record- with a more defined sound and identity perhaps, albeit that the first record was very much its own beast. Certainly, this is doom, but of a different kind and it stands alone in the genre. Simply put: make sure you hear it. It is essential.

‘The Girl With The Raven Mask’ CD//DD//LP:

1. Girl With The Raven Mask (4:11)

2. The January Sea (7:55)

3. Pearls And Coffins (7:03)

4. Hypnotized (6:26)

5. Ghostlight (6:38)

6. Run Killer Run (5:18)

7. Iron Mule (5:50)

8. The Master Thief (6:37)

Avatarium is:

Leif Edling | bass

Marcus Jidell | guitars

Lasse Sköld | drums

Jennie-Ann Smith | vocals

Carl Westholm | keyboards

The Review:

Avatarium, the Leif Eidling project has really gathered pace since the release of their debut a couple of years ago. I reviewed the debut (here) at the time and its enchanting mixture of the murkiest doom and the most enchanting melodies brought fairy tales to aural life. While the music here remains firmly rooted in the realms of Candlemass, the fantastical/melodic elements are just as prevalent this time around, if not more so.

The title track opener is as fine a piece of melodrama that Dio ever committed to tape- seriously; the overwrought vocal is superb as is the music. It is a barnstorming opener akin to perhaps something like “Neon Knights”. ‘The January Sea’ then ramps up the doom, while keeping the sense of drama intact. Again, Jennie Anne Smith's vocal is superbly delivered. Returning to a theme I mentioned in a  recent review, a great and distinctive singer can really set a band apart- and has done so for most of the bands that you revere (apart from ones that are purely genre based, perhaps). The importance of Smith's vocals cannot be overstated as they compliment the melancholic and dramatic music perfectly to produce a unique doom record. The opener is the shortest track at just over four minutes and thereafter the usual tenets of the genre present themselves- all songs over five minutes and most are longer by some distance.

There are elements of 70's rock monoliths like Jethro Tull in the folkish inflections present in some tracks; there are Sabbathian moments of heaviness and moments of drama to rival the most theatrical pieces on ‘Mob Rules’. While I initially mistook the refrain of ‘Pearls and Coffins’ for the words “Persian Coffee,” the track (once that was cleared up) reveals itself to be a rather downcast ballad which again acts a showcase for Smith's voice. The Hammond organ solo is excellent and segues nicely into a musical passage of crashing chords before a dynamic shift. The album does reference the likes of Tull and Wishbone Ash- even Uriah Heap, but it never does so with a purely retro outlook. That marks the difference between Avatarium and myriad other retro rock/occult rock/any- band-with-vintage-instruments-who have enlisted a female vocalist: they have a sound which takes the best parts of their references and makes something new. This is not a retro album or backwards looking in any way.

‘Hypnotized’ again uses keys to good effect as a kind of counter melody (percussion overdubs included, showing thought has gone into the production and vibe of the songs). The riffing fits the classic doom template of being heavy without being aggressive, while the central hook is strong. ‘Ghostlight’ is a perfect winter soundtrack with its snowbound imagery and northern winds; it is a kind of modern cousin to ‘No Quarter’- but with phantoms rather than warriors taking the central role. The structures of most tracks are/can be a little ponderous- the vibe is the thing here, not necessarily economy- but that is true with most doom records. Then again, there are barnstormers such as ‘Run Killer Run’ to break things up with their full on powerful riffing and driving rhythms.

Naturally, ‘Iron Mule’ is as plodding as you might expect from the title, but features some excellent bass work (great sound, incidentally) and a great solo to boot. ‘The Master Thief’ features more darkness and melody and has mainly quiet passages. Indeed, a feature of the record (as with the debut) is the use of dynamics. Rarely does the band just go for all out noise and power- instead tempering things with instrumental breaks and only going full heavy in bursts. The dreamy lyrics again draw on fairytale/mythological imagery to good effect and allows a different dimension to assert itself.

At the end of it all, there is the feeling that you have heard something very unusual, but also very enjoyable. It is not a difficult record to listen to and some of the melodies and imagery conjured up are just sublime. It is most definitely a natural progression from the first record- with a more defined sound and identity perhaps, albeit that the first record was very much its own beast. Certainly, this is doom, but of a different kind and it stands alone in the genre. Simply put: make sure you hear it. It is essential.

‘The Girl With The Raven Mask’ is available here

Band info: official | facebook