REVIEW: God Root & Manikineter, "“The Dirt Will Reclaim All It Has Lost”

By: Mark Ambrose

Album Type: Split 
Date Released: 01/06/2019
Label: Independent

"The Dirt Will Reclaim All It Has Lost" CS//DD track listing

1). God Root, Decay is a Womb

2). God Root, Where Life Springs Forth

3). Manikineter, We Don’t Remember Asking

4). Manikineter, Shoot the Chalice (Re-Mixed)

The Review:

Writing about metal, especially the “extreme” spectrum of metal, you don’t necessarily get to reflect on melodic beauty. I’d probably cringe if I had to look at a diagram of how often I remark on the brutality, the malevolence, the dissonance and filthy tones of the releases I get sucked into.  But the most effective moments of tension, for me at least, is hearing a group of capable musicians show off their melodic prowess and then break it into a million writhing pieces.  Maybe that’s what’s drawn me to God Root since their self-titled debut; maybe that’s what has me more excited for what they WILL be doing with each new release. It’s definitely what has me hooked on their latest, long awaited follow-up to “Salt and Rot”.  With fellow Philly cross-genre mastermind Manikineter, God Root explore the beauty in physical corruption on “The Dirt Will Reclaim All It Has Lost” by fusing harmonic vocals and harsh noise, soaring leads and thrashing low end, offering a glimpse of a band that’s thoroughly progressive but undeniably catchy.

The main course here is “Decay is a Womb”, a nine-minute opus that opens with thoroughly monastic, multi-part harmonies, crackling minor key guitar chords, and pulsing, tribal drumming.  The extreme low end vocals, which directly nod to Tuvan throat singing, are beautifully countered by the vocal triad of Joe Hues (guitar), Ross Bradley (bass) and Fred Grabosky, before the shrill noise acrobatics of Jordan Stiff and dual guitar lines of Hues and Kieth Riecke kick in.  There’s some subtle industrial crunch running through the sludge but the rhythm is never stiff.  It manages to pulsate with the biological metaphors at play.  With an intensity that vacillates between agony and jubilation, the nameless narrator intones: “I yield to the heat of decay / Rebirth between the black astral plane / In loam, a time lapse churns my body back to the earth / Swallow me. Rip me away”. It never get back to the delicacy of the opening, but the melody coursing through the song makes the furious eruption of instrumental noise and wordless screams at the end that much more gratifying.

The instrumental “bonus track” of the digital download, “Where Life Springs Forth” is an interesting ambient palate cleanser.  After the life/death/decay/rebirth themes of the first track, the synth-electronic soundscape had me thinking about Godflesh at Justin Broadrick’s most industrial moments and Eraserhead sets blasted by radiation.  This echoey nightmare doesn’t seem to evoke any humanity, or any life whatsoever.  This extended transition is a perfect bridge to Manikineter’s post-apocalyptic avant garde noise wizardry.

“We Don’t Remember Asking” opens as a near inverse of “Decay is a Womb” – a single voice intones a chant, but this isn’t the unifying uplift of “Decay” – this is quavering, extended, looping into inhuman manipulations while an intensely distorted voice rambles under layers of static.  The voice crackles on for minutes at a time, a ghost in the machine, until it’s buried under layers of synth and drum machines.  Synth bass and sparse drum machine fills emerge from the background before Carl Kavorkian’s lyrics flow out like missives from a numbers station.  With the mechanized, steady pattern of his words, it almost feels safely repetitive until a shrieking voice breaks out, describing horrific surreal images: “Despot’s Chest poked, brain in sight thru nose” really stuck with me in a viscerally unsettling way.

Manikineter’s bonus track here, “Shoot the Chalice (Re-Mixed)” is a deeply distressing noise nightmare.  If God Root’s purely instrumental track toyed with post-humanism, this is a straight out antinatalist dirge.  If there’s anything vaguely biological here, it’s the buzzing of carrion flies, the shrieks of metal and machinery that evokes pure agony, the endless looping of synthesized screams forever and ever amen.  This is advanced level noise mastery here with occasional glowing notes thrown in above the miasma.  True disciples of auditory pain will love this – others may be left cradling their precious eardrums.

As a whole, “The Dirt Will Reclaim All It Has Lost” functions how the best splits always do – it pulled me in with one thing I love and introduced me to something else I’d love to learn more about.  The fact that it does so in a cross-genre way is even more exciting and, frankly, something more “EXTREME METAL” bands should consider.  The palettes of so many seemingly disparate scenes are cross pollinating and colliding in ways that go far beyond the simplified “rap meets metal!” cover stories that flooded Hit Parader and a million other shitty magazines that littered my floor as a seventh grader.  Instead, we have two really interesting, important underground musicians on the cusp of even bigger things, both ruminating on themes of decay, loss, death, and chaos.  The fact that I want to see the ways they intersect and diverge beyond this record means I can only see this brief experiment as an unmitigated success.

“The Dirt Will Reclaim All It Has Lost” is available HERE

Band info: godroot.bandcamp || facebook.godroot || manikineter.bandcamp || facebook.manikineter

ALBUM REVIEW: Sunrot - "Sunnata"

By: Mark Ambrose

Album Type: Full Length

Date Released: 4/08/2017

Label: Independent

 

Those who take the plunge into “Sunnata” will still be blown away by the fierce musical skill, emotional honesty, and undeniable potential of Sunrot.  Their truly exceptional full-length debut has set a high benchmark that, one hopes, is only the opening chapter of a lengthy, groundbreaking career.

“Sunnata” CD//DD track listing

1. A Void

2. Agonal State

3. Gormandize

4. Ossuary

5. Aorta

6. Angry Downer

7. Death’s King

8. Riverbed

9. The One You Feed (Part 1.)

10. Aether

11. Freedom

The Review

After the eruption of extreme metal hybrids in the de facto American music “hubs” – Brooklyn, Austin, LA, San Francisco, Portland – you’d expect the classic rock cycle patterns to emerge: small bands outgrow their local scenes, pick up stakes and move to the big cities to make it with the major players.  And yet some of the most unlikely spots have been blessed with cadres committed to DIY ethos, local venue development, and inexpensive but professional recording options.  Portland (Maine), Richmond, Minneapolis, Louisville and countless other towns have been pushing back against musical inferiority complexes to become their own distinct incubation centers.  Even the suburban to urban sprawl of my native New Jersey boasts one of the most active musical landscapes in decades, lurking quietly in the shadows of New York and Philadelphia.  The members of Sunrot and a good selection of their peers have embodied and, in many instances, propelled this enclave from dire straits to a remarkably inclusive and diverse community.  “Sunnata”, the full-length debut of this “noise power-sludge quartet”, proves Sunrot aren’t just local scene superstars.  This is as assured, confident, and essential a debut as you’re likely to hear this year

From opener “A Void,” “Sunnata” thrums with noise collages – tracks that roil with feedback, layered electronic manipulations, spoken word samples, and eerie guitar chords – that sound positively Lynchian (especially in the case of “Angry Downer”).  But Sunrot does not sequester its experimentation in segue tracks, as “Agonal State” builds on a haunting hardcore riff and ghostly spoken word, before launching into a doom-meets-industrial mayhem.  Lead vocalist Lex Nihilum’s delivery is particularly haunting, an agonal bellow that, in moments of subtly quavering intensity, conveys raw emotion more effectively than half the singers in any genre.  The economic and precise rhythm work of Eustaquio, Kaminsky and Gonzalez highlights an exceptionally honed musical organism on the menacing and shifting “Gormandize”.  Kaminsky’s bass tone is all fuzz and heft, while Gonzalez lays down complex rhythms with remarkable restraint and clockwork precision.

“Ossuary” kicks in with a pitch black lead like a folk song from hell.  Whenever departing from the heavy sludge riffing that propels “Sunnata”, guitarist Chris Eustaquio displays remarkably diverse influences, ranging from Appalachian bluegrass to eastern tinged mystical psychedelia to dreamy shoegaze passages.  The back-to-back attack of “Ossuary” and “Aorta” is a perfect balance of violence and beauty: Stephen Edwards (Inertia) provides guest vocals on the “Ossuary,” adding gruff, low-end heft, while the ethereal melodies and Nihilum’s higher register transforms “Aorta” into a transcendent escape from the boneyard.  It’s a brief respite, however, as “Death’s King” plunges back into trudging doom despair.  Like some perverse inversion of the Pixies “formula,” Sunrot manages to pull off loud-chaos-LOUDER without losing an ounce of sincerity.  “Riverbed” pulls back from the haunted depths, rocking like 90s hardcore, complete with Sunrot’s unique twist on gang vocals: a collapse into layered, incoherent chaos before coalescing for the closing breakdown.  “The One You Feed (Part 1.)” may be as close as Sunrot ever comes to a ballad, swirling around a repeated lyric – “Who do you feed…” – that, in Nihilum’s delivery, is pure, emotional napalm.  Bonus points for the most effective sample of Dionne Warwick in the history of metal.  “Aether” serves as a final statement of “Sunnata”’s grand themes: torment, transformation, existential horror.  As Lex belts “I am free now, in the void”, “Sunnata dares” you to look over the precipice and leap off, into the swirling void made sonic reality of “Freedom” – as apt a metaphor for dissolution as I’ve ever heard.

Sunrot have established themselves as local titans, cross-genre collaborators, and remarkable performers.  As they set out with Philadelphia’s God Root to support “Sunnata”’s release, they’re likely to explode from their cozy local collective, if only on the power of their live intensity.  On their own terms, they’ve helped establish a scene any musician would envy.  As openers for titans like Eyehategod, Cro-Mags, and Thou, they’re likely to inspire a few imitators and DIY enthusiasts in environs even more dire than the industrial wastes of New Jersey.  But those who take the plunge into “Sunnata” will still be blown away by the fierce musical skill, emotional honesty, and undeniable potential of Sunrot.  And with their truly exceptional full-length debut, Sunrot has set a high benchmark that, one hopes, is only the opening chapter of a lengthy, groundbreaking career.

“Sunnata” is available for download here

Band info: bandcamp || facebook

TOP 16 ALBUMS: The Sour 16 (July 2017)

Olde

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

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

16). Entrails - “World Inferno” (370)

I can't find any fault with this album from intense opener to epic closer of “The Blood Breed”, the band don't put a foot wrong. This is raging death metal, plain and simple

15). Viscera/// - “3: Release Yourself Through Desperate Rituals” (373)

"If one were forced to classify the band’s current sound, post-metal might be the safest category, but even that vaguely defined subgenre does not quite do the band justice, as it fails to mention the strains of psychedelia, black metal, hardcore, death metal and the band’s grind roots to are still very present in VISCERA///

14). Eternal Black - "Bleed The Days" (374)

The sheer weight of the riffs will indeed threaten to pull you under, as they deliver just the right amount of menace to go with the fuzz. There is a hefty dose of soul in the music here, along with a pervading blackness.

13). Norska - "Too Many Winters" (393)

“Too Many Winters” is a captivating collection of powerful doom steeped in Norska’s unorthodox and compelling personality.

12). Cloud Rat/Disrotted - "Split LP" (413)

This is an awe-inspiring release from two incredible bands who can seemingly do no wrong at the moment and continue to deliver an embarrassment of heavy riches in 2017.

11). Goatwhore - "Vengeful Ascension" (458)

“Forsaken” jumps out of your speakers and down your throat and suffocates and entertains the listener in the best way possible. There’s nothing quite like what this band can deliver – the riffs, vocals and drumming is first class and unique

10). God Dethroned - ‘The World Ablaze’ (466)

If you’re a longtime fan like me, this album is everything you’d want and then some. ‘The World Ablaze’ is all of the best elements of the God Dethroned’s entire discography amalgamated into a single album.

9). God Root - "Salt and Rot" (518)

God Root have managed to craft one of the most ambitious, progressive, and emotionally harrowing offerings of 2017.  The cosmic journey of “Salt and Rot” is one that will leave you shaken to your fleeting, human core.

8). Voivod - "RRRÖÖÖAAARRR", "Killing Technology", "Dimension Hatröss" (Reissues) (534)

7). Wounded Giant - "Vae Victis" (581)

there are moments of majestic riffing and an impressive amount of variation on offer

6). Owlcrusher - "Owlcrusher" (697)

With three tracks spread across 45 minutes, each song embraces sprawl and space: the reverb heavy drum tone pounds like the pulse of a leviathan.  The low end guitar tone crackles with fuzz, while the bass rumbles so menacingly that, with the right sound system, you may get your guts churning like you’ve just been forced to smoke a whole pack of unfiltered cigarettes – you’ve got the cold sweats, your insides feel poisoned, and you’re probably gonna puke, but god damn it you’re hooked

5). Destroyer of Light - "Chamber of Horrors" (719)

I will have to say that this album falls into an epic category for its great compositions, the honest heart involved in creating such a journey of ebb and flow, the range of emotion that continues what true music is about; music that continues what early St. Vitus and Trouble were doing, but DoL are creating it their own way.

4). Cirith Ungol - "King of the Dead" (Ultimate Edition) (724)

It's a very engaging listen, 33 years on and is an absolute must have for any fan of doom- or anyone looking at how the genre started to really form into something (along with the work of Vitus, Trouble et al).  An essential album and a worthy reissue. Enrich your record collection and your life by buying it!

3). Melvins - "A Walk With Love & Death" (727)

On “A Walk with Love and Death”, the Melvins do both things that their cultish fans love about them, and do them both damn well.

2). Venomous Maximus - "No Warning" (731)

In some places on the album, those qualities are phrased in the same ways that fans have come to expect, and so admirably, but in other spots on “No Warning”, Venomous Maximus explore new ways to do that which they’ve always done: create infectiously and wonderfully diabolical music.

1). Olde - "Temple" (866)

Olde’s “Temple” is doom metal done the way it should be. It is well-crafted, forward-thinking, and a contender for one of the best records of the year.

A big thank you as always to our amazing writers, your dedication knows no boundaries and for that I am truly grateful.  July 2017’s “SOUR 16” features reviews by:  Richard Maw, Daniel Jackson, Charlie Butler, Ben Fitts, Mark Ambrose, Mark Tremblay, Jay Hampshire, Jack Taylor & Eric Crowe.

ELEVEN IS ONE LOUDER: Philadelphia shamanic sludgers Got Root discuss their favourite riffs

Former Sadgiqacea vocalist/drummer Fred Grabosky brings us his new project God Root and what a project it is, following up their 4 track EP released last year, the band have roared back with their debut full length released on the 11 July and to put it simply, “Salt and Rot” is one of the best records we’ve heard this year, and a uniquely disorienting listen.  With its balance of inhuman tones and ritual chants, it feels simultaneously outside of history and utterly indebted to it.  Packing such epic arrangements into a 33 minute record feels impossible, as lesser acts have failed to deliver similar ambitions into double disc efforts. 

As with Sadgiqacea, these Philadelphia avant-garde sludge shamans accentuate the heavy parts with quiet moments to create their own brand of primitive and tribalistic sludge, with doomed cinematic soundscapes.  Each element is added very carefully as to not over saturate the compositional structure of the record, with songs often building tension until you are served with a crushing finale.  

Today with the album but a few weeks old, we invited the band to talk about the lifeblood of all bands worldwide, the might of the riff.  So come with us as we take our weekly trip into the extreme and turn the volume all the way up to eleven, as God Root choose some of their favourite riffs of all time.  

“Each of us has immense respect for the song writers who push riffs with their hearts. We like to think we take after that mind set in our own writing. We want to feel it. “Salt and Rot” contains a lot of riffs that we really feel in our loins. Here's a list of some of all-time favourite riffs that we've been inspired by and aspire to live up to”.

The Mars Volta – “Take the Veil Cerpin Taxt” (chosen by Jordan)

I can't think of a band that mixes intricate guitar parts and noise any better than The Mars Volta. At 3:40, after being taken on what is already an insane sonic journey, the song quiets and out of this King Crimson-esque mellotron part starts to bubble this stumbling, idiotic riff that sounds like it's had a little too much to drink. The riff seems like it was written by a toddler smashing their toy truck into a step sequencer at first but then you start to realize that this is a riff and "oh shit, it's angry." before you have enough time to say "I get it" this phaser of death swallows it up and the rest of the band joins back in to form this ultra-noisey super groove.

Runner up: “Red” by King Crimson

The Melvins – “Boris” (chosen by Ross)

This riff is the grandpappy of 10,000 bands and 100,000 songs. A riff you name your band after. A riff I named my cat after. A riff so heavy you laugh at it when you first hear it. Like "what the fuck is this... he's basically playing 3 notes for 9 minutes." And then you find yourself craving it. Always wanting more. Chasing that riff dragon. But no other riff comes close. Never like that first time. Extra props to the live version with the Big Business boys joining in for insane 4 part harmonies.

Runner up: “Christbait Rising” by Godflesh

Morbid Angel – “God of Emptiness” by (chosen by Keith)

The opening riff of this song is perfect. The snaking, unpredictable, and totally crushing guitar immediately conveys blasphemy and total evil. Morbid Angel has a way of finding the perfect "wrong" notes in their riffs and it makes them sound completely sinister and alien like pronouncing the name of some ancient Lovecraftian beast. It's just the most pulverizing thing I've ever heard.

Runner up:  “Sight Beyond Sight” by Rwake

Neurosis – “The Doorway” (chosen by Fred)

This is kind of a no-brainer for most people that love heavy music I guess, and maybe even an unoriginal answer to some, but I don't care. I honestly would like to lump this whole damn song into one "favorite riff", but if I had to choose a specific riff in this song, it would have to be the breaking point riff with an epic crash at 3:20 in. This riff is so damn good it's stupid. It's set up perfectly to pummel you after 3 minutes of 2 swirling riffs that seem to send you into a daze from violent electric shock. A haunting and intense stupor washes over you as you hear both Scott and Steve bark and howl at you...and then it hits. Holy fuck, it's like the earth is being split open only to send your body hurling into the abyss. As you're free falling through the earths core at disgusting speed, the mid tempo riff evolves with clever harmonic palm mutes...and then you're legally dead, you smash into the surface below, but the next riff violates your obliterated corpse even further... the song is an all out assault on the psyche for a solid 7 minutes. I have so much love for this band, this album and this riff.

Runner Up: “Set the Controls for the Heart of The Sun” by Pink Floyd 

James Brown – “Ain't it Funky Now” (chosen by Joe)

The teeth-grinding single mindedness that this riff is played with is something I think about a lot. The whole rhythm section is on board with that attitude and the tension is physical. The way they just lean into it unceasingly for minutes at a time never fails to make my muscles tense up involuntarily. This riff is a great example of the power of sheer repetition in music. 

Runner up: “Journey Into Satchidananda” by Alice Coltrane 

Band info: bandcamp || facebook  || Instagram