The Sludgelord News: OMMADON: UK Drone/Doom Duo To Undrape Empathy For The Wicked Via Golden Mantra This July

Following the crushing doom of their critically-adored, 2014 double LP, V, which earned a spot on Rolling Stone's 20 Best Metal Albums Of 2014, UK drone/doom duo, OMMADON, continues their perpetual quest to achieve sonic annihilation of the self through unadulterated heaviness with Empathy For The Wicked. Boasting just one earth-rupturing track broken into two parts, Empathy For The Wicked was recorded live, mixed by OMMADON and mastered by recording legend, Billy Anderson (Neurosis, Zoroaster, Eyehategod, Taurus, Brothers Of The Sonic Cloth etc.), who gave it the final crushing touches it deserves.  

Where OMMADON's previous scores were all recorded in the Highlands of Scotland surrounded by forest, Empathy For The Wicked marks their first release to be recorded on an industrial estate in urban Northumberland surrounded by the dregs of humanity. The first track from Empathy For The Wicked was originally recorded for the cassette split with Horse Latitudes and Coltsblood. During that session, OMMADON decided to continue recording through the night and drone out the riff which became the second side to Empathy For The Wicked.

Empathy For The Wicked will be released on 12" vinyl via Golden Mantra on July 15th, 2015 with preorders available at: www.goldenmantra.co.uk. Teasers to be unveiled in the coming weeks.

Critical Hails For V:

"A hypnotic, dead-eyed combination where patience, misanthropy and endurance collide; a zombie chained to a pole walking the same ugly circle." - Rolling Stone

"Split across four sides of vinyl, the double record was mastered by Billy Anderson... so you can bet your favourite Sunn O))) picture disc on this thing sounding heavier than a dying planet." -- Terrorizer

  "I love this album because it's so preposterously barbaric and for such an extended period of time and it's beyond excessive. It's an absolute endurance test, and by the end of it I was not the same as I'd come into it. There aren't a lot of albums you can say that about." - The Sludgelord

"OMMADON categorically prove that it is still possible to make compelling music within the field of drone-doom, an area that I personally had considered long since mined dry." -- The Sleeping Shaman

"OMMADON's V has more in common with the harsh, acidic fuzz of Conan, and Earth's early work, but much, much more abrasive." -- Blog Of Putrefaction

"Over the last couple of years I've been lucky enough to listen to some quite excellent instrumental doom, and OMMADON's V is right up there with the very best." -- Lair Of Filth

"Listening to the two 45-minute tracks on V is like trying to imagine your own burial under the Himalayas." -- Echoes And Dust

OMMADON Personnel:

David Tobin - guitars

Ewan Mackenzie - drums, noise

For more information:

Listen: http://www.ommadon.bandcamp.com

Like: http://www.facebook.com/pages/Ommadon/122816124443493

Follow: http://www.twitter.com/OmmadonDoom

Watch: http://www.youtube.com/user/OmmadonDoom/videos

Source and promo info: EarSplit PR

Ritual Beginnings - An interview with NIBIRU

NIBIRU have been perfecting their self proclaimed – Ritual Psychedelic Sludge – for a few years now. We've featured them on the blog countless times now. I've reviewed every album they've released so far. Plus I've interviewed them twice before.

Today, NIBIRU are a different band to when they started. They have become something more progressive, experimental and one of the most out-there bands from the Italian Sludge/Doom Metal Scene. They're about to release their incredible new album – Padmalotus – via Argonauta Records (Some other good pals of ours doing a great job).

Padmalotus is a different beast to NIBIRU's past two albums. This one is more experimental, heavier, psychedelic and scarier at times. The sheer volume of noise and experimentation that the band have created on the album makes this an album of the year contender.

This is what I had to say about the album - “Padmalotus is a very dark album as Nibiru venture further into the Ritual Sludge part of their music. It can be very primal at times with the band trying to survive from their own musical landscapes.

I class Padmalotus as Nibiru's most defining work to date. It won't be for everyone as it's a complex and wonderfully strange experience that runs for 66 mins or so. Nibiru have proven once again they are one of the most daring and creative forces in Italian Sludge Metal next to Ufomammut. Padmalotus is a thrilling and bold album that will rank as one of my albums of the year. No Question.”

I've been asked to interview NIBIRU again though this interview will focus on the new album and their plans for the future. You can read the other interviews here and here.

Photo courtesy of Robert Longo

Hi guys. Thanks for doing this. How are things with you today. Been a while since we last spoke. Hope things are well.

Ardath: It is a pleasure to do a new interview with you. It seems that it is a regular date now. That means Nibiru is alive and throbbing, and it strikes. From the release of Netrayoni to the making of Padmalotus (from the second half of 2014 to the first months of 2015) we had an intense and stimulating year.

I can't believe we are here to talk about your new album – Padmalotus. Your 3^rd album overall. Did you think you would ever release your 3^rd album in 3 years.

Siatris: “Honestly I’d say no. In the last years we have only focused on playing. We left our music flowing and we recorded what came out from the amplifiers.

Ardath: After Netrayoni and its promotion, at the middle of last year, we got together in our temple. New riff and new ideas have begun to take shape without any calculations. They immediately struck us, we realized that something of extremely interesting was coming to light. It was exciting to see Padmalotus taking shape within just a few months.

You guys are very quick workers as you only released your last album. Sorry double album back in Jan 2014. Do you always think about the next album when you've released the new album. As I thought you guys would take a break from it all.

Ardath: Our music comes out instinctively without calculations. There is only that moment in which the energies drag us, making time impalpable. A band takes a break when you notice that the inspiration is totally missed, when you feel you have no more energy, but this is not the case of Nibiru. I’d say that you will be able to listen a new record from Nibiru in 4 years. We are very inspired. There are still 3 unreleased songs off Padmalotus sessions.

Your new album is called Padmalotus. Why did you call the album this. Any specific meaning to this name.

Siatris: Padma means lotus in the Tibetan language. The concept of Padmalotus is linked to the chakras and the Kundalini Shakti, but the lotus is also the perfect representation of the illumination, because it is a flower that is born in the mud, grows in water and opens its blossom to the sky. So the enlightened keeps the feet firmly planted on the ground, but his mind is free from the constraints. I think that is highly zen, very relaxing. I think it creates a nice contrast inside our music.

What can people expect from the new album.

Ardath: Padmalotus features the psychedelic violence of Caosgon, the Netrayoni's uncontrolled insanity, and a new energy that takes shape in a destabilizing record.

What does the album mean to you as a band and individually.

Ardath: For Nibiru it is an important and fundamental point of transition. It concludes a three-years concept and it represents a new exciting beginning. Personally Padmalotus and the signing to Argonauta Records are satisfactions very difficult to explain. Lots of sweat, so much work, so many difficulties materialized in evident recognitions. We have a new energy to detonate in Nibiru.

Siatris: Personally it is a big step forward. This album was a challenge and I think it was exceeded, now other challenges come, and I am ready to accept them. As a band this is our third work, so it's a confirmation that we are not a meteor that passes through and disappears... We are Nibiru, when we pass through we leave the sign.

Was it an easy or hard album to write and record for.

Ardath: personally I did not find differences in the composition of the pieces of the new album, maybe in some parts, which have a more song form. We were more "controlled" but overall the songwriting style of Nibiru has not undergone upheavals, there are moments of improvisation. Mixing and recording, always made strictly live, were handled with more care but again without changing our sound.

Siatris: for me it was more difficult, especially the phase of the premix, because I want that all the sounds stood out before entering the studio to complete the work.

Did you do anything differently recording this album compared to your other two albums.

Siatris: the approach is always the same, we have worked all together: bass, drums and guitars are recorded at the same time. We overdubbed synth and others instruments like didgeridoo, but the difference is that we wanted a more powerful sound so I played a second guitar on all parts. I've played guitar because I have a different style compared to Ardath, I am still very attached to black metal, so you can hear two guitars that work in unison, but in a very different.

It seems your profile has gradually been growing over the last few years. The Doom/Sludge/Stoner Metal community thinks very highly of you guys. Have you seen that yourselves or do you just let the music do the talking.

Ardath: our music brought something special in a genre that was becoming extremely repetitive in the music scene today, even more in Italy. It is not easy to stand out. If this has happened to Nibiru it means that something has been done. We start from Padmalotus and the forthcoming live shows.

Looking back on your last two albums. Would you change anything about them or you happy with the way things are.

Ardath: We would not change anything, we are absolutely satisfied with what has been done and the responses had proved it. Every past situation brought me more experience and knowledge, but the past must be overcome in order not repeat itself, never.

I've noticed you've changed your sound again on the new record compared to the other two albums. The album is more structured and songs have a direct approach compared to your other albums. Was that an easy or hard experience to go through. Is this how NIBIRU will sound like in the future.

Siatris: we always try to improve our sound and I believe that things have changed from Caosgon. The first album had a sort of punk spirit, the recording is very dirty, almost nothing was overdubbed, Netrayoni was the pinnacle of the improvised phase, the sound is born spontaneously, in Padmalotus we sought a more direct sound, we were not satisfied of the first results, and in the mixing, we worked meticulously.

Ardath: I was the most skeptical when I’ve listened to the songs as they had a different structure compared to the previous CD’s. But I have to admit I was wrong. Of course the most difficult step was to insert new sounds while maintaining the approach and the sound of Nibiru and vary some – as for some riffs or structures - the way I play guitars. It has been a valuable, stimulating and educational experience. Padmalotus is a new starting point, we do not care looking back. From here on, I'm curious to listen to the next Nibiru.

You've hooked up with Argonauta Records for the release of this album. How did you hook up with Gero. Who seems to be releasing some brilliant albums of late. Huge fans of his work here.

Ardath: Gero knew our previous records and we followed the work of Argonauta with great interest, and there was a mutual respect. We contacted Argonauta as soon as we had in our hands a first track of Padmalotus. We sent it to Gero to get his opinion, then we met to know each other personally. We had a mutual desire to work together. Finally we have a label that works hard in Italy. It’s good to consistently promote certain genres of music.

Did you have any other label interest other than Argonauta Records.

Ardath: Our first two albums were mainly self produced as our own choice. We respect Argonauta as said above, so we wanted to approach them and start an important collaboration. Other labels can approach Nibiru but right now the only thing very important for us is Argonauta. Gero is doing an impeccable job for us and with us.

Have you guys performed more gigs over the last couple of years or so. Are there any plans to do a more extensive European tour. Or is it too expensive to do.

Ardath: We have not played so much live shows but the few we played have showns a band that knows how to strike the crowd, and to stay in the damned souls of those who attend our gigs. Certainly we would like to do an European tour. Nothing is impossible.

We have to talk about the brilliant album cover for Padmalotus. Who designed that cover. As it perfectly matches the mood of the album. Did you have much input to the overall design of the album cover.

Siatris: The cover was designed by a good friend, a very good illustrator. We talked about the topics of the album and he has reached the target, giving us an incredible design, the androgynous Shiva / Shakti that opens the third eye, the spider weaving the universe, and the figures on the sides that cut the head waiving their own ego. All this represents the best of our ideas.

So what do the next 12 months have in store for NIBIRU. Anything you like to share with our readers.

Ardath: Now we want to enjoy Padmalotus. We are curious to get feedback from the listeners but we are also conscious of having done a job that people will talk about. We are planning live shows, and in particular we are waiting for the final confirmation in the next edition of a major rock festival. You can also read an interview with Nibiru on the next issue of Metal Hammer UK.

Well guys thanks for doing this. Always great to feature you guys. All the best with the new album.

Ardath: thanks, Nibiru will not disappoint you.

Words by Steve Howe and NIBIRU

Thanks to Barbara at NeeCee Agency for arranging this interview. Padmalotus will be available to buy on CD/DD from May 14th 2015 from Argonauta Records.

For More Information

Official | Facebook | BandCamp

NIBIRU - Padmalotus (Album Review)

Album Type: Album

Date Released: May 14th 2015

Label: Argonauta Records

Padmalotus - Track Listing

1.. Krim

2. Ashmadaeva

3. Trikona

4. Khem

Members:

Ardath | Guitars and Vocals

Ri | Bass and Synthesizers

Siatris | Drums, Percussions, Guitars, Screaming, Didgeridoo and Virus

Bio:

Since their inception in 2012, NIBIRU gave vent to their ritualized improvisation urge. They totally refused the concept of ordinary song form, leaving their energy flow, and channelling that into live recordings. "The first 2 years of NIBIRU were a time of empathic creativity. We used to communicate in a roundabout way. Improvisation was instinctive during the making of CAOSGON. Some kind of song structure was there, but in fact we went through an explosion of freedom in writing and playing. NETRAYONI is the zenith of NIBIRU’s improvisation. Maybe those times have been unique, most likely they are”, states the bassist RI.

In Fall 2014 NIBIRU signed to Argonauta Records, and CAOSGON and NETRAYONI (originally self-released) were reissued by the label in January 2015.

Following their philosophical path, the band crafts PADMALOTUS ("padma" means lotus in Tibetan language). Once again, the lyrics are in Enochian language. “We have chosen to reveal our invocations using this ancient language, in order to express ourselves in many different ways. Our lyrics are very personal and can’t be compared to traditional patterns. Enochian language allows phonetics to take space, so that our feelings can be expressed without being trivialized by constrictive words”, explains Ardath.

Through PADMALOTUS, out in May 2015 via Argonauta Records, NIBIRU reach their artistic peak. Or at least until the next expressions of their invocations.

Review:

Nibiru have came a long way when they first contacted me back in late 2012 to check out their music video for Invokation IV. Heru-khentan-maati - which actually got banned from YouTube for a short period of time. The video captured this bands strange and wonderful sound that they call - Psych Ritual Sludge. Since then they've released two albums - Casogon and Netrayoni Ritual Parts 1 and 2. Nibiru's music has evolved with their last two albums from a more Drone/Ambient/Doom/Psych Sludge with their first album to a more primal and experimental sound with their last double album.

Within that time they've won their fair share of admirers within the Sludge Metal community. Though you need to be in a certain mood to listen to Nibiru's music as nothing is ever as straight-forward in Nibiru's world. Nibiru return with their eagerly awaited 3rd album - Padmalotus. This album sees Nibiru takes elements from their previous albums and give it a more crazier and psychedelic style of twisted Ambient/Drone/Doom/Sludge. Nibiru say this album is a major step forward for them as a band compared to their previous two albums. And I have to say I agree with that statement as Padmalotus sees Nibiru at the height of their musical talents.

The album demands your full attention as opening track - Krim - creates a mysterious and challenging world where the vocals are sang thru distinctive chants that appeared on the first two records. Though there a lot more easy to understand here. Nibiru merge Drone, Ambient, Noise and Psychedelic Nightmarish Doomish vibes. I've described these guys as Uformammut meets BONG in the past and that's about as close as a description I can possibly get. However, Nibiru take their sound onto the next level of distorted and twisted visions. Krim is an epic 12 minute head-trip of the highest order. Vocals drift from one spaced out dimension to the next and the music comes across like a distorted drone based battle.

Padmalotus is a very dark album as Nibiru venture further into the Ritual Sludge part of their music. It can be very primal at times with the band trying to survive from their own musical landscapes. When Nibiru venture into fast-paced territory on the 2nd song - ASHMADAEVA - another psychedelic epic assault on the senses though at least the band offer a more traditional structured song compared to the previous track. It's still another noisy and experimental affair with the ritual sludge riffs being built around Ardath's intense vocals.

The vocals are sung in the Enochian Language and the album has a deep meaningful and complex message that may be too jarring for some people to listen to. Well if they can understand it that is. I'm just going to focus on the music as I will admit I haven't a clue what the band are singing about, though that’s one of the albums strong points. As it dares to be brave, bold and different to other Sludge Metal albums currently out there. The album is packed full of progressive cosmic wonder as each passing second expands into minutes without you ever realising it.

The albums other two epic songs - Trikona and Khem - follow the same dark, twisted and experimental path with the emphasis firmly on noise and volume. Nibiru add a few moments of spine-tingling horror atmospherics with some very haunting soundbytes. The band play some of their more faster drone based riffs on the second half of the album as Nibiru become ever more comfortable with their role as Masters Of Twisted Violent Psychedelic Sludge Overlords. A word of warning though - Khem is on for 28 mins and it’s one song that I had to take a break from as the guitars can be quite punishing at times. Especially with the amount of reverb and feedback Nibiru have created here. Still my favourite track off the album though. Wait until you experience it for yourself.

Do I like this album? Yeah I do. I class Padmalotus as Nibiru's most defining work to date. It won't be for everyone as it's a complex and wonderfully strange experience that runs for 66 mins or so. Nibiru have proven once again they are one of the most daring and creative forces in Italian Sludge Metal next to Ufomammut. Padmalotus is a thrilling and bold album that will rank as one of my albums of the year. No Question.

Thanks to Gero at Argonauta Records and Barbara at NeeCee Agency for the promo. Padmalotus will be available to buy on CD/DD from May 14th 2015 from Argonauta Records.

Words by Steve Howe

For More Information

Official | Facebook | BandCamp

The Sludgelord Exclusive - TOVARISH - New Song Streaming and Cover Artwork Revealed

Drone Noise Doomsters TOVARISH (from Providence, Rhode Island) reveal cover artwork and premiering their new song “Order 227” below:

The new album “This Terrible Burden” is set to be released on May 4th 2015 by ARGONAUTA Records. Also featuring the stunning voice of Yoshiko Ohara (of BLOODY PANDA fame), the album is highly anticipated as a destructive work made on drones, guitars and inhuman vocals! Highly recommended if you like acts as Gnaw Their Tongues or Khanate.

For more information:

https://www.facebook.com/ArgonautaRecords

https://www.facebook.com/Tovarishband

The Pod - Land Of Bread And Water (Album Review)

Album Type: Album

Date Released: March 8^th 2015

Label: Self Released

Land Of Bread And Water – Track Listing

1.Of Bread and Water 06:11

2.Lifegiver 03:40

3.Folded Eyes 04:00

4.The Alarmist Was Drowning 04:13

5.Premonition II (Scars Can Be Saved) 04:05

6.Work Through Work 05:02

7.And This Is Where We Part Ways (ft. Matt Stevenson) 08:21

Bio

Scott Endres of Sludge/Post-Metallers – MAKE – Ambient/Doom Solo Project

Members

Scott Endres - vocals, guitar, synthesizers, samples, beats

w/

Matt Stevenson - drums, beats, samples

Spencer Lee - bass

Review:

I've featured Scott's solo project – The Pod – a few times and I consider myself a fan of his experimental/drone/ambient/doom/electronica/doom solo project. Some of you may know Scott from Chapel Hill Sludge/Post-Metal band – MAKE. A great band in their own right.

This is The Pod's 8^th release overall. If you're a fan of Jesu, Godflesh and Tribes Of Neurot then The Pod will speak massive volumes to you. As Scott has created an album that leave you in trance from beginning to end as the mood ventures from Ambient based Industrial Synths to the more heavier Drone based Doom Metal variety with bleak vocals to match.

There's no point doing a song by song review as this album should be experienced as one epic song. It's a breathtaking and adventurous work from one of Sludge/Post-Metal's highly talented individuals. The way Scott blends different noises and sounds can be considered an art form as he makes real passionate music to lose yourself in. You can feel the texture and density of the heavy synthesizers that leave you in a bleak state. Scott doesn't play by the rules so some people may find this album very hard to listen. And truth be told it is a very hard album to listen to. If you're a fan of Ambient/Drone albums then you will find much to admire here.

Scott doesn't create music to impress people with. He creates music for the sheer love of it all. He's very highly regarded in his home town and the Sludge Metal scene in general. It's been a while since MAKE released any new material so Scott has focused all his creative energy into The Pod. I'm always glad to hear new music from Scott and I'm a huge fan of his work but I'm hoping we will see new material from MAKE as this album made me remember the heavier riffs that I first encountered Scott's work. But I'm digressing – Fans of John Carpenter soundtracks will get a kick out of this album as well especially on the brilliant last track – And This Is Where We Part Ways – as it has a slight throwback feel to that legendary director's musical output. Or that could be looking far too much into things.

If you want something different to test your resolve with then this album comes highly recommended. It won't be to everyone's tastes but if you have the patience for this then you will richly be rewarded with a stunning musical experience. Check it out as the album is available to buy now on BandCamp Buy Now.

Excellent and Highly Recommended

Words by Steve Howe

For More Information

Facebook | BandCamp | Twitter

Interview with Legion Of Andromeda

Today's guests made an impression on me back in December 2013 when I reviewed their debut demo. It was a startling and brutal affair that mixed Death, Doom, Death, Drone, Sludge and Black Metal riffs with bone crunching vocals to match. It won acclaim from fans and critics alike.

Now Legion Of Andromeda return with their even more heavier and disturbing debut album – Iron Scorn – which was recorded and mixed by music legend – Steve Albini. Iron Scorn will no doubt be considered as one of 2015's heaviest, brutal and most dangerous albums.

This is what I had to say about the album:

“The album sounds incredible from start to finish courtesy of legendary music whiz - Steve Albini - who mixed and recorded this album. Let me say Iron Scorn can lay claim to being one of the heaviest, brutal and disturbing debut albums you are ever likely to hear. This is filth ridden dirge induced Death/Doom/Black Metal on a grand Drone Metal scale.

The instrumental work is intense and quite painful at times as Legion Of Andromeda play very aggressively with different sounds noises combining that will take time to fully understand. However, it seems the drums are being hit with sledgehammers and guitars with Freddy Krueger's razor sharp gloves. Many people will be very scared to listen to this album and I do not blame them. It even scared me at times especially with the vocals.

Legion Of Andromeda are the new harbingers of death and they are here to collect a few souls along the way. I need a rest after listening to this. Only listen to this if you are feeling brave enough.”

I have been given the chance to interview M and R who make up this deadly and dangerous duo. So it's time to hear what Legion Of Andromeda have to say to us!!!

Hi guys, Thanks for doing his interview. How are things with you today.

Hi Steve, thank you indeed. Pretty busy with the album release and stuff and listening to Cop Shoot Cop right now. Holy fuck, what a band that was.

For people not in the know, can you give a brief history of how the band came about and where it is today.

Our wives are colleagues and a few years ago they discovered we listen to the same music (which they hate) and then decided to introduce us. After listening to loads of records and going to several shows toghether, -M- later proposed me to do some shit together and I accepted.

Why did you choose the name Legion Of Andromeda. Any particular reasons for this name.

I love to use the sound of words, carefully choose between them and combine them together to create something that sounds powerful. In this regard the word Andromeda sounds extremely evocative: it’s enormous, roaring, menacing…it’s quintessentially onomatopoeic, it’s dark, alien, utterly bombastic. Fusing it with the word Legion (which is of course a cliche word often abused in metal, to which we also want pay homage) resembles an anti-entity devouring galaxies and sprawling total destruction moved by the sole, primal, bestial feel of hate. It’s cosmic hate, literally.

By no means we endorse hatred as some idiotic fascist ideology, neither we “fight” for some foolish, politically-correct hope to change the world with peace and love and blah, blah. Fuck that weak shit. Instead, hate for us is a nihilistic way of intend existence, a catharsis to sublimate consciousness. In this regard the name Legion Of Andromeda is majestically psychedelic. Being the world a place populated by that scourge called humanity, Legion Of Andromeda is a massive beam aiming at that scum. It’s a reaction, a necessity, a constant state of mind. Ultimately, it’s our interior battle against the constituted order.

How would you describe your own sound as it falls under many different categories, Noise, Sludge, Doom, Ambient, Drone, Death, Black.

Brutal, minimal, primitive metal. Or brutal, minimal, primitive noise. We don’t really know. Maybe The Velvet Underground playing Godflesh.

When you created the band, did you already know you wanted to create a nightmarish sound compared to other bands.

We didn't necessarily want to create a nightmarish sound, instead we started with the idea of forging that minimal, extremely repetitive, torturing psychedelic trance in order to induce ourselves and the derelicts who listen to it in totally altered states of consciousness.

You released a stunning debut EP back in 2013. Very dark and violent. Did the acclaim you received for that EP surprise you a great deal.

Yes, we are positively surprised, being the demo long sold out and praised by many outlets, still one of the best comments came from a fan saying that he typically listen to LOA while doing heroin.

Looking back would you change anything about your debut EP.

No.

Was it a hard or easy EP to write and record for.

Natural, smooth and efficient for both the situations.

Now you’re back with your even more depressing and crushingly loud debut album – Iron Scorn. Can you tell our readers what they can expect from that album if they’re feeling brave enough to listen to it.

A sharper, more focused approach fuelled by a truly monster production. Trance inducing repetition. Abandon all consciousness, embrace disintegration, fuck off.

I found it a very hard and challenging album to review. As the structure and tone of the album doesn’t really change a great deal. It feels the album is one 46 minute song instead of 7 individual songs. Was that your intention when recording the album. To keep the tone and structure basically the same throughout the album.

While we get your point and in part agree, we still feel the album as 7 distinct songs, while of course sharing the same atmosphere. Let me explain it better: we want our albums to sound extremely cohesive, dense and coherent, the key of minimalism for us is to take a single sound, a single vision, a single approach, even a single riff and penetrate it as deep as possible and in every possible implication, way and perspective. And from this process creating separated, individual songs.

The result, to profane ears, is all that you have is only this apparently identical, monotonous, monothematic, uninspired, static music. Paradoxically, it’s more challenging (and for us more rewarding) to understand this kind of approach than understanding, for example, intricate, technical progressive rock. Progressive music is often annoying to us (with many exceptions of course) while minimal and repetitive music is instead exciting. Take as an example Ildjarn, early Sunno))), Von, Ride For Revenge, Shellac, the first Om album: when those records came out nobody gave a shit, instead a lot of posers blamed them as boring and lazy but then praising them later only because they got hyped by some random journalist.

You worked with Steve Albini on this album. How did you guys become involved with Steve.

We simply contact his studio and booked the session. Big Black is one of our main influences, it’s 20 years that we listen to them along with Rapeman and Shellac. Ultimately, we felt that Albini’s extraordinary engineering skills would have been perfect to encompass our vision.

What was the recording process experience like with Steve. And did he offer you any words of wisdom.

Recording at Electrical Audio has been a massive achievement for us and the whole experience was astonishing. Steve’s wisdom and precious advices were addressed to the technical aspects of the recording process, while the artistic decisions were totally up to us, as he consider himself a pure sound engineer, not a producer. In this perspective he has great respect for the band’s music without letting his personal taste interfere, a modus operandi that we totally support.

What is the song-writing dynamic in the band? Is it down to one individual or a group process?

It’s totally a group process: we share the same distorted mindset so writing is always smooth and linear.

M – you deal with all musical instruments. R – you deal with all the vocals. Do you both have an equal say on how each person plays there part in the band. Or do you just focus on your own role within the band.

While we focus primarily on our own instrument, we often exchange suggestion on how this or that part could sound better on our respective roles. It’s an enriching and complementing development as we always struggle to reach the top within every song. We do not tolerate to settle on music.

Which bands or musicians influence you to become a musician? Any particular albums that stand out.

If I (-R-) had not heard Iron Maiden (Killers) when I was 9 I would not be here, same goes later for Naked City (Torture Garden-not a minimalist band, indeed!) Big Black (Songs About Fucking) Fugazi (Red Medicine) Rollins Band (The End Of Silence) Cop Shoot Cop (Ask Questions Later) Morbid Angel (Altars Of Madness) Darkthrone (Transilvanian Hunger) Godflesh (Streetcleaner)…the list goes on but these were the most important bands in my formative years, between elementary and high school: I don’t want to say that they played a decisive role in forging LOA’s sound (being Big Black, Darkthrone and Godflesh the obvious exceptions) instead they gave me an immense perspective on the way I look at music (and even life) as a whole and played a fundamental role for me to became a musician.

For -M- there was Big Black (Atomizer) Thought Industry (Mods Carve The Pig) Unsane (Scattered, Smoothered and Covered) Neurosis (Through Silver In Blood) The Jesus Lizard (Goat) Slint (Tweez) and loads more that I cannot remember.

How important is a physical product (CD/Tape/Vinyl) to you as a band.

It’s primary. The physicity of the product, the artwork and layout, even the credits and the thanks list, everything contributes to the whole vision. It’s mandatory as a band. Thinking about the artwork for Iron Scorn was like writing a song as it involved the same energies.

Which musical formats do you listen to and own the most – CD, Tape, Digital or Vinyl.

We prefer vinyl, but we’ve got more CDs than vinyl: that’s because most albums are recorded in digital and then get transferred to vinyl...it’s a total no sense and in this case the CD sounds obviously better and costs a fraction. Only albums recorded and mastered directly and entirely on analog tape, (like our debut album!) are the real thing and sound really good, the rest is hipster bullshit.

What is your musical setup when playing live or recording in the studio? Do you have a basic setup or advanced setup?

Just a gtr/bass amp+cab combo for guitar, the drum machine and the vocals going through the PA. Vocals are not effected (even on the album), just delay and a little reverb.

What is the scene like in your home town and country. Are there opportunities for you to perform gigs on a regular basis? Or do you travel further afield to perform regularly.

Japanese scene, while fragmented, has always been variegated and extremely creative. It’s an extremely exciting scene, even from a sociological perspective. And it’s not so difficult to play gigs in Tokyo.

So apart from the album release what other plans do you have for in 2015. Anything exciting you can tell us.

We’re already writing new tunes that sounds even more minimal and brutal. I think the next album will be a punk one and probably inspired more by Ramones than Godflesh. The Ramones, what a great band.

Well guys, thanks for doing this interview. Do you have any last words of wisdom for your fans?

LIVE TO HATE. COSMO HAMMER MASTER OF THE UNIVERSE.

Thanks for doing this guys. All the best with your new album.

I want to thank Nathan T. Birk for arranging this interview and Legion Of Andromeda for taking the time out to talk to us here at Sludgelord HQ.

Iron Scorn will be available to buy on CD/DD from Feb 20th 2015 on At War With False Noise and Unholy Anarchy.

Words by Steve Howe and Legion Of Andromeda

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Anatomy of Habit - Ciphers + Axioms (Album Review)

Album Type: Full-Length

Date Released: 3/11/2014

Label: Relapse Records

‘Ciphers + Axioms’ CD//LP//DD track listing:

1). ‘Radiate and Recede’

2). ‘Then Window’

Anatomy of Habit is:

Theo Katsaounis | Percussion
Will Lindsay | Guitar
John McEntire | Drums
Kenny Rasmussen| Bass
Mark Solotroff | Vocals

Review:

This album is a masterpiece of huge noise. Anatomy of Habit has produced a musical titan composed of two halves: the rolling ‘Radiate and Recede’ & the intense ‘Then Window’. Anatomy of Habit simply roll with unrestrained mass in their sound, using what sounds like a stadium to push wave after wave of fuzz and bass over the listener. The songs aren't short jaunts through ideas either, but winding 20+ minute paths that wind through poetic ideas. The band is basically a super group, using members from other notable acts: Mark Solotroff (Bloodyminded), John McEntire (Tortoise, The Sea and Cake, Gastr Del Sol), Will Lindsay (Indians, Wolves in the Throne Room), Theo Katsaounis (Joan of Arc), and Kenny Rasmussen (ex Radar Eyes). These talented individuals have brought you an album that is closer to art, than just simply heavy music. I have minced words too long, let’s dive in!

The first epic, ‘Radiate and Recede’, is pretty spot on. The entire song is basically following a tidal pattern of having the guitars and, I think, string accompaniment roll in at measured times, to flow over everything. It's like God slowly rolling up the volume of universal life to just drown out petty humanity. It's somewhat akin to white noise, the repeating chords and notes just seem to blank out whatever is inside your head, while Solotroff simply gives an odd beauty with his nearly chant-like vocals. It’s a weird combination, but one that sticks in the listeners head pretty nicely. He doesn't alter his cadence, using a monotone baritone to deliver his simple lines, but it winds well with the building wall of noise and doom rolling around you. The vocals do change in a couple of spots, where he gets some scream time in, but nothing as terrible as screamo or other style so terrible. It arrives in time with a huge change in tempo and attitude with the band, and peaks to break into the lulls it so commands. The song, when at its simplest, uses percussion and minimal guitar to just leave a resounding space for Solotroff's voice to echo into infinity, which has to just knock angels out of their clouds. The ending of ‘Radiate and Recede’ is really heady, as it becomes more plodding doom, with a subtle transition from the earlier parts. It gets all kinds of heavy.

‘Then Window’ is quite different from ‘Radiate and Recede’, it starts with some heavy feedback, which then just morphs into differing textures and patterns. After about a minute of that, they go right into a heavy marching pattern, with the stringed half playing quite percussively with the drums. It has a purpose, and it's not stopping for anything. The vocals are in the same vein as ‘Radiate and Recede’, following a specific pattern and still that odd chant singing. This is by far my favorite song, as it has a bit more energy than the first song, and also because of the change in the last 7+ minutes of the song. The first 13 are more traditional doom and rock styled, as you have intense grooves with extremely hard delivery. It almost sounds like they had to get this last one out of their strings, so they went for broke on some sections. It goes immediately from groove city to light sections with minimal playing and more vocals. The lighter sections aren't to leave you hanging, as they slowly ramp up from behind to deliver right back into heaviness. The change happens at the 9 minute mark, where the song just starts fading out from the vocals, like they were all just sneaking out to leave Solotroff alone with himself, but then he stops on the repeated line of "Ciphers, and Axioms", and the song takes a rolling, ambient feel. It's like watching the baby float through 2001: A Space Odyssey, it’s just epic. It’s rolling noise with an underlying riff right below it, probably best on certain chemicals. 

Overall, ‘Ciphers + Axioms’ by Anatomy of Habit is one of the best albums from last year, perfect for the heavy aficionado who likes to mix it up with their collection.

Words by: Hunter Young

You can pick up a CD/LP copy here.

For more information:

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