ALBUM REVIEW: Iron Void, "Excalibur"

By: Ernesto Aguilar

Album Type: Full Length

Date Released: 25/05/2018 (Digital)

Label: Shadow Kingdom Records

"Excalibur" is going to win over a lot of classic doom fanatics. Iron Void should be on the radar of the scene for a revivalism that it owns wholly and proudly.

“Excalibur” CS//CD//DD//LP track listing:

1). Dragon’s Breath

2). The Coming of a King

3). Lancelot of the Lake

4). Forbidden Love

5). Enemy Within

6). The Grail Quest

7). A Dream to Some, A Nightmare to Others

8). The Death of Arthur

9). Avalon

The Review:

Veteran doom peddlers Iron Void have had plenty of fits and starts over their career. After forming in 1998, the band disbanded for a decade before roaring back with a vengeance, dropping 2010's "Spell of Ruin," 2014's "Iron Void" and "Doomsday" in 2015. Now at their creative peak, Shadow Kingdom Records will issue the European vinyl of "Excalibur," Iron Void's Arthurian themed nine-song release tracking at just over 45 minutes.

Vinyl has been the financial shot in the arm to the music industry that few ever expected to make the comeback it has. Partially such success can be credited to bands like Iron Void. "Excalibur" offers rich, earthy sonics that seem made for wax. As the LP kicks off with "Dragon's Breath," Iron Void is inescapably catchy as it is dense. The band is also deceptively elegant in how its songs are constructed; the Sabbathesque "The Coming of A King" boasts a holistic duty to the story it's telling, while not breaking the power of the song itself, its guitar or rhythm section. Thus, lyrics inject themselves into just the right points, while not interfering with the structure of the cut. You hear similar instances on "Forbidden Love" as well.

Those who love fantasy in metal are going to appreciate the story immensely. Without spoiling anything, just know that Iron Void set out and succeed at telling an effecting tale. The vocals throughout are quintessential doom and even transcendent at turns. As the album builds, it is impossible not to be swept up in how massive the sound comes across.

In addition, what doom and sludge devotees may most appreciate with "Excalibur" is its fidelity to providing a new varnish to classic doom in the vein of Saint Vitus, Pentagram and the like. As you know, there's been a major renaissance in the old-school sound of black metal and death metal, hastened surely by the number of derivative bands in more modern takes on these subgenres. Doom, stoner and sludge undoubtedly have these bands as well – The Sword may have been the most popular and prescient of the revamp – and Iron Void stakes its flag admirably. Even songs like "Enemy Within," with clear influences from "Electric Funeral," feel rejuvenated and original. Iron Void deserve a lot of credit for having the courage to make an album that is inevitably going to draw tons of comparisons, yet doing so in a way that feels like a modern makeover of doom metal. Steve Wilson's riffs are heavy, Iron Void's lyrical themes are solidly mystical and medieval, and its ultra-thick drums by Richard Maw and bass by Jonathan "Sealey" Seale compose a ridiculously good foundation for it all.

"Excalibur" is going to win over a lot of classic doom fanatics. Iron Void should be on the radar of the scene for a revivalism that it owns wholly and proudly.

“Excalibur” is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Witchcryer - "Cry Witch"

By: Ben Fitts

Album Type: Full Length

Date Released: 19/01/2018

Label: Ripple Music

The riffs are infectious, the grooves hit you right in the gut and their well written songs are accentuated by climatic dynamics and impassioned performances by all members of the band.  Witchcryer have created something really quite special on “Cry Witch”, a debut surely worthy of addition to the doom metal cannon.

“Cry Witch” CD//DD//LP track listing:

1). Cry Witch

2). Ricochet

3). The Preying Kind

4). Ma Kali

5). Embryo (Instructions)

6). Great Divide

7). For The Slaves

8). Witchfinder General (Witchfinder General Cover)

9). Lapis Philosophorum

The Review:

Do you like fat, fuzz soaked guitar tones? What about heavy, blues based riffs with a gloomy, vintage vibe? A singer who belts raspy, darkly melodic vocals about witches, vengeance and fighting systematic oppression? Well if you are reading THE SLUDGELORD, there is a pretty decent chance that you are here largely to find more bands that do exactly what was just described above. If that’s you, then “Cry Witch”, the debut album by Austin based doom quarter Witchcryer, does not disappoint.

Witchcryer play a form of classic doom metal revival that owes its biggest musical debt to the bands that played doom before there was a name for it (Witchfinder General, Black Sabbath, Pentagram). Their chosen musical territory is far from uncharted by its very definition, but Witchcryer play it with so much fire that it feels fresh regardless. The riffs are infectious, the grooves hit you right in the gut and their well written songs are accentuated by climatic dynamics and impassioned performances by all members of the band. Some highlights include brooding, psychedelic track “The Preying Kind” and the vicious, gravely stomper “For The Slaves”, but the album’s finest moment is unquestioningly its the thunderous title track. Somewhat reminiscent of early The Obsessed, “Cry Witch” is a hard-hitting doom metal track at its finest, with just enough punk rock muscle to give it its needed edge. Its main riff is also an earlier contender for the best metal riff of 2018.

“Cry Witch” is the band’s first and only release following a three-track demo titled “The Preying Kind — Demo MMXVI” from 2016. While those familiar with their demo will recognize Witchcryer’s ear for great riffs and knack for organic dynamic changes (as well new recordings of all three tracks), overall “Cry Witch” demonstrates significant growth for the band. They have grown much tighter and more confident as a unit (some of which may be due to the recent inclusion of their bassist, Marilyn) and have created something really quite special on “Cry Witch”, a debut surely worthy of addition to the doom metal cannon.

“Cry Witch” is available here

Band info: facebook || bandcamp

Iron Void - "Doomsday" (Album Review)

By: The Peacemaker

Album Type: Full-Length

Date Released: 05/10/2015

Label: Doomanoid Records

The title track is, quite simply, doom in its purest form; slow riffs, pounding drums and lyrics which depict sorrow, woe and portends of things to come... and it is not a pretty sight.  The band oozes confidence and class throughout, and the album only gets stronger after an impressive start. “Path to Self Destruction” is worthy of Pentagram at their best and you can hear the influences of Sabbath, Saint Vitus and even Priest get a good look in.  Overall Iron Void preach thee gospel of their forefathers with total conviction. This album is flawless and a thoroughly convincing victory.

“Doomsday” CD//DD track listing:

1). Doomsday

2). Path to Self Destruction

3). The Devil’s Daughter

4). Lost Faith

5). Gates of Hell

6). Eye for an Eye

7). The Answer Unknown

8). Colosseum

9). Fire Nerve

10). King of Utopia

11). Upon the Mountain

The Review:

Trad doom. Those two words surely sum up Iron Void... or do they? Their debut was full of murky sounds and anthems- clean vocals, occult and archaic themes abounded and the band had created a very strong record. Now back with their second full length, the band oozes confidence and class throughout. Recorded at Jon Davis' Skyhammer Studios, the production is a marked step up. Gone is the murk, present instead is a brightness without sacrificing any weight whatsoever. The title track is, quite simply, doom in its purest form; slow riffs, pounding drums and lyrics which depict sorrow, woe and portends of things to come... and it is not a pretty sight.

The album only gets stronger after this impressive start. “Path to Self Destruction” is worthy of Pentagram at their best. The main riff is a pulsing and persistent call to headband. The vocals, split throughout the LP between main men Jonathan “Sealey” Seale and Steve Wilson are plaintive wails that suit the mood to a tee. Classic stuff, truly. “The Devil's Daughter” follows and consolidates the hooks heard thus far- it is a tour de force of song writing; some changes, a strong central refrain and a “Countess Bathory” type theme to the lyric which gets into your head.

The band slow down for “Lost Faith” and bring in a Maryland doom vibe to the riffage. The sound creeps forth insistently and the track slow burns into your consciousness. Next up is a real highlight for me; “Gates of Hell”. This one is pure NWOBHM worship, but very deftly played with time feel changes, busy drumming and some really cool lead breaks and refrains. The song kind of invokes Venom, along with Angel Witch and even Maiden. It is a stormer and, rest assured, ticks all the lyrical boxes as well.

“Eye for an Eye” is maddeningly catchy and features an excellent rumbling riff which really propels the track forwards. The lyrics echo Sabbath as well- no direct references, but they bring to mind Butler's lyrical work (and that is a huge compliment!). “The Answer Unknown” is a pacey four and a bit minutes that rocks along with a kind of Orange Goblin (circa “The Big Black”) feel- or perhaps Trouble, if you prefer. Strong vocals are present, here and the guitar lines stand out. Roman epic “Colosseum” evokes the atmosphere of imperial decadence along with life and death struggle and the quest for glory that played out for entertainment in that most famous of amphitheatres.

“Fire Nerve” is a five and a half minute groove-fest. The lyrics stand out again as they tell a succinct story of impending disaster, disaffection and, well, doom. “King of Utopia” brings a real Sabbath quality to the riffs (not that all doom is not informed by the Sab sound). Again, the vocal hooks are strong and the lyrics memorable. Finally, the band wrap up this excellent slab of doom with the rather epic “Upon The Mountain”. It is a fine way to finish, taking in as it does a use of dynamics which allows the track to breathe a little.

Certainly, this is the best doom release of recent times from a British band; doom in the form of real, actual, not-just-noise-dressed-up doom. You can hear the influences here; Sabbath, Pentagram, Saint Vitus and even Priest get a good look in. Let's be clear: this “sceptred isle” is the land of the heavy metal gods- that is a fact. Sabbath, Priest, Maiden and even Motorhead, if you want to include them; all the biggest influences on all metal sub genres which followed. Iron Void preach their gospel with total conviction. A flawless and thoroughly convincing victory.

“Doomsday” is available here

Band info: bandcamp || facebook

The Sludgelord News: WITCHCRAFT | LISTEN TO NEW TRACK 'THE OUTCAST'

Swedish classic / doom rock masters WITCHCRAFT have released a brand new song entitled 'The Outcast', from their eagerly anticipated new album “Nucleus”. Listen the track here:

“Nucleus” is scheduled for a January 15, 2016 release worldwide via Nuclear Blast and will be available as CD, lavish digipack (also as a t-shirt bundle), vinyl (black, clear, splatter, gold) and digital download.

Nucleus track list:
01. Malstroem
02. Theory Of Consequence
03. The Outcast
04. Nucleus
05. An Exorcism Of Doubts
06. The Obsessed
07. To Transcend Bitterness
08. Helpless
09. Breakdown
Limited digipack CD & 2LP vinyl bonus track
10. Chasing Rainbows

Pre-order Limited Edition Vinyl and T-Shirt bundles here
Pre-order the Limited Edition Digipack CD from Amazon here

Nucleus seamlessly mixes the rawer side of WITCHCRAFT's early roots, with a slightly more melancholic modern sound. With an all new line-up (Rage Widerberg on drums and Tobias Anger on bass) the band sounds more hungry and powerful than ever before. In combination with the thrilling, yet down-to-earth production by mastermind Magnus Pelander himself, Philip Gabriel Saxin and Anton Sundell, the band's new album throws you into dreamy sonic landscapes that will mesmerise and haunt you alike.

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

Orchid - 'Sign of the Witch' EP (Review)

By: Kat Hilton

Album Type: EP

Date Released: 17/07/2015

Label: Nuclear Blast Records

With bands such as Witchcraft and Graveyard turning away from the overtly Sabbath styling’s; I wonder do Orchid do the same?  The San Francisco stalwarts however shun this trend instead opting for full on Sabbath worship in all its glory; their latest EP ‘Sign Of The Witch’ demonstrates this with sophistication, style and damn good riffs. A lean offering of 4 songs in just 18 minutes, it blasts the senses throwing forth their dominant influences; Osborne and Iommi.

‘Sign of the Witch’ CD//DD//LP track Listing

1. Helicopters (4:05)

2. John The Tiger (4:52)

3. Sign Of The Witch (4:22)

4. Strange Winds (5:30)

Orchid is:

Theo Mindell | Vocals

Carter Kennedy | Drums
Mark Thomas Baker | Guitar
Keith Nickel | Bass

The Review:

You like Sabbath…we’ll give you Sabbath; with bands such as Witchcraft and Graveyard turning away from the overtly Sabbath styling’s; I wonder do Orchid do the same?  The San Francisco stalwarts however shun this trend instead opting for full on Sabbath worship in all its glory; their latest EP ‘Sign Of The Witch’ demonstrates this with sophistication, style and damn good riffs. A lean offering of 4 songs in just 18 minutes, it blasts the senses throwing forth their dominant influences; Osborne and Iommi.  Fuck Me its goooooooood.

‘Helicopters’ is a blatant homage to ‘Paranoid’ with 70’s rock and roll; groove tinged bass and thumping drums making this epically good; with the guitars almost an afterthought it leads the drum/bass attack to hammer through with ease. Theo’s vocals here are immense, smooth and penetrating they inflame the senses and ensnare the mind.  ‘John The Tiger’ has a markedly increased tempo; that little bit easier on the sludge, with the main guitar beat almost peppy. Offering an unexpected blast in its final third as it breaks down into a Latin influenced jam; a firm progressive note

‘Sign Of The Witch’ the title track and definitely the heaviest amongst this EP, it is a Dio-era Sabbath extravaganza; riff heavy, earthy, gravel tinged vocals and intriguing vocals make it an instant hit. Although it lacks the momentum of the others, it has more twists and turns than the rocky mountain road  and is immensely talented offering with enough guitar magic to leave me breathless for a week *ahem*

‘Strange Winds’ concludes the EP and kicks off with a malevolent start; hinting at the evil lurking within, it is a silky, hypnotic keyboard heavy little number. Once more Theo shines through; the timbre of his voice, the eerie quality with heartfelt, raw emotion bordering on blues quality strikes me to the core.  Teetering on the edge of a full blown jam; the band draw it out to full effect; with each note there is an expectation that this is it, this is the one where they go hell for leather and leave one in a dribbling pile to the next EP. Instead they leave unresolved tension; the string of sanity pulled taught and I for one panting for more- the clever fuckers.

‘Sign of the Witch’ is out now

Band info: official | facebook | twitter |youtube

Demon Eye - ‘Tempora Infernalia’

Album Type: Full-Length

Date Released: 08/05/2015

Label: Soulseller Records

‘Tempora Infernalia’ CD//DD//LP track listing:

1). End Of Days

2). Listen To The Darkness

3). I’ll Be Creeping

4). See The Signs

5). Poison Garden

6). In The World, Not Of It

7). Black Winds

8). Give Up The Ghost

9). Please, Father

10). Sons Of Man

Demon Eye is:

Erik Sugg | Vocals, Guitars
Larry Burlison | Guitars
Paul Walz | Bass
Bill Eagen | Drums, Vocals

Review:

Demon Eye, as their name implies, are firmly rooted in the 70's. Yes, there may be a lot of this kind of stuff around at the moment and indeed over the last decade (UAATDB, Blood Ceremony, Witchcraft et al) but there is something worth noting... The three bands I just named in the bracket are all very good at this. Demon Eye are too. The songs plough the same furrow stylistically as those mentioned, but with a twist. These guys are from the good ol' US of A and it sounds like it. UAATDB could not be from the US- too British in sound and atmosphere, even with Mind Control's Manson obsession.

Demon Eye are polished underneath the analogue production with shades of classic Pentagram in there on “End of Days” and “Listen to the Darkness”. The band play fluidly with changes aplenty and lots of snaking riffs. They are rather more dexterous than some of their counterparts and sound very professional indeed (just as many US bands do). Tracks such as “I'll Be Creeping” mine a similar ground to the aforementioned Uncle Acid in tempo and even atmosphere, and possess the same pop sensibility too. It's also catchy in the extreme. There are vocal melodies (often backed with echoing riffs) that will worm their way into your head.

The sound is indeed very analogue (who knows if it is or not?!) and features a very old school drum sound and the sound of guitars run through valve amps and suitably reverbed vocals. The band try their hand at very Sabbathian territory on ‘Poison Garden’ and in doing so show that they can do other tempos along with the swing of other tracks. “In The World, Not Of It” returns to a more jaunty approach, and the occult vibes come thick and fast. Again the melodies lift this above other bands of this rather niche yet overflowing genre, proving again that Demon Eye are up there with the best, not riding on the coat tales of lesser bands who like the idea  and imagery of Electric Wizard but just don't understand why they have to be so noisy or not have catchy songs. ‘Black Winds’ is positively fleet of foot for this type of thing and is, I suppose, Proto-metal that would not be out of place of an early BOC album. “Give Up The Ghost” goes back to walking pace and has a kind of Iron Maiden played at half speed vibe. Acoustic guitars finally make an appearance on “Please,Father” and bring a moody atmosphere to the track, augmented by ethereal vocals and a downcast approach.

The percussive battery of “Sons of Man” marks the beginning of the end of the album and the band rock hard on this one- five minutes of joyous playing that is full of energy. In straight forward terms, this is a 70's rock throwback that is way ahead of others operating in a similar arena. If you like this type of thing, you will be impressed. If you were unmoved by an album such as Blood Lust, then this will be lost on you as well. For me, it is superior and expertly executed. Even if it does not quite match the genius of Uncle Acid, it is still a damn fine album.

Words by: Richard Maw

‘Tempora Infernalia’ is available here

For more information:

Listen: http://demoneye.bandcamp.com/ | Like: https://www.facebook.com/demoneyenc

Sorcerer - ‘In The Shadow of The Inverted Cross’ (Album Review)

Album Type: Full-Length

Date Released: 24/3/2015

Label: Metal Blade Records

‘In The Shadow of The Inverted Cross’ CD//DD//LP track listing:

01. The Dark Tower of the Sorcerer
02. Sumerian Script
03. Lake of the Lost Souls
04. Exorcise the Demon
05. In the Shadow of the Inverted Cross
06. Prayers for a King
07. The Gates of Hell
08. Pagans Dance

Sorcerer is:

Anders Engberg | Vocals
Kristian Niemann | Guitars
Peter Hallgren | Guitars
Johnny Hagel | Bass
Robert Iversen | Drums

Review:

Sorcerer are something of an oddity as they were originally around the underground 25 years ago with a couple of demos. Being Swedish, I suppose they were overshadowed by the death acts of the time... Well, here they return/kick off with their first full album proper. It's epic doom of the organic variety. I was instantly reminded of Dio-era Sabbath on hearing the opener “The Dark Tower of The Sorcerer” and this feeling continued with tracks such as “Lake of The Lost Souls”. This is classic epic doom- with a 70's/80's vibe to boot. The leads are exemplary, the vocals are stellar and the band as a whole plays naturally and with conviction.

The songs are long and often feature grandiose hooks and riffs. If you have any interest in Dio, Sabbath with Dio (early or later incarnation), Rainbow's “Rising”, or any kind of doom that is based in fantasy rather than street themes, then this is essential listening. It's dark, fantastical and supremely well executed. A track by track run down simply is not necessary, because the description above tells you all you need to know. Classic doom, in every sense of the word.

Words by: Richard Maw

‘In The Shadow of The Inverted Cross’ is available now

For more information:

Like: facebook.com/sorcererdoom
Official: sorcererdoom.com

The Sludgelord News: ORCHID - announce new EP!

San Francisco-based classic doom metallers ORCHID have announced to be releasing a brand new EP, named Sign Of The Witch. The band's fourth EP is slated for a May 25th release and will contain 4 brand new tracks.

Commented guitarist Mark Thomas Baker: "It's been a few years since we've recorded and we've all gotten so much better at playing and working together. We're excited to let people hear what we're up to these days."

Tracklist Sign Of The Witch:

01. Sign Of The Witch
02. John The Tiger
03. On Strange Winds
04. Burning Eastern Skies

Sign Of The Witch marks the band's first release since 2013's highly successful The Mouths Of Madness.

Surft to http://smarturl.it/ORCHID-SignNB to secure your copy.

ORCHID are playing live all over festivals in Europe this summer:

www.orchidsf.com | www.facebook.com/orchidsf | www.nuclearblast.de/orchid

Source: Nuclear Blast UK

Blood Farmers - Headless Eyes (Album Review)

Album Type: Full Length

Date Released: 01/03/2014

Label: Resurrection Records/PATAC Records

‘Headless Eyes’ CD/LP track listing:

1). Gun Shot (06:17)

2). Headless Eyes (10:49)

3). The Creeper (04:51)

4). Thousand-Yard Stare (06:34)

5). Night of the Sorcerers (10:15)

6). The Road Leads to Nowhere (David Hess Cover)(05:59)

Bloodfarmers is:

David Szulkin | Bass, Guitars, Keyboards, Vocals

Tad Leger | Drums

Eli Brown | Vocals

Review:

A little bit Corrosion of Conformity, a little bit Black Sabbath Vol 4, and a lot of St Vitus, and Pentagram.  That’s pretty much what you'll get with Blood Farmers' album "Headless Eyes". Those of you who prefer Speed Metal, and lightning fast tunes with brain-smashing blistering guitar pyrotechnics can just stop reading now, and return to mastering that Dragonforce song on Guitar Hero.  You need not apply!!

However, if Dark Chocolate Covered Doomy Goodness and Soul Crushing Guitar Tones is your thing, stick with me.  As mentioned, the first track "Gut Shot" is a pretty standard Goo Goo Cluster of Doom Metal. This one does not make the often fatal mistake of going for ten minutes, relying mainly on one riff. The second track, the title song, "Headless Eyes" stands out much more.  Here, we have some voice in the background which must be taken from a movie or TV show. You know what I mean.
Think Iron Maidens "The Prisoner", or White Zombie. This voice continues to pop up now and then and almost comment on the mood of the song, which is clearly the best part. Headless Eyes DOES paint a nice dark and spooky portrait. 

I think what I like about this song is that it contains all the classic touches all doom bands use, the "Iommi Guitar Tones", the heavy plodding drums, and subtle vocal harmonies. Not to mention a good ripping solo. That’s something I think more Doom bands should use. It breaks up the monotony of a slow lumbering doom riff, which can be an Achilles heel.  So, two tracks in, and so far, so good.

Track Three "The Creeper" starts out with Bass Wah.  We loves Bass Wah when it's all dark and fuzzy. Oh Yes, Precious.  Soon comes the wailing solo riding over it, and some faint heavy riffs in the backdrop. A nice, almost pleasant and Stoner-ey kind of mood piece, this of course, is to set you up for that moment when the guitars and bass and drums start smashing your skull. Everybody does that.  It doesn't stay like that long, and then goes into a much more rocking melody, which while it did kind of remind me of the second half of Black Sabbath's ‘Symptom of the Universe’, also shows that Blood Farmers don't use the standard Doom Cookie Cutter when songwriting.  I appreciate that. This is a pretty nice instrumental song.

All in all, I'm gonna give this one a thumbs up. A bigger one if you are a doom fan.
It turns out; Blood Farmers have a pretty good pedigree, since forming in '89 and performed with some of the bands I've previously mentioned.  This, no doubt, has influenced their sound, which can also mean that a band can get pigeon-holed into a certain genre. A good doom band doesn't just dive into the plodding, low droning melodies and stay there for ten minutes, expecting you to pretend not to get bored after 7.  A good doom band gives you some changes in the song, or a new heavy driving riff for a few measures or a wailing solo to perk up the bleak soul-crushing landscape of the song.

Despite the increasing obsession to categorize every band into a genre, which is something I intensely dislike, I’m going to be a little hypocritical and say, "Yes. This is Doom Metal." However, in case you missed the point I've been hammering on about, Blood Farmers occasionally climb out of that labelled jar, and offer bits and pieces to make things interesting all the way through each song. I really like that. There is some impressive guitar work to be heard here, and if you dismiss this album because of the genre, you'll miss out.

Blood Farmers are a good Doom band, and in my opinion, "Headless Eyes" is a good album.  I'm hoping they come around to my neck of the woods. I think I need to see them live.

Words by: Mike Borsum

You can pick up a CD here and vinyl here

For more information:

https://bloodfarmers.wordpress.com/