ALBUM REVIEW: Boss Keloid, "Family The Smiling Thrush"

By: Peter Morsellino
 
Album Type: Full Length
Date Released: 04/06/2021
Label: Ripple Music

 
“Family The Smiling Thrush” CD//DD//LP track listing:
 
1. Orang of Noyn
2. Gentle Clovis
3. Hats the Mandrill
4. Smiling Thrush
5. Cecil Succulent
6. Grendle
7. Flatt Controller
 
The Review:
 
With a swirling tempest of psychedelia, Boss Keloid return with “Family the Smiling Thrush”.  Crafting a sonic experience that is difficult to define, Boss Keloid provides the listener with something to think about, but not without providing the solid grooves that they have come to be known for over the years. 
 
There is no simple way to describe the music of Boss Keloid to the uninitiated.  There are elements of psychedelia intermingled with a strong progressive rock influence, backed by a heavy stoner metal groove, but the sound encompasses so much more than that.  There is something completely intangible that helps Boss Keloid stand out amongst their peers, and that something is displayed in full force on “Family the Smiling Thrush”.
 
Songwriting is the star of the show throughout the album, with arrangements weaving intricate webs through the listener’s mind.  Meticulously crafted structures rise and fall with a hard soft dynamic that gives “Family the Smiling Thrush” its mysterious sound.  At times, I was briefly reminded of Tool or Mastodon, yet these comparisons fail to even breach the surface of what Boss Keloid is presenting, and in truth do the band’s music a disservice. 
 
What comes across through the speakers here is something entirely unique.  A melding of genres as vast as the sound it creates.  Truly something that is greater than the sum of its parts.  “Family the Smiling Thrush” is very much something that needs to be heard to be fully appreciated.  Expect thoughtful passages exemplified by heavy grooves with a thick, hazy atmosphere of the unknown.  Give this one a listen.
 
“Family The Smiling Thrush” is available HERE 

Band info: bandcamp || facebook

ALBUM REVIEW: Boss Keloid, "Melted on the Inch"

By: John Reppion

Album Type: Full Length

Date Released: 27/04/2018

Label: Holy Roar Records

Melted on the Inch" is going to be huge, and deservedly so.

“Melted on the Inch“” CD//DD//LP track listing:

1. Chronosiam

2. Tarku Shavel

3. Peykruve

4. Jromalih

5. Lokannok

6. Griffonbrass

The Review:

It's April 2018, Wigan's very own Prog Sludgers Boss Keloid are back with album number four, "Melted on the Inch", and it might just be "the big one". Do heavy bands cross over into mainstream success in the twenty-teens? If so, what does that even look like? I have no idea, but whatever form that takes, that's surely what's about to happen to Boss Keloid. Where reviewers of previous outings have drawn comparisons to the likes of Iron Monkey, Clutch, and Mastodon, "Melted on the Inch" has much more of a straight-up rock influence, with a dynamic range to match.

“Chronosiam”’s gentle proggy intro breaks into a super-chunky riff,  with Alex Hurst's powerful vocals pushed to the fore (as they are throughout the record). By turns triumphant, heavy, melodic, and atmospheric, it's the perfect opener.

In the next track we get our first bit of newest member Matt Milne’s keyboards – a subtle touch of 60s inspired prog organ-work.“Tarku Shovel” starts out with more than a hint of the 90s about it, seeming at first like a kind of Soundgarden meets Down type affair, with Hurst going full Anselmo for the sludgified chorus. The song’s final two minute movement though – too long to be just an outro – is the first real taste of the different territory Boss Keloid are venturing into with "Melted on the Inch", sounding not unlike a more laid back Baroness.

“Peycruve”’s sneaky, cheeky, almost jazzy beginnings would not sound out of place on Crime in Choir's 2004 album "The Hoop"; Arands and (Adam) Swarbrick’s rhythm section locked in as tight as anything, and with some fantastic guitar work from Paul Swarbrick throughout. Again we get the light and darkness – the contrast between the heaviness of one passage and the mildness of the next. The oft cited King Crimson influence comes to the fore at a pivotal moment, only to be swallowed by a wave of heaviness once again.

From Tribal Tiki Lounge percussive beginnings “Jromalih" becomes one of the more straight forward, verse/chorus/verse, tracks on the album. It also has some of the biggest riffs, however, and works very, very well indeed. "Lokannok"'s wonky synth intro leads us into a track with a pretty similar arrangement (albeit with more prominent and intrinsic keyboards), but which is no less effective. If I say that, at times, it (and other parts of the album) sounds a bit like Neurosis doing a Pearl Jam cover that might put people off. So I probably shouldn’t say that.

Finally, “Griffonbrass” feels like the perfect counterpart to the album opener, so that the pair bookend the record nicely. This latter showcasing more or less the full range of styles and influences covered across "Melted on the Inch".

"Melted on the Inch" is a really polished sounding record and, if I’m perfectly honest, then I think it might be a little bit too polished. The way the very dry vocals are pushed right to the front of the mix, and the keyboards pushed to the very back doesn’t quite sound right to me. I don’t feel like it sounds as massive as it could or should. But who gives a fuck what I think? Kerrang and Metal Hammer already love Boss Keloid, and they’re currently in The Guardian’s Top 40 Tracks for April playlist. "Melted on the Inch" is going to be huge, and deservedly so.

“Melted on the Inch” is available here

Band info: bandcamp || facebook

The Sludgelord Presents: The Top 16 of the Sour 16 (January - June 2016)

By: Aaron Pickford



 

As I reflect incredulously upon 2016 so far, the first six months has seen writers and contributors come and go, there have been marriages, house extensions and new children, so it continues to confound my expectations that The Sludgelord exists at all, let alone being able to reflect upon six months worth of albums.

 

2016 is like any other, we predict this year’s releases will not top the last, but invariably we are proven wrong,  there have been highlights and disappointments, shocks and surprises, and as we approach the second week of July, we’ll continue to separate the good, from the bad and the ugly.  But today we reflect upon the 16 most popular records at The Sludgelord so far in 2016.  

 

This list does not reflect the contributors own tastes, rather they are articles that have received the most clicks, therefore by virtue of that, you could argue they’re the most popular (it’s a pretty loose hypotheses I know, but we wanted the list to reflect your tastes not ours).  The fact that the albums cover a variety of genres is indicative of how the site has grown and is central to the philosophy we promote, which is to review albums we like, not solely on the basis of genre.

 

The albums compiled in this list may not specifically be doom or sludge, but they are great albums nonetheless.  The results are compiled based on page views alone and 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 red)



16). Bedowyn – “Blood of the Fall” (922)

While the overall sound is pretty weighty, this is not as aggressive as the likes of the High on Fire; Bedowyn cover more of a middle ground. This is eminently listenable and surprisingly accessible stuff. “Cotards Blade” is a good example of the overall sound; riffs, elements of traditional metal, some time changes and definitely metal drumming (not rock, as it were) but it won't take your head off. “Blood Of The Fall” is a fine independent release by Bedowyn and a worthy addition to the stoner doom/heavy metal canon. Support the band and check it out.

15). Oranssi Pazuzu – “Värähtelijä’” (932)

 

Taking the album “as is”, ‘Värähtelijä’ contains flashes of brilliance, plenty of greatness, but a general need to be a bit more concise and efficient. It’s not every idea that deserves five minutes of exploration. In fact, very few ideas deserve that kind of focused repetition. Still, there’s no doubting that Oranssi Pazuzu are one of the few truly unique metal bands going in 2016, and that counts for a lot

14). Churchburn & Opium Lord - “Churchburn/Opium Lord” (937)

Like a swift punch to the throat, this split by Pawtucket,Rhode Island crushers Churchburn and Midlandsfilth mongers Opium Lord is both unexpected and completely disabling. Released in Europe through the fantastic F H E D and on the other side of the Atlantic by DG Records, this release packs enough of a wallop to take down a herd of elephants.

 

13). Goya – “The Enemy” (977)

 

The buzz saw grind that so powerfully embodies Goya is, on this four track EP, infested with a horripulation that sees the Arizona three-piece sounding creepier and more terrifying than ever before.

 

12). Lord Mantis – “NTW” (999)

 

'NTW' or 'Nice Teeth Whore' is classic Lord Mantis.

 

11). The Body – “No One Deserves Happiness” (1147)

 

Horns swell as dim, low riffs wash over your mind, drums vacillate between cold sweetness and strong blows and the stage of chaos is set by the high screaming voice of unreason, formless yet voluminous and constant. Static whispers through grating frequencies and primal percussion, augmented by surprising claps and snaps, urges the dance of a readied, warring people. The Body’s latest is an opus to ecstatic agony redolent of SWANS and Neurosis’ output. If no one deserves happiness, I suggest here that it is earned.

 

 

10). Borknagar – “Winter Thrice" (1151)

 

Even though ‘Winter Thrice’ is firmly rooted in the present sound, I’d strongly argue that this is the best iteration of their established prog rock-obsessed extreme metal sound to date. The songwriting is the strongest it’s been since ‘Empiricism’, and the album sounds absolutely fantastic from a production standpoint. Vintersorg should also be commended for turning in his best vocal performance to date, which comes from someone who has been a diehard ICS Vortex devotee when it comes to Borknagar’s vocalists. It helps that the music behind him lends itself to his strengths, driven by big, ringing chords and some delicious guitar leads.

 

 

 

09). Its Not Night: Its Space – “Our Birth Is But A Sleep And A Forgetting” (1304)

No vocals, just a lot of stoned, smoky repetition that is equally spiritual as it is absolutely mind blowing.

 

08). Boss Keloid - “Herb Your Enthusiasm” (1490)

 

Herb Your Enthusiasm” is a powerfully elegant dirge. It’s masterfully produced with guitar tones that have their own suffocating gravitational pull, a comatose rhythm section that rumbles like the uneasy shifting of tectonic plates and Alex Hurst’s air raid siren howls all coming together to sound simply imperious. There’s an elevation to it, an otherworldliness and a freshness that wrestles with the aesthetics of the influences that shape their wide open sound that reeks of individualism. And it is upon that identity that they are forging their way to becoming something far greater than just another sludge band. Stand up. Pay attention. Boss Keloid are the pinnacle of the sludge movement right now.

 

07). Budgie – “The MCA Albums 173 - 1975” (1502)

 

These reissues should be picked up by anyone with an interest in the era, the growth of the“heavy” genre and by anyone looking for some quality hard rock, played well, by great musicians. Lars Ulrich is no Pete Boot or Steve Williams (who play solidly and professionally on the albums re-packaged here), but he knew a tune when he heard one, all those years ago

 

06). Criminal – “Fear Itself” (1556)

 

Quite simply, this is the best thrash record I have heard yet this year and may well remain so. It edges towards death metal (in the same manner that the Seps' early work does) but this is just vicious stuff. This type of album is why I first started listening to thrash and extreme metal. The sound and the fury. Dios mio! What a fantastic album from a band playing with fire and passion.

 

 

05). Dunsmuir – “Dunsmuir” (1637)

 

Dunsmuir, manages the uncanny trick of amounting to the sum of its parts. The record's players have some serious pedigree and none if it is wasted. Vinny Appice is as powerful as ever, with a beastly snare sound, while Bone and Davis are a formidable strings team. Fallon puts in a hardworking and uniformly stellar shift as per usual. Simply put, if you like Clutch and Dio-era Sabbath, you will be right at home here. If you are a fan of Fu Manchu, there are sounds for you here as well. This album rocks, it’s that simple

 

04). Conan  - “Revengeance” (1700)

 

The song 'Every Man Is An Enemy' has one of the most metal sounding titles I've ever heard and the violent intentions inherent in the brooding, bruising riffs put the bands money where its snarling mouth is. 'Earthenguard', the final track of the 6 on offer, is a song so heavy it has its own gravitational pull. Its 12 minutes of neanderthalic doom which also swims and swirls thanks to the phased guitars. It's an odyssey, a massive trek through mountainous chops and pounding beats that are designed to systematically cave your head in. Have Conan outdone themselves? Quite possibly.

 

 

 

03). Gojira – “Magma” (2030)

 

‘Magma’ is a record that envelopes you with its overtly dark drama, but within its haze, its crushing catharcism makes it one of the most special metal records to be released in some time. It may not be the relentless assault many fans wanted from the album – and that’s not to say it is barren of those moments – yet, as a vehicle for emotional cleansing, as a eulogy and an obituary for a woman who shaped the personalities that drive this act, it is staggering.

 

 

02). Blood Ceremony – “Lord of Misrule” (3722)

 

If you are new to Blood Ceremony, this album is as fine a place to start as any. If you have heard any of their previous albums and enjoyed them, your enjoyment of this one is guaranteed. This is as good an example as any of a band looking to the past both in terms of musical and folklore tradition to create fantastical and occult inspired music.

 

 

01). Megadeth - "Dystopia" (5903)

 

This line-up has introduced itself with a battering ram of thrash utopia; the riffs, the fury and the sizzling lead playing present here stands toe-to-toe with the bands best 21^st century output. It’s a record which accentuates the bands relevancy in 2016. Masters of their trade just listen to ‘Lying In State’ and tell me they can’t smash shit up with the best of them. They continue to release music and make the effort to give more content for their fans to consume. Not many other bands their age can say that.

 

 

Live Review: NOIZ All Dayer, Rebellion Bar, Manchester, 2/4/2016

By: Dominic Walsh

Boasting one of the best heavy metal bills in Manchester in a long time, NOIZ promotions’ NOIZ All Dayer in Manchester seemed almost untrue with the amount of talent on show.

Drone duo, Khost, opened up the day with a massively heavy amount of tone and drone for the small crowd. It was only 12.30 when they took the stage so people were still filing in through the doors, although there were a couple of people who had made the effort to see Khost based on their attire.

From here on in, the bill changed shape with bands moving up and down the bill continually. Presumably this was due to people arriving/being delayed etc.

One band that did take the stage at their scheduled time was PIST. Now, for those who haven’t heard PIST, the clue is in the name. 1pm was a remarkably early time for the Bury quartet to hit the stage, however their groove laden angsty southern sludge did more than wake the gathered masses, and blow any Friday night cobwebs away.

As the afternoon progressed, Fvnerals and Dystopian Future Movies (both late additions to the bill due to cancelled gigs in the area) serenaded the crowd with dark post rock and doom laden riffs that slowed the pace somewhat during the afternoon. The slower pace did nothing to dampen the enthusiasm of the crowd. Both bands have been touring together; if you’re a fan of Neurosis, Bossk, Long Distance Calling (or bands to that effect), give them a whirl.

Either side of Fvnerals and DFM, there were arguably some of the star turns of the day. Another local band who are making plenty of waves in the metal world, Boss Keloid, were in celebratory mood with a storming set which showed how much the band have evolved. They are much tighter as a band, and the material from their new LP ‘Herb Your Enthusiasm,’ sounded incredibly strong. To bring the pace down again slightly, were Witchsorrow. Although they’re a doom band, their latest LP, ‘No Light, Only Fire,’ has plenty of more up tempo selections. A mix of these tracks and cuts from “God Curse Us” helped them deliver a great set.

Towards the top of the bill was heavy rock trio The Admiral Sir Cloudesley Shovell, who did not disappoint. Complete no frills rock and roll just the way it should be. Steak ably assisted with their fuzzy stoner rock keeping the pace up as the crowd got steadily more lubricated.

One of the absolute star turns of the day however, took place early in the afternoon. London’s Vodun turned many heads in Rebellion. The trio, who have just released their debut LP “Possession”, took to the stage in their ‘tribal’ attire and delivered a scintillating performance. Chantal Brown’s vocals can easily draw comparisons with Skunk Anansie’s Skin, and the riffs swerve from thrash, to stoner, to doom. Over the course of their short set, Vodun proved why they are getting many great reviews of “Possession”. Another afternoon success came in the form of their tour mates, Limb. Showcasing some prime cuts from 2015’s “Terminal”, the band delivered a stomping set against a hazy white light back drop; foggy and fuzzy on many levels! “Down By The Banks” is a monster of a track; Limb deserve to be edging themselves up bills. They have the songs and presence to be huge.

The day ended with Israeli sludge mob Dukatalon playing host to a fully liquored audience. Their stomping set ended with a huge stage invasion capping off an excellent day of heavy metal. The amount of bands on the bill only scratches the surface of the amount of great bands out there. NOIZ are behind many of Manchester’s all day metal events – if you are even the slightest it curious, go along and check out some of the bands; it’s almost a dead cert you’ll find something you enjoy.

You can check them out here: https://www.facebook.com/noizpromo/

The Sludgelord "Sour 16" for February 2016

By: Aaron Pickford

The Sludgelord’s ‘Sour 16’ is back again to present another selection of the finest riffs around.  You know the deal, 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 Sludgelord Headquarters.

So here is the The Sludgelord’s ‘Sour 16’ for February 2016.   Dig in, spread the word and perhaps revisit some records you may have overlooked.  The results are compiled based on page views alone and calibrated into the list below. So roll up, kick back, chug a beer and Hail the riff! 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 red)

16). Agoraphobic Nosebleed – “Arc” (244)

A solid EP and an exciting glance as the prospect to come. While it’s not the ANb sound that we might know, it’s absolutely a sound that anyone can jump into and with this effort we get grind turned Louisiana Sludge a la Eyehategod led by vocals from ex Salome member, Kat Katz. And what an effort is has turned out to be… Now go be a hypocrite and support capitalism and get your hands on “Arc”. Then turn it up really really fucking loud

15). Horrified – “Of Despair” (255)

While the straightforward death metal moments are very good, it’s those moments of downtempo grandiosity that separate Horrified from other modern day death metal bands. It’s in those moments that Horrified offer us reassurance for death metal’s future, even in being so reminiscent of its past.

14). Ereb Altor – “Blot-Ilt-Taut” (258)

“Home of Once Brave” and “Twilight of the Gods” are both faithful renditions, and performed about as well as you could hope. The added heft of a modern production helps, but the execution is what really sets these covers apart, retaining a lot of what made the songs so great in the first place, and exuding a deep passion for the source material to boot.  They’re deeply affected and influenced by the subject at hand, and they’re got a strong enough grasp to really do the material justice. In that sense, a band succeeding more than they fail on a tribute album of this kind is quite the accomplishment.

13). The Skull – “The Skull” EP (281)

12). Entombed A.D. – “Dead Dawn” (297)

“Dead Dawn”, I am pleased to report, rocks harder than the first record. “Midas In Reverse” sees LG Petrov on fine form and the band thrashing away- what a relief! The title track mixes pummelling double bass drums with doomy sections as well as triplet time feel- excellent. There are acoustic intros here, a gnarly guitar sound, live sounding drums and the likes of “Total Death” are short sharp shocks compared to more downbeat material like “As The World Fell”.  There is a heavier vibe and sound to this album than the last release and the band should be commended for building and moving forwards. Of course, if you enjoy Entombed in any or all its forms, this album is a must.

11). Sealclubber – “Stoical” (315)

Anyone who longs for the sludgy riffs, intricate structures and dissonant melody of early Mastodon, Baroness and Kylesa will be enraptured by this release.  “Stoical” is a phenomenal debut from Sealclubber. This is a record that marks them as a force to be reckoned with in the UK and beyond and sets the bar for gold-standard riffage in 2016.

10). Low Flying Hawks – “Kofuku” (325)

What makes “Kōfuku” an effective and well done record is its ambitious scope. Low Flying Hawks try a lot of different styles on their debut record and they execute all of them well. The project feels cohesive even if at times the tracks can run into each other a bit. Extremely well written riffs and a dynamic range of tones make “Kōfuku” a metal record a lot of bands are trying to make right now but fall short because they fail to effectively fuse all of the styles together effectively at the same time

9). Primitive Man/Northless – “Split” (326)

Dirty like water from a flophouse drain. Like your sludge blackened and charred? Here you go guy. Revel in this muck. Choke on its abrasive grit, and let it close about you head. Let it absorb you.

8). La Chinga – “Freewheelin” (335)

Retro-rock might be a misnomer but La Chinga does serve up that saucy 70s hard rock vibe. Each song makes a steadfast bolt to the chorus by way of Aerosmith swagger and Van Halen riffing, without neglecting the importance of a bad ass guitar solo. High-sung backing vocals abound, contributing a feeling of unity to the record and those listening to it.  At the end of the day, it really doesn’t matter which song is cherry picked from the track list, each one is a party and luckily we’re all invited for the ride.

7). Love Sex Machine – “Asexual Anger” (366)

The new album 'Asexual Anger' from French heavyweights Love Sex Machine is like a KGB torture programme. Each strum of the strings, each hit of the drums, each vocal has been meticulously thought out and methodically delivered to inflict maximum impact each time. Whatever information it is you have, you'd better confess!  This follow up to 2014's self titled debut, is a stark reminder that LSM are equipped with all the right tools to punish; your eardrums will be very pleased indeed.

6). Duel – “Fears of the Dead” (394)

My guess is that this Austin, Texas four piece has been raised on a steady diet of slasher films and Danzig. And what do you know, that’s exactly what we get to hear.  What makes these horror-doom rockers so interesting to listen to is the general good times they’re serving up. The lyrics are dark, yes, but the palm muted riffs that explode into infectious choruses turn each song into a celebration and once “Locked In” closes out the record it’s hard to believe these 38 entertaining minutes of horror-doom and good time rock n’ roll have already passed us by.

5). Bloodiest – “Bloodiest” (405)

“Mesmerize” sets the tone for events to come. The band launch straight into a rumbling, menacing riff, like Tool jamming with The Jesus Lizard while Shellac look on approvingly. This track exemplifies what Bloodiest do so well on this LP; relentless repetition of a phrase, letting it slowly transform while building towards a furious climax. They manage to do this in a fluid, hypnotic fashion, avoiding the pitfalls of obvious quiet/loud dynamics.  There is a lot of great, heavy music around today, but it’s rare to hear something as fresh and compelling as this LP. Bloodiest have crafted an incredible piece of work here, challenging without being difficult and crushing without always resorting to amplification-overload.

4). Slabdragger – “Rise of the Dawncrusher” (413)

Taking us on a galactic mission, Slabdragger open up with 'Mercenary Blues' with its crushing stoner groove causing many an involuntary head nod (as well as plenty of voluntary ones).  The riffs are typical of the Slabdragger style we've come to know and love, pentatonic flourishes and doomtastic hammer blows holding everything together, with utterly pummeling riffs smacking you around the head.  This is the sound of a band attempting to reclaim their throne atop the UK underground doom/sludge scene, judging by the 5 tracks here, they've certainly succeeded. Long live the kings.

3). Black Cobra – “Imperium Simulacra” (460)

Despite Black Cobra being half the size of most metal bands, this album is a beast, their sound is so full and frantic that between Landrian’s manic riffing and Martinez filling up every single beat, there’s simply no space for more. This isn’t mindless metal music, either, there’s extreme talent at work.  With such a barrage of aggressive sludge-metal, “Imperium Simulacra” tears itself open through a wall of sound that towers high and wide over the listener. Black Cobra is making their existence known and how. So take heed, “Imperium Simulacra” is a riotous album filled with a sharp, aggressive onslaught of sludge-metal that destroys everything in its path.

2). Mars Red Sky – “Apex III (Praise for the Burning Soul” (526)

"Apex III (Praise for the Burning Soul)" is a crazy psychedelic trip and Mars Red Sky is your tour guide. Pras leads the way with confidence and the full support of a hefty rhythm section. From the album’s plodding bookends to Side B’s catchy space rock explorations, there’s a gorgeous chemistry at play here. The result is one damn fine psychedelic stoner rock record

1). Boss Keloid – “Herb Your Enthusiasm” (1268)

“Herb Your Enthusiasm” is a powerfully elegant dirge. It’s masterfully produced with guitar tones that have their own suffocating gravitational pull, a comatose rhythm section that rumbles like the uneasy shifting of tectonic plates and Alex Hurst’s air raid siren howls all coming together to sound simply imperious.  There’s an elevation to it, an otherworldliness and a freshness that wrestles with the aesthetics of the influences that shape their wide open sound that reeks of individualism. And it is upon that identity that they are forging their way to becoming something far greater than just another sludge band. Stand up. Pay attention. Boss Keloid are the pinnacle of the sludge movement right now.

A big thank you as always to our amazing writers, your dedication knows no boundaries and for that I am truly grateful.  February’s “Sour 16” features reviews by, Chris Bull, Philip Weller, Richard Maw, Daniel Jackson, Mike Wilcox, Victor Van Ommen, Charlie Butler, TJ Kliebhan  and Hunter Young.