Drudkh + Hades Almighty - ‘One Who Talks with the Fog/Pyre Era, Black!’ Split (Review)

By: Heather Blewett

Album Type: Split LP
Date Released: 03/06/2016
Label: Season of Mist

One of the most paramount bands in the black metal genre, Drudkh have crafted a sound that strikes the ideal balance between brutality and atmosphere that is consistently delivered record after record. Their contribution to this split is sublime, “Golden Horse” commences fast and forceful and immediately recognizable for the incomparable majestic sound that Drudkh are so highly praised for.  Hades Almighty have returned strong on this split, the inclusion of choral and chanted vocals alongside stompy riffs and sinister growls makes for a memorable listen. Each track is immersed with variety; the concoction of musical elements is riveting and well structured.

‘One Who Talks with the Fog/Pyre Era, Black!’ CD//DD//LP track listing:

1. DRUDKH – Golden Horse
2. DRUDKH – Fiery Serpent
3. HADES ALMIGHTY – Pyre Era, Black!
4. HADES ALMIGHTY – Funeral Storm
5. HADES ALMIGHTY – Bound

The Review:

There isn’t a Drudkh release that should ever go unheard, and their latest opus alongside Hades Almighty is certainly no exception. One of the most paramount bands in the black metal genre, Drudkh have crafted a sound that strikes the ideal balance between brutality and atmosphere that is consistently delivered record after record.

Their contribution to this split is sublime, “Golden Horse” commences fast and forceful and immediately recognizable for the incomparable majestic sound that Drudkh are so highly praised for.  The riffs are emotive and soaring, juxtaposed with the vocal snarl and clattering of blast beats; it’s bold and brash yet imbued with melody and atmosphere. Following on with “Fiery Serpent”, a gloomier more melancholic tone is present, featuring a more expansive sound that once again exudes emotion and atmosphere.

With a tough act to follow Hades Almighty bring out the big guns (well riffs) for their input, solidly delivering with an almost modern day Alcest style riff introduction on “Pyre Era, Black!” before the heavily distorted guitars and crashing of cymbals disturbs the tranquillity. Forming in 1992 from Bergen, Norway, and with an arson charge for guitarist Jørn Inge Tunsberg’s for the burning of Åsane church along with Varg Vikernes, Hades Almighty don’t veer far from the stereotype. Nevertheless, their black/Viking metal offerings are very much welcomed after a 15-year hiatus.

Hades Almighty have returned strong on this split, the inclusion of choral and chanted vocals alongside stompy riffs and sinister growls makes for a memorable listen. Each track is immersed with variety; the concoction of musical elements is riveting and well structured.

If this is a glimpse into future releases from Hades Almighty, then good things are certainly to come. I look forward to a full-length follow up.

“One Who Talks with the Fog/Pyre Era, Black” is available here

 

Band info: facebook/Drudkh.Official/| facebook/HADESHORDEN/

Karma to Burn - "Mountain Czar" EP (Review)

By: Heather Blewett

Album Type: EP

Date Released: 26/02/2016
Label: Steamhammer/SPV

“Mountain Czar” is an infectious record that certainly incites uncontrollable foot tapping and head nodding. Perhaps not quite as edgy as some of their earlier albums like “Almost Heathen” and “Wild Wonderful Purgatory”, nevertheless it is a solid representation of Karma to Burn and their incomparable style, with concluding track “Sixty-Three” channelling a cowboy western sound with potentially the strongest riff of the record.

“Mountain Czar” CD//DD track listing:

1). Sixty Two

2). Sixty One

3). Sixty

4). Uccidendo Un Sogno

5). Sixty Thee

The Review:

Since their highly acclaimed debut in 1997, Karma to Burn have consistently wowed fans with their uncompromising (mostly) instrumental sound. Often labelled stoner rock, although they themselves have said they don’t smoke marijuana and is therefore perhaps not representative of their sound.  Karma to Burn hail from ‘The Mountain State’ West Virginia, so for those compelled to compartmentalise we’ll go with mountain rock. 

Aptly naming their EP “Mountain Czar” Karma to Burn return armed with riffs, riffs and oh yeah more riffs.

Maintaining the listener’s interest with no vocals isn’t the easiest of tasks, the music has to be that much more engaging to compensate. Luckily for Karma to Burn they are no strangers to laying down a killer riff, alongside a varied structure full of twists turns and general unpredictability. Tracks “Sixty-Two” and “Sixty-One” (yes they come in that order) deliver with groove galore and irresistible foot stomping rhythm. The songs flow with deft musicality, yet imbue an erratic unpredictable thrill. “Uccidendo Un Sogno” is the only track with vocals, a cover of Tom Petty and the Heartbreakers “Runnin Down a Dream” and sung by Stephanie Savy in her native tongue of Italian. It really works. The vocals sit perfectly with the groove laden riffs, and a spectacular guitar solo tops it off. Concluding track “Sixty-Three” embodies the aforementioned genre of Mountain Rock, channelling a cowboy western sound with potentially the strongest riff of the record.

“Mountain Czar” is an infectious record that certainly incites uncontrollable foot tapping and head nodding. Perhaps not quite as edgy as some of their earlier albums like “Almost Heathen” and “Wild Wonderful Purgatory”, nevertheless it is a solid representation of Karma to Burn and their incomparable style.

Mountain Czar” is available now

Band info: official

Cult Of Luna/The Old Wind - "Råångest" EP (Review)

By: Heather Blewett

Album Type: EP

Date Released: 29/01/2016

Label: Pelagic Records

Cult of Luna singular track on the split is a cover of Amebix’s ‘Last Will and Testament’, despite being a cover version it is very much interpreted their way, with brutality and epic grandeur. It’s a mesmerizing take on the original that showcases their laudable creativeness and intelligent musicality.  The Old Wind maintains the brutality with crushing riffs and anguished vocals on track ‘The Wooden Scythe’. Darker and sludge-ier than the Cult of Luna offering, it’s a force to be reckoned with. ‘Daughters of Cleanse’ cohesively chimes in, following on in the same bleak fashion as the previous track.  Both bands deliver to create an impressively monolithic EP, excitement for the upcoming Cult of Luna release is intensified while The Old Wind will surely garner new fans whilst appeasing current ones.

“Råångest” CD//LP track listing:

Side A: CULT OF LUNA

1. Last Will And Testament

Side B: THE OLD WIND – 

1. Wooden Scythe,

2. Daugthers Of Cleanse

The Review:

Swedish post-metal heroes Cult of Luna have taken a step back since their epic album Vertikal and with new opus “Mariner” being announced for April this year, a split with The Old Wind is here to keep us going until that time comes. And it can’t come soon enough, for me Cult of Luna have always been firmly at the top of the post-metal genre, even ahead of pioneers Neurosis and Isis. The Old Wind who is made up of members of Breach and The Ocean contribute two tracks to “Råångest”, and have their sophomore album to be named due for release later this year.

Cult of Luna singular track on the split is a cover of Amebix’s ‘Last Will and Testament’,  despite being a cover version it is very much interpreted their way, with brutality and epic grandeur. It’s a mesmerizing take on the original that showcases their laudable creativeness and intelligent musicality. Cult of Luna once again superbly balances devastating heaviness with alluring electronics that makes for such a massive sound.

The Old Wind maintains the brutality with crushing riffs and anguished vocals on track ‘The Wooden Scythe’. Darker and sludge-ier than the Cult of Luna offering, it’s a force to be reckoned with. ‘Daughters of Cleanse’ cohesively chimes in, following on in the same bleak fashion as the previous track. The Old Wind impress with their input, even alongside such a massive band as Cult of Luna they are in no way overshadowed.

Both bands deliver to create an impressively monolithic EP, excitement for the upcoming Cult of Luna release is intensified while The Old Wind will surely garner new fans whilst appeasing current ones.

“Råångest” is available here

Band info: cultofluna facebook/cultofluna ||facebook.com/Theoldwind/

"A Year in Review": Black Metal's "Sonic 6" for 2015

By:  Aaron Pickford

As part of our review of 2015, over the coming days, I will present the definitive “Sour 16” for 2015 and this will be generated by looking at all releases throughout the year, however I thought it would also be cool to look at specific genres too and whilst I would have loved to have generated a “Sour 16” for each popular genre at The Sludgelord, that would have taken up an inexplicable amount of time. Of course we all gravitate to a favourite genre, however each has its own merit, therefore I thought it would be a good idea to highlight, “six of the best” releases of 2015 within our most popular genres.  So today, as we reflect upon an awesome year of music in 2015, we present Black Metal’s “Sonic 6” for 2015

The Sludgelord’s ‘Sonic 6’ for 2015 is compiled based upon page views alone and calibrated into the list below, we will be presenting further lists during the lead up to Christmas, but for today roll up, kick back and Hail the riff!  Check out Black Metal’s “Sonic 6” for 2015 (full reviews can be viewed by clicking the artwork and total views since the date of publication are highlight in red). 

6). Imperial Triumphant - “Abysmal Gods” (562)

Certainly Imperial Triumphant share a stratosphere with the Gorguts, Artificial Brains, Pyrrhons and Deathspell Omegas of this universe, but this is a different breed of genius. There’s a sickness, a mentally “unwell” aspect to ‘Abyssal Gods’ that you simply cannot find anywhere else. The jangling, out of tune ragtime break early on in “Opposing Holiness”. The hallucinogenic guitar solos in “Black Psychedelia”. It all points to an album no one should miss out on, although you’re likely to come out the other end of it a worse person, or at least in a worse mood.

5). Arcturus – “Arcturian” (614)

The number of influences on this record is immense. Traces of classical, polka, noir, fusion, black metal, power metal, and many more can all be found on this album. Vocally, among the peppered black metal roots, there are traces of middle eastern scales, clean harmonies, and several other influences including Tool as one of the more obvious. The harmonies alone seem to come at the listener from all directions, adding to the intense psychedelic atmosphere.

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4). Kjeld – “Skym” (737)

If you should listen to just one Black metal record of the year this could be the one because this is another Dutch fist in the face of God!

3). Enslaved – “In Times” (941)

Everyone has “their” Enslaved album and that runs a wide spectrum of possibilities because Enslaved have been excellent in a number of different ways. ‘In Times’ is just another example of Enslaved finding a new energy and turning that energy into something beautiful.

2). Drudkh – “A Furrow Cut Short” (1064)

‘A Furrow Cut Short’ is undoubtedly up there with ‘Autumn Aurora’ and ‘Blood in our Wells’; albums that are possibly the best to have emerged from the newer wave of ‘atmospheric’ black metal. Nothing is more satisfying than when one of your favourite bands releases potentially the best album of their career over ten years on. So clear a spot at the top of your album of the year list because ‘A Furrow Cut Short’ is it.

1). Marduk – Frontschwein (1428)

This black metal of the highest quality and of the most palatable type to a casual fan such as myself, all elements are present and correct with the band on great form. Looking for something to compound your winter blues? Look no further.

Reviews featured in this article were written by: Daniel Jackson, Joel Willis, Sven-Ake Alveving, Heather Blewett, Richard Maw

Pist - "Rhythm & Booze" (Album Review)

By: Heather Blewett

Album Type: Full Length

Date Released: 29/10/2015

Label: When Planets Collide

Their music is no joke; it’s polished, well crafted and almost hard to believe it’s a debut full length. Their direction is clear and focused, which is portrayed in their output. Great prospects lie ahead for Pist, but they’ll be too shitfaced to remember any of it of course.

‘Rhythm and Booze’ CD//DD track listing:

1). Shitstorm

2). Dirt On Me

3). Detached

4). Deadbeat

5). The Worst time of Year

6). 68

7). Trails

8). Plagues of Hope

9). Cuntlip

10). Chunder

The Review:

Since their commendable debut EP ‘Riffology’ landed last year, Mancunian beer swillers Pist have been on a roll, touring extensively across the country and playing a blinder at this year’s Bloodstock festival. Their fun loving no fucks given attitude and tasty riffs turned heads, and their debut album will certainly turn a lot more. Aptly named ‘Rhythm & Booze’, and recorded at Skyhammer Studio with esteemed producer Chris Fielding, Pist welcome us to the party with their booze fuelled stoner rock head bangers.

Churning out riff after riff, ‘Rhythm & Booze’ picks up where ‘Riffology’ left off. Bluesy, groovy riffs, alongside Dave Rowland’s gargled glass vocals, prove to be a winning combination throughout the album. “Detached” is outrageously catchy, utilizing the power of the riff to its full potential. “Deadbeat” is clearly a nod to Motorhead, particularly in terms of the vocal delivery. Interlude “The Worst Time of Year” showcases impressive and almost tranquil guitar work, but feels somewhat out of place. “68” is fast and boisterous; the compelling need to nod your head and tap your foot is irresistible.   

The Orange Goblin comparison is unavoidable yet complimentary, no surprises they will be supporting OG at their upcoming Manchester gig in December. Pist create music that translates extremely well into the live environment, unlike a lot of bands they exude a lot of personality, which comes through both on record and stage.

Pist’s sense of humor is clearly imbued in this album, from the artwork (yes that’s Taylor Swift) to track titles such as “Cuntlip”, and the never ending spew scene from Team America (“fuck yeah!”) that features at the end of “Chunder”. However, their music is no joke; it’s polished, well crafted and almost hard to believe it’s a debut full length. Their direction is clear and focused, which is portrayed in their output. Great prospects lie ahead for Pist, but they’ll be too shitfaced to remember any of it of course.

“Rhythm & Booze” is available here

Band info: Facebook|Bandcamp

Metal Allegiance - 'Metal Allegiance' (Album Review)

By: Heather Blewett

Album Type: Full Length

Date Released: 18/09/2015

Label: Nuclear Blast

The allure of the proverbial guest vocalists is the albums biggest draw; however some of the tracks are nonsensical and lack clear direction. Nevertheless, the ambition and collaborative spirit has to be commended on ‘Metal Allegiance’ and although not every track hits the mark, there is something on there to suit most people’s musical persuasion.

 ‘Metal Allegiance’ CD//DD//LP track listing:

01. Gift Of Pain feat. D. Randall Blythe

02. Let Darkness Fall feat. Troy Sanders

03. Dying Song feat. Philip H. Anselmo

04. Can’t Kill The Devil feat. Chuck Billy

05. Scarsfeat. Mark Osegueda & Cristina Scabbia

06. Destination: Nowhere feat. Matthew K. Heafy

07. Wait Until Tomorrow feat. Doug Pinnick & Jamey Jasta

08. Triangulum (I. Creation II. Evolution III. Destruction)

09. Pledge Of Allegiance feat. Mark Osegueda

Metal Allegiance is:

Mike Portnoy | drums

David Ellefson | bass

Alex Skolnick | guitars

Mark Menghi | songwriter

The Review

A jam session is often the catalyst for new projects to emerge between musicians, for Metal Allegiance a jam session has got way out of control. A couple of years ago Mark Menghi gathered a few mates from Megadeth and Anthrax to get involved in a bass clinic, which turned into an impromptu jam session. Garnering attention from the likes of Dave Lombardo, Geezer Butler, Kerry King and Steve Vai, all star jam gigs aptly named Metal Masters developed. Under a new name the concept has been resurrected and interest in the project has been rife with many of heavy metals finest pledging allegiance.

AMetal Allegiance is almost like a heavy metal Avengers, notable ‘superheroes’ such as Randy Blythe, Chuck Billy, Cristina Scabbia, Phil Anselmo, Troy Sanders, Matt Heafy, Mark Osegueda, Doug Pinnick and Jamey Jasta have lent their services as guests on the self-titled album. David Ellefson (Megadeth) Mike Portnoy (The Winery Dogs) and Alex Skolnick (Testament) are the core components of the album with project mastermind Mark Menghi being the principle songwriter.

The luminary status of the guest vocalists that feature on each track prompts an inherent familiarity even upon first listen, a game of ‘name that well known metal vocalist’ is inevitable. Though a great idea on paper the reality of a ‘supergroup’ album is that it unfortunately becomes a case of too many cooks spoil the broth. ‘Let Darkness Fall’ (Troy Sanders) is forgettable, even with the posturing guitar solos towards the end. ‘Destination: Nowhere’ (Matt Heafy) lacks total direction and literally goes nowhere; ‘Wait Until Tomorrow’ (Doug Pinnick, Jamey Jasta) is an odd combination of Alice in Chains grunge and Hatebreed meathead ferocity unsuccessfully thrown together.

However, there are some real gems that emerge.  ‘Gift of Pain’ is a punishing chuggy onslaught, with Lamb of God’s Randy Blythe lending his signature growl to the chaos. ‘Dying Song’ excels thanks to Phil Anselmo’s brooding vocals, along with sublime guitar hooks. ‘Can’t Kill the Devil’ is utter Metallica thrash metal worship and Testament’s Chuck Billy delivers the catchy vocal hooks, while the guitar solos are executed with technical proficiency.

The allure of the proverbial guest vocalists is the albums biggest draw; however some of the tracks are nonsensical and lack clear direction. Nevertheless, the ambition and collaborative spirit has to be commended on ‘Metal Allegiance’ and although not every track hits the mark, there is something on there to suit most people’s musical persuasion.

‘Metal Allegiance’ is available everywhere now

Band info: official | facebook

Shape of Despair - 'Monotony Fields' (Album Review)

By: Heather Blewett

Album Type: Full Length

Date Released: 15/06/2015

Label: Season of Mist

It’s been a lengthy 10 year wait for the follow up to their last full length ‘Illusions Play’, however good things come to those who wait and ‘Monotony Fields’ is their outright masterpiece.

‘Monotony Fields’ CD//DD//LP track listing:

1. Reaching the Innermost
2. Monotony Fields
3. Descending Inner Night
4. The Distant Dream Of Life
5. Withdrawn
6. In Longing
7. The Blank Journey
8. Written In My Scars 

Shape of Despair is:

Henri Koivula | vocals
Natalie Koskinen | vocals
Jarno Salomaa | guitars, keyboard
Tomi Ullgren | guitars
Sami Uusitalo | bass
Samu Ruotsalainen \drums

 The Review:

Looking for a light hearted listen? Then Shape of Despair (hailing from Finland) probably isn’t for you. However, if like me you yearn for the forlornness of funeral doom, ‘Monotony Fields’ sates that hankering. Within a genre that can often be rather one dimensional, Shape of Despair have created an album that captures the right amount of diversity whist remaining committed to the melancholic dirge ridden darkness that funeral doom encapsulates. Comparable to well established funeral doom bands such as Skepticism and Colosseum, whilst also incorporating aspects of The Ruins and Beverast and even Anathema.

There are various elements that make ‘Monotony Fields’ the monolithic album it is, the ambient synth that welcomes in the first track Reaching the Innermost adds luscious texture as well as mystery and curiosity, before the crushing guitar parts and slow clatter of drums interrupt the tranquillity.  Henri Koivula (Throes of Dawn) executes a perfect low pitched rumbling growl, but it’s the angelic vocal harmonies of Natalie Koskinen that raises this album to its peak of greatness. Referencing Anathema may seem a bit odd in relation to a funeral doom album; however the choral harmonies are very much akin to modern day Anathema. The highlight of this album without a doubt is the clean vocal segment in Descending Inner Night. Drenched in emotion, sorrow and general gloom, juxtaposed with the uplifting clean vocal parts, it’s emotionally turbulent yet magnificently elevating. One of the best funeral doom songs since Colosseum’s Dilapidation and Death. The Distant Dream of Life kicks in with stompy aggression, while In Longing majestically soars with stunning chorals and synth accompaniment.

‘Monotony Fields’ is a long album clocking in around 75 minutes, yet the listen is not at all arduous but mesmerising and cathartic. It’s actually probably one of the more easy going funeral doom albums, the production is clear and while each song outlines the antithesis of dark sorrowful elements alongside uplifting emotion, it doesn’t feel at all repetitious. It’s been a lengthy 10 year wait for the follow up to their last full length ‘Illusions Play’, however good things come to those who wait and ‘Monotony Fields’ is their outright masterpiece.

‘Monotony Fields’ is available here

Band info: Facebook

Gorgoroth - ‘Instinctus Bestialis’ (Album Review)

‘Technical and precise, this album at times has a subtle yet palpable progressive tinge…’

Album Type: Full-Length

Date Released: 08/06/2015

Label:  Soulseller Records

‘Instinctus Bestialis’ CD//DD//LP track listing:

1. Radix Malorum
2. Dionysian Rite
3. Ad Omnipotens Aeterne Diabolus
4. Come Night
5. Burn in His Light
6. Rage
7. Kala Brahman
8. Awakening

Gorgoroth is:

Atterigner | Vocals
Infernus | Guitars
Bøddel | Bass
Asklund | Drums

Review:

Incarceration, legal battles, satanic live shows and line-up changes that make Cradle of Filth look stable, Gorgoroth are no strangers to controversy. Nevertheless, their contribution to Black Metal is paramount. Six years on Satan’s servants are back with ‘Instinctus Bestialis’ with remaining founding member Infernus, along with BØddel (formerly of Obituary) Tomas Asklund (Dissection, Dark Funeral) and the debut of vocalist Atterigner (Triumfall).

Technical and precise, this album at times has a subtle yet palpable progressive tinge, aligned with signature BM components of blast beats and guttural vocals, keeping their sound firmly in the realm of black metal.  Unpredictable tempos and furious intensity maintains high energy, which permeates throughout the album; ‘Kala Brahman’ for example has a stop start element to the tempo which adds that sense of unpredictability. The guitar melodies are complex and riveting, switching from high pitched tremolo picking to deep chugs with the track ‘Rage’ being particularly varied through its guitar parts, demonstrating flowing melodies juxtaposed with harsh rhythm sections.

‘Radix Malorum’ packs a punch with its fast paced immediacy and soaring intricate melodies. ‘Ad Omnipotens Aeterne Diabolus’ emerges as the most memorable track, with the roar of ‘Hail Satan’ really solidifying the general theme of Gorgoroth; Satan. Newbie Atterigner delivers vocally, distinctively different from his predecessor Pest, with more of a death metal guttural approach but greatly effective nonetheless.

This album is memorable and in parts quite catchy, despite bearing similarities to previous albums particularly ‘Quontos Possunt Ad Satanitatem Trahun’, it still comes across as a fresh sounding album from Gorgoroth.  Continuing to keep the spirit of Norwegian black metal alive, Gorogorth will always be remembered, but hopefully for the right reasons. This comes across as a very focused album from Gorgoroth, Infernus is clearly out to prove his worth and does just that with ‘Infernus Bestialis’, the future of Gorgoroth is in capable hands. Gaahl who?

Words by: Heather Blewett

‘Instinctus Bestialis’ is available here

For more information:

Official: http://www.gorgoroth.info/news/

Like: https://www.facebook.com/gorgorothofficial