ALBUM REVIEW: Wytch Hazel, "IV: Sacrament"

By: Richard Maw
 
Album Type: Full Length
Date Released: 02/06/2023
Label: Bad Omen Records

 
“IV: Sacrament” CD//DD//LP track listing:
 
1. The Fire's Control
2. Angel of Light
3. Time and Doubt
4. Strong Heart
5. Deliver Us
6. A Thousand Years
7. Gold Light
8. Endless Battle
9. Future Is Gold
10. Digging Deeper
 

The Review:

Wytch Hazel are back to save us from ourselves- and mediocre albums- with this, their fourth full length. Hitherto, the Lancastrian band have been building up quite a head of steam. “Prelude” introduced the band with its Thin Lizzy meets Wishbone Ash meets NWOBHM stylings. “II Sojourn” was a more straightforward rock proposition and then their crowning glory, “III Pentecost” was the best hard rock album of 2020- fairly easily.
 
While “Pentecost” may have borrowed from Argus in terms of its pastoral elements and the overall Englishness of the vibe and the space of the sound, “Sacrament” is different again. Having moved from The Stationhouse studio in Leeds to pastures new at StudiOwz in Wales, the band have retained their spacious and expansive sound, along with the analogue vibe of the production courtesy of Ed Turner who operates here as something like a band-member-once-removed.
 
It’s clear that the band’s Christian themes/element is stronger than ever here; fear of hell and the control that asserts is the theme of “The Fire’s Control” and “Angel of Light” is about, well- you know already. There is Hammond Organ in the mix, multi layered guitars and an excellent bass sound.
 
There are quirks here; the solo of “Time and Doubt” is extremely fiery, even when the vocals and lyrics are maudlin. Main man Colin Hendra clearly put in overtime with this record- he plays drums after the departure of Jack Spencer. His drumming here is perfectly serviceable, but it is missing the flair of Spencer’s fills and the subtleties/style of his approach. Hendra instead supplies a bedrock for the other instruments to build upon, without flash or fuss. It’s competent and direct. I suspect the album could have been lifted by a full-time drummer, but the fact that the band and Colin made it work without one is a minor miracle in itself. The guitars, vocals and other instrumentation is superb. They all sound incredible and are full of life and purpose. The acoustic guitar overdubs, used to expand the sound a la the Stones on their best 70s work, work superbly and the whole sound has the effect of a wall of sound. Majestic.
 
Hendra has kept the songs tight and focused- no sprawling 20min prog epics- but despite the taut running times the record has a completely epic feel; it’s a truly immersive experience. As the listener is exhorted to stay until the battle is won on “Deliver Us”… well, I believed in the quest and I believed every word that was sung. It’s powerful, affecting and effective.
 
Across the record, Wytch Hazel have achieved something in hard rock/metal that is very difficult to do: they have made a heavy album that isn’t aggressive. Too much rock and metal these days (and all days) relies on aggressive chest beating as a trope to confirm heavy credentials. Wytch Hazel instead rely on songs, melodies and sound. Not many bands have been able to do that over the years- Led Zeppelin, Thin Lizzy, Queen, Wishbone Ash and if we extend things a bit, Jethro Tull. It’s a fairly small list (you’ll think of others) and places Wytch Hazel in exalted company indeed. Yes, make no mistake, this album IS heavy. It’s heavy in themes and vibe, even if its airy production belies this. It also rocks hard, but without machismo.
 
As the record reaches its final triumvirate, the guitar riff and sound that opens “Endless Battle” is simply excellent. The band immediately change things up and the verse section is not what you would expect from the opening- again, a little like classic Tull. The guitar work also echoes Iron Maiden a little- the lineage of British rock and metal is clear and Wytch Hazel are claiming their place in it. The reverbed start to “Future is Gold” allows for lovely acoustic sounds and excellent layered vocals from Colin Hendra; it introduces a rather positive outlook missing from previous tracks- but it is still tinged with a little sadness, a little uncertainty, a little wistfulness. As the album’s ballad track, it works well and is expertly placed in the penultimate position.
 
Naturally, the band close the album with the longest track- the aptly named “Digging Deeper”. The Wishbone Ash influence is present and correct again here, but the band are now just sounding like themselves- as they did on “Pentecost”. Their sound is unique and instantly recognisable. In fact, over the last few years, Wytch Hazel have become one of my favourite bands. They are peerless at what they do in the modern age and this record is, front to back, incredibly strong. It’s heavy, but paradoxically has a lightness of touch to everything within it. It’s dark but uplifting. It’s much like a Cathedral; a towering achievement built from the ground up, reaching towards the heavens above.
 
If you haven’t heard Wytch Hazel, you must listen. They are the way, the truth and the light.
 
“IV: Sacrement” is available HERE

Band info: Bandcamp || Facebook

ALBUM REVIEW: Wytch Hazel, "III Pentecost"

By: Richard Maw

Album Type: Full Length
Date Released: 30/10/2020
Label: Bad Omen Records
 

“III Pentecost” CD//DD//LP track listing:
 
1). He is the Fight
2). Spirit and Fire
3). I Am Redeemed
4). Archangel
5). Dry Bones
6). Sonata
7). I Will Not
8). Reap The Harvest
9). The Crown
10). Ancient of Days

The Review:

Wytch Hazel, perhaps the North West of England's premier medieval metal band return with their third full length and it is an interesting and progressive beast. Their debut, “Prelude” was an excellent mix of particularly British hard rock, folk rock and proto-metal, while “Sojourn” went into more straightforward rocking territory.

This time around, the band have expanded their sound further and deliver songs that are thematically even more pro-Christian with a sound that is hard driving and whimsical by turns. “Pentecost”, as one might expect from the title is fairly steeped in Christian theology and comes on with a sound that mixes Wishbone Ash, Jethro Tull, Thin Lizzy and Iron Maiden to quite glorious effect.

The opener “He Is The Fight” lets you know exactly where you stand; approximately in 1975 in a  warm recording studio complete with ornate rugs and wooden floors. The sound and production is excellent; it's warm and vibrant with organic sounds aplenty. James Atkinson (of Gentlemens Pistols fame) has done a superb job of capturing the band's heart and soul. The nifty production trick of adding acoustic guitars to augment and fill out the electric instruments is introduced from the get go and it is repeated throughout the record, making for an expansive and airy sound.

The religious themes and imagery crop up time and again also; “Archangel”, “Reap The Harvest”, “I Am Redeemed...” anyone reading these song titles should not be surprised at all by the lyrical content. It might be hard to swallow for some listeners- but, of course, those same listeners are probably happy to imbibe the cod-satanism of any number of other metal bands. I must confess, this includes me. I find the religious aspects of the record problematic and distracting. However, the quality of material such as “The Crown” shines through, though, so regardless your of your belief system you should be able to enjoy this.

It's my view that this is the best and most developed Wytch Hazel record yet; it conjures up a uniquely English atmosphere (once again the spectre of  Argus!) and is expertly played and delivered by a band of clear capability. All band members do a great job from the vocals (masterfully double tracked in places) to the melodic guitar playing to the rock solid rhythm section it is pretty much flawless. The songs are there, the production is there, the front cover is fantastic. There are so many plus points to the album that they outweigh any gripes one may have with the lyrical themes contained herein. It's an excellent record by a unique band- one that deserves to be given a try and heard by any fans of any of the bands mentioned or alluded to here.

“III Pentacost” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Spell, "Opulent Decay"

By: Chris Markwell

Album Type: Full Length

Date Released: 10/04/2020

Label: Bad Omen Records

“Opulent Decay” CD//DD//LP track listing:

1). Psychic Death

2). Opulent Decay

3). Sibyl Vane

4). Primrose Path

5). The Iron Wind

6). Dawn Wanderer

7). Deceiver

8). Ataraxia

9). Imprisoned by Shadows

10). Saturns Riddle

The Review:

Season of riffs, and mellow moshfulness… we find ourselves in times where music is needed now more than ever to soothe the soul, and send the mind to higher, happier planes.  There has never been a more apt time to discover new music.  Never. 

May I humbly recommend Vancouver heavy metal trio Spell? 

April 10^th 2020 sees the release of “Opulent Decay”, their fourth album.  It’s a true nostalgia-fuelled romp through the gardens of Sabbath, with sojourns through Dio valleys and the Thin Lizzy rivers.  It’s a journey your ears deserve to take, because you’ll find new, virgin audioscapes on which to traverse. 

Let’s get to the work itself: Spell are three gents who look like they were forged from three ingots of original heavy metal, and make music that resonates with that classic sound of old.  But it doesn’t sound outdated; far from it, in fact.  It feels new, and refreshing, and vital.  It’s like being a treasure hunter and finding a horde of plunder.  Except, this time, the whip and fedora aren’t required to find this plunder… although I’m sure they help.  Ahem. 

The music itself is ten tracks of glorious metal, spacier than an orbiting satellite, and riffier than Steve Harris of Iron Maiden chugging with Gary Moore and Tony Iommi.  Album opener ‘Psychic Death’ has this radiating, rolling drum beat which pulls the bass and guitar around as though it was their chariot, driving them onward to the battlefield that is your speakers.  Personal favourites for me include ‘Sibyl Vane’, which is a “Bad Reputation”-era Thin Lizzy rock song, with some truly mesmerising bass licks, courtesy of Cam Mesmer (great name), and ‘Deceiver’, which has this opening riff that reminds me of Annihilator’s ‘Never, Neverland’, before slamming into this powerful, Dio-era Sabbath style heaviness.  But get this: Cam’s voice on this track sounds like Simon Le Bon from Duran Duran.  And it works!  I don’t know how; I don’t know why… but it just works.  Hybridisation at its most magical. 

Spell’s latest album “Opulent Decay” is an enchanting slice of expansive heavy music.  The soundscapes breathe, move like a living being, and carry you along in their arms.  It’s a comforting journey, made with love and real craftsmanship.  Spell deserve to cast their magic on you.  On April 10^th, 2020, let them. 

“Opulent Decay” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Satan's Satyrs, "The Lucky Ones"

By: John Reppion

Album Type: Full Length

Date Released: 19/10/2018

Label: Bad Omen Records |

RidingEasy Records

“The Lucky Ones” CD//DD//LP track listing:

1). Thrill of the City

2). The Lucky Ones

3). She Beast

4). Take It and Run

5). You and Your Boots

6). Too Early to Fold

7). Pulp Star

8). Trampled by Angels

9). Permanent Darknes

The Review:

What if, rather than dying in that car-crash in 1977, Marc Bolan had instead taken over guitar and vocal duties in Angel Witch, and decided they needed to tune down to couple of steps? It’s something we’ve all pondered, I’m sure, but thanks to Satan’s Satyrs we need wonder no longer.

“The Lucky Ones” is the fourth full length from the Virginia quartet, following their split EP with tour-mates Windhand, released on Relapse Records earlier this year. Once again the garage rock/proto-punk influences of MC5, Blue Cheer, Ziggy Stardust era Bowie, and all the rest, clash head on with NWOHBM dual guitars and chunky, swaggering Cock Rock riffs.

What are Satan's Satyrs? Are they a Glam Punk band? That sounds a bit shit. Are they a Retro Rock band? That sounds ever shitter. But they're undeniably a band whose sound, look, and attitude is rooted in the 1970s. Of course, the same could be said for a lot of bands in 2018, but Satan's Satyrs are a lot more The Sweet than Sabbath.

“Thrill of the City” is a tyre-screeching Stooges-like opener, with tasty Thin Lizzy twin lead work from Nate Towle and Jarrett Nettnin. “The Lucky Ones” like a raw, garage cover-version of some unlikely song you've definitely heard before, but somehow can't remember the name of. “She Beast”’s main riff is a weighty, sleazy Southern Rock strut with Clayton Burgess' chunky bass grunting away octaves below his pouty, boy-Bowie vocals.

“Take it and Run” is an acoustic driven number, equal parts Lizzy, T-Rex, and Ziggy. “You and Your Boots”' fat, chugging verses give way to straight up rock n roll choruses, with unashamedly triumphant leads which wouldn't sound out of place on a track by The Darkness. “Too Early to Fold”, similarly sounds like it could be some raw, rough and ready pre-“Permission to Land” lost demo.

There's more than a whiff of early Guns N Roses throughout the record, but “Pulp Star” is pretty much straight up L.A. Hard Rock. “Trampled by Angels” sounds exactly like it's being performed (mimed to, I suppose) on a 1978 Christmas edition of Top of the Pops. “Permanent Darkness” is the most thoroughly NWOBHM sounding track on “The Lucky Ones” and, as such, it's a strong closer – bringing the kitch levels down several notches.

So, to return to the question, what are Satan’s Satyrs? Is it possible to be a brand new Classic Rock band? Even if it is, that’s still not quite right in terms of describing what they’re up to. They’re more like a brand new proto-Classic Rock band – a band capturing the sound and energy of what happened in venues like The Rainbow in London in the lead up to the dull, grey 1980s, and the dawn of Stadium Rock proper. Sweaty, urgent, cocksure, and raw; as much as I can list all these forty-odd year old bands and artists that Satan's Satyrs undeniably sound like, there’s no sense that they’re a mere pastiche of what’s gone before. Whatever exactly it is that they’re actually doing, whatever you want to call it, they seem to be the only ones out there doing it right now, and they’re doing it well.

“The Lucky Ones” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Wytch Hazel, "II: Sojourn"

By: Richard Maw

Album Type: Full Length

Date Released: 13/07/2018

Label: Bad Omen Records

Just how good and revered this album is and will be is not yet known, but there is no doubt that all the elements are there for this to become at the least an underground hit.

“II: Sojourn” CD//DD//LP track listing:

1). The Devil Is Here

2). Save My Life

3). Still We Fight

4). Wait On The Wind

5). See My Demons

6). Barrow Hill

7). Chorale

8). Slaves To Righteousness

9). Victory

10). Angel Take Me

The Review:

Undoubtedly the best medieval inspired hard rock band in the North West of England (!) Wytch Hazel are back with this second full length album. They have retained their vintage sound and peculiarly English sense of style on this excellent return. Much like their debut, “Prelude”, the band play very assuredly and with considerable flair; the guitar work is fleet footed and the rhythm section is very tight indeed.

If the band were going for a classic Wishbone Ash crossed with Thin Lizzy by way of Jethro Tull vibe... they have succeeded admirably. Messrs Downey, Lynott, Gorham and Robertson/Moore/White/Sykes (or Bell) would be hugely pleased if they came up with the fiery work displayed on “Save My Life” or storming opener “The Devil Is Here”. The word here is classic: classic sound, well delivered  songs and timeless in themes and scope.

There are bursts of pace (“Still We Fight”) to go with anthemic choruses. There are mellow and melancholy tracks (“Wait On The Wind”) and not a duff track in sight in the ten on offer here. This is English hard rock of the best vintage (1972-1978) and actually manages to conjure up the wistfulness  that the aforementioned Wishbone Ash did so convincingly on their classic “Argus” full length.

Just how good and revered this album is and will be is not yet known- it needs more time to bed in than the two weeks I have had it for review; but there is no doubt that all the elements are there for this to become at the least an underground hit. From the lush acoustics of “Barrow Hill” to the instrumental bombast of “Chorale”, the ingredients are here.

Wytch Hazel pursue the same path to its logical conclusion via “Slaves To Righteousness”, “Victory” and the closing “Angel Take Me”. The only possible fly in the ointment for some listeners may be the somewhat spiritual/religious aspect to the record- but it was there on the debut too. It doesn't bother me but you may feel differently; your call.

What we have here, then, are ten tracks of finely crafted English hard rock in the classic style. There are no songs about girls, no songs about cars, only loud guitars and a longing for another, simpler time. Fantastic.

“II: Sojourn” is available here

Band info: bandcamp || facebook

INTERVIEW: In Conversation with doom legend Karl Simon (Wretch/The Gates of Slumber)

By: Richard Maw

Karl Simon, formerly of The Gates of Slumber is back with Wretch- a street level doom band hell bent on bringing you back to reality with their traditional doom sound. Here we ask him about the band, the album and the upcoming European and UK shows.

Sludgelord: You have European and UK shows coming up, can you tell us what kind of set we can expect in terms of songs and if there are any surprises you might throw in?

Karl Simon: Well, we will be playing the majority of our record and a few TGoS songs that we feel are appropriate to this band.... maybe if people let Chris know they want to hear it we'll play “The Jury”. Which was first written way back when he was first drumming in TGoS on the old Sabbath Witch Demo 

Sludgelord: Is there any new material written for the next record?

KS: Yeah we are working on things as they come. You know it's a process. Write a song chuck it all away but one riff and start over. 

Sludgelord: The Judas Priest cover on your debut is a great choice. “Rocka Rolla” has always suffered a really bad press – certainly here in the UK. I have a lot of time for that album; what made you choose “Winter” to record?

KS: Chris really, really wanted to do it and it totally fit in with the vibe of our early jams, it was a cold and hard winter in 2013. 

Sludgelord: In terms of lyrical themes, the Wretch debut is less sword and sorcery and more down to earth; was this conscious choice?

KS: Yes, and this goes back to TGoS... we did “Suffer No Guilt” and it was something I was very proud of on a lot of levels. The record suffers from our inexperience and lack of budget and connections at the time, but the songs I think were some of the best things we did.  That record opened up doors for us and we got to revisit what we were trying to do with “Conqueror....” also a good record, though I think both were too long!   And if I'm honest too quick back to back and so was “Hymns”, I'm actually stunned at how good the stuff on “Hymns” is when I hear it now - I couldn't imagine playing like that again.  But, lyrically it suffers, badly because we were trying to do "a thing".  Gates could do music very quickly, but I didn't have the words on that one.  “Death Dealer” is pretty much a trope, it's not something I was really proud of lyrically, and I was kicking the edge of my abilities as a guitarist as well.  That was Jason's record on all fronts: better songs, better words... everything.  But I couldn't do the "Conan Crushing Doom" thing anymore.  

When we got Clyde on drums for” The Wretch” I had already been working on much doomier more Vitus-ized riffs and songs and his playing totally brought that crawling doom thing out in us.  Jason still had that bug on his mind lyrically but a lot of stuff was changed in the studio.  In a sense if “Hymns” was his record, “The Wretch” was maybe mine?  I dunno.  That's for other people to decide.  

It felt good to sing things more from my life; and I think the audiences connected with those songs more than with the earlier stuff, more on an "I can relate to that" level.  A song about a giant spider will appeal to some folks, but a song about being in the depths of depression or the desolate feeling of rejection or a relationship falling apart... everyone connects with that.  

With Wretch I wanted to continue to make that kind of music.  Make those kind of songs.   

Sludgelord: Having played with Chris Gordon on the mighty “Suffer No Guilt” opus, was he an obvious choice for Wretch? He has done a great job on the album- grooves and powerful playing.

KS: Chris and I just play very well together I get his drumming and he gets how to play to my guitar stylings. We did right out of the box.  I like to jam, Chris likes to jam.  I mean we fight about every week and I'm sure he's love to shoot me.  But we do work well together.  

Sludgelord: How did you get Bryce Clarke involved with the band?

KS: He was a player I'd seen around and I liked his style a lot. And one day I saw his lady in the bar I work at and I asked what he was up to, he came up and I played him some rough recordings Chris and I had done.  He was interested.  Gave him the demo and he came to the first jam knowing all the stuff. We came up with the coda jam at the end of “RIP” that day. He just took bass solo over the 8th note drone part and Chris and I just played along.  All doubts were gone from my mind then. 

Sludgelord: The power trio is a great band format -there are fewer people to argue with for a start- was it your intention to maintain the format with Wretch, as you had done with TGOS?

KS: Yeah, I mean I know Chris would like a keyboard player and or a second guitarist... and there are times I think it would be cool. And then there are times when I'm like "I fucking hate singing I wish there was a singer out there". But in the end nah. The sound is what we have.  Chris is the drummer, Bryce is the bassist, and I sing and play guitar.  That's the sound and it works. 

Sludgelord: The biggest bands in metal are now getting closer and closer to retirement; do you think that young bands will always come up, or are death, trad, doom and all other sub genres destined for something akin to the modern rockabilly scene - conventions, festivals and nostalgia only?

KS: Probably the latter.  I mean the legends of doom are playing the same clubs a band like us plays. You know? This is a cult thing with a crowd that is also getting older.... and who knows what is going on with this music thing anymore?  

I gave up on worrying about the scene and all that shit years ago.  

Sludgelord: Having read interviews with you in the past, it seems that you have really dedicated your life to doom metal: Is it a high price for a small reward, or have you got out of all this what you wanted?

KS: Well... ... I have gotten what was there to get.  If you think there is money in this. You're wrong.  Over the years people have gleefully hurled the "sell out" thing at me.... and rightly so - I did the same idiot shit; the circle is complete. 

I don't think you can set out to do Doom Metal, it's something you kind of have to have in you, maybe more than any other style of music. 

I've been in a semi depressed state since I was 5 years old.  I remember being that young and realizing on some level how futile and dumb the world is.  And I've not been proved wrong.  The depressions found a home in Ozzy's voice and Geezer's words. And in Wino's voice and Chandler's riffs and words.  The depression found a friend in drugs and booze.  

At this point man I've seen more of Western Europe than almost anyone in my town.  I've met some awesome people.  I've played some great shows.  So what there is to do, I've done. 

Sludgelord: You are playing Roadburn prior to your UK tour; are there any festivals or places you want to play in Europe or the UK which you haven't done in your career yet?

KS: Oh tons.  Lots of places I'd like to play again

Band info: official || facebook

Wytch Hazel - "Prelude" (Album Review)

By: Richard Maw

Album Type: Full Length
Date Released: 22/04/2016
Label: Bad Omen Records

If you have any interest in Tull, Ash, Lizzy, Sabbath et al and yearn for a band to come along and play like those heroes of a bygone era, Wytch Hazel are definitely worth your time and money. They are a great band and one that is doing something unique- out are occult tropes and devil-ish imagery, in are song-writing, medieval sonics/themes and enthusiasm rather than cynicism. A triumphant record on every level.

“Prelude” CD//DD//LP track listing:

1). Freedom Battle
2). Fight
3). Mighty King
4). More Than Conquerors
5). Psalm
6). Prelude
7). He Shall Reign
8). Dark Ages
9). Wytch Hazel
10). We Will Be Strong

The Review:

This Lancaster troupe of minstrels release this full length via Bad Omen Records (home of the recently reviewed Wretch!). Musically, this is somewhere between Jethro Tull (folk rock period up to 1980) and Black Sabbath/Thin Lizzy. It certainly has the folk-ish elements and the complexity of the former, but it also brandishes the power of the latter as well- this is not folk rock; it's too heavy for that.

“Freedom Battle” starts off at a fine clip and brings elements of Maiden (and thus their beloved influences) to the fray. “Fight” continues the combative theme of resistance and has many changes which are deftly handled by the band. “Mighty King” has no shortage of whimsical guitar work or vocal hooks. The sound is pleasingly warm and, yes, 70's. “More Than Conquerors” comes on like a revved up Wishbone Ash, while “Psalm” also echoes this; particularly with it’s rather pretty acoustic guitars and lyrics themed around nature, solitude and so on. Nice keyboard work, too.

The title track has a lot of the aforementioned elements and influences and hearing the ambient hiss (if you listen carefully on headphones) at the start of the track adds to the sense that this album is a trip back in time. “He Shall Reign” is a rather triumphant track in tone and boasts some excellent dynamics and vocals, along with a heavy turn in the middle. “Dark Ages” is a lament about an age of apathy and deceit. Prescient.

The band's theme song (if that is not too crass a term) follows with a rather muscular and Lizzy-esque four and a half minutes, interspersed with an acoustic passage and a superb harmony guitar section. The closing six minutes of “We Will Be Strong” is another powerful song with plenty of guitar interplay and soaring vocals. There is a tight rhythm section at work (as there is throughout the album) and plenty of singable lead work.

If you have any interest in Tull, Ash, Lizzy, Sabbath et al and yearn for a band to come along and play like those heroes of a bygone era, Wytch Hazel are definitely worth your time and money. They are a great band and one that is doing something unique- out are occult tropes and devil-ish imagery, in are song-writing, medieval sonics/themes and enthusiasm rather than cynicism. A triumphant record on every level.

“Prelude” is available here

Band info: facebook

Wretch - "Wretch" (Album Review)

By: Richard Maw

Album Type: Full Length

Date Released: 26/08/2016

Label: Bad Omen Records

This is a fine debut and a much needed shot of trad doom, with actual songs, - in an era of obsession with amps and pedals (but without, you know, actual songs and stuff). It is a triumph for this intrepid trio and surely there are great things to come for the band. Make no mistake, Wretch are here and Wretch will bring you real doom or throw you out of the bar if you don't like it.

“Wretch” track listing:

1). Running out of Days

2). Rest in Peace

3). Blood Finger

4). Winter

5). Icebound

6). Grey Cast Mourning

7). Drown

The Review:

For me, it was an exultant thought of “at last!” when this album came through for review. Regular readers of The Sludgelord will know what high regard I hold Wretch main-man Karl Simon's previous band, The Gates of Slumber, in. TGOS are one of the best doom bands of all time, end of discussion. The split of the band and the untimely passing of bassist Jason McCash (much missed) meant that Simon would have to rise, phoenix-like, with a new band.

Wretch show from the off that they are a trio to be reckoned with. Out are the Conan/sword and sorcery tropes of the TGOS, in are the street level stylings of Saint Vitus; doom, despair and downers. “Running Out Of Days” kicks things off in great style. As an opening statement of intent, as a stand alone track, as a return for Karl Simon: it is a triumph. It has all that is great about doom; cracking riff, good thick AND clear production, great hook and theme. A banger.

“Rest In Peace” takes the tempo down a notch. Although Simon is the marquee name involved, Chris on drums and Bryce on bass (as they are credited on Facebook) play their part in this record and contribute a rock solid foundation for the riffage and vocals. The pure Sabbath worship on offer here is a treat. “Bloodfinger” is a mellower instrumental track, drenched in phase- solos without anything other than the rhythm section underneath are assured...

“Winter” has an insistent main riff and a creepy feel, reminding me of a lowed down and fuzzed up early “Judas Priest”. “Icebound” is the record's central pillar, and the only song of epic length- coming in as it does at over eight minutes. The arrangement is pure doom- massive riff, vocal, solo, vocal and so on. This is doom in its purest form; unadulterated and unadorned (Sabbath-esque fast section guaranteed). A cowbell also features here, praise the dark lord!

“Grey Cast Mourning”is a rather moving clean guitar instrumental with lots of tape hiss and character- a more musical cousin of something Mr Chandler might whip up, perhaps. It works as a fine intro/bridge into the excellent “Drown”- which rounds this seven track album off in strong style. Downtuned and downcast, this is a rip-ride of a track; slow and crushing.

Karl Simon has managed to bring the more direct elements of his previous band (and of the genre's other greats) and combine them with his distinctive vocal and guitar style to make Wretch work as a band. As a reference point, think of the final album by TGOS (obvious, considering the title) combined with the more street level bands of doom. This is a fine debut and a much needed shot of trad doom, with actual songs, - in an era of obsession with amps and pedals (but without, you know, actual songs and stuff). It is a triumph for this intrepid trio and surely there are great things to come for the band. Make no mistake, Wretch are here and Wretch will bring you real doom or throw you out of the bar if you don't like it.

Band info: official || facebook