Ghoulgotha - "To Starve the Cross" (Album Review)

By: Daniel Jackson

Album Type: Full Length
Date Released: 10/06/2016
Label: Dark Descent Records

To Starve the Cross’ is simply too interesting to be lumped in with the multitudes of bands rehashing Death/Dismember/Autopsy, etc. because it’s too creative and varied to put it in that camp. Though musically different, this album deserves the same hype myself and others have given albums from Morbus Chron, Horrendous, and others. It might be a little more “standard” on the surface, but as you dig into the album, you’ll start to uncover the ways Ghoulgotha take the orthodox and twist it into something different altogether. Don’t sleep on this one.

‘To Starve the Cross’ CD//DD track listing:

1. Village of Flickering Torches

2. Pangaea Reforms

3. The Sulphur Age

4. Abyssic Eyes

5. A Lord in the Shattered Mirror

6. Damp Breeze of Sleeping Veins

7. Visceral Seas

8. Thou, Beneath Ligaments Foul

9. Wounds Immaculate

10. A Holy Book Scribed by Wolves

Ghoulgotha is:

Wayne Sarantopoulos | Vocals, Guitar

Frankie | Guitar

Charlie Koryn | Drums

The Review:

It’s gotten to a point now where the prospect of listening to any more nostalgia-minded death metal usually seems pretty unappealing. But, as it is with anything, if it’s done truly well, that’s going to override any other factor, including my own weariness for this subgenre of a subgenre. But, in Ghoulgotha’s case there is so much they’re doing well in terms of separating themselves from a bloated pack of bands in a similar niche, that setting their foundation in a tired subgenre isn’t really a factor at all here.

Where ‘To Starve the Cross’ works best is when it’s either being weird, doom-focused, or especially melodic. Using “Pangea Reforms” as an example: The song opens with a slow, convulsing doom section that peaks when it settles into a more active take on the kinds of melodies Morgion specialized in on ‘Solinari’. Everything is firing on all cylinders even as the song picks up the pace with stop-start death thrash, before teetering perilously close to losing control—in a positive sense—as the song completely does away with steady tempo or time signatures in favor of something a bit more free. Eventually, the song heads back into doom territory before moving into an awesome melodic death metal section, which comes in at just the right time.

“Pangea Reforms” really gave me a sense of just how multi-dimensional and exciting Ghoulgotha is capable of being, and there are similarly great traits all throughout the album. The very next song, “The Sulphur Age” shines with a similar mix of catchy riffs at the opening, disorienting, spiralling for transitions and some unique bending during one riff in the song’s second half. Finally, the song settles into some excellently-written death doom late into the song’s five in a half minutes which really sells that we’ve been on a pretty expansive journey for a relatively standard-length song.

Because the album belongs to a genre I’m burnt out on, I came into the album with a lot of reservation. I’d heard too much of something like this, and I definitely didn’t want to hear more of it. But here I sit, hat-in-hand to apologize for judging this album prematurely. ‘To Starve the Cross’ is simply too interesting to be lumped in with the multitudes of bands rehashing Death/Dismember/Autopsy, etc. because it’s too creative and varied to put it in that camp. 

Though musically different, this album deserves the same hype myself and others have given albums from Morbus Chron, Horrendous, and others. It might be a little more “standard” on the surface, but as you dig into the album, you’ll start to uncover the ways Ghoulgotha take the orthodox and twist it into something different altogether. Don’t sleep on this one.

You can pick up a digital copy here (on release day) and a CD copy here.

Band info: Facebook 

Deathcult - "Demo '12" EP (Review)

By: Daniel Jackson

Album Type: EP/Demo

Date Released: 28/11/2012 |

28/03/2016 (CD Reissue)

Label: Invictus Productions

If you missed this the first time, as I did, it’s worth going out of your way to hear.  If you’re looking for a quick way to pigeonhole the band’s sound: think Stockholm in ‘89-’91.  “Deus Bonus Est”, clocking in at just shy of eleven minutes,  travels from devastating death/doom to nasty, thrashing death metal and back again over the song’s considerable duration.  “Demo ‘12” serves as a reminder that the orthodox, when done well enough, can be just as exciting and satisfying as a band trying something different. But again, quality is key, and there just aren’t many bands that can match Deathcult for quality in this style.

“Demo ‘12” CD//DD track listing:

1. Intro

2. Deathcult

3. Beasts of Faith

4. Deus Bonus Est

5. Summoned (CD Bonus Track)

Deathcult is:

O. Ketzer | Guitar, Vocals

P. Nekros | Guitar

M. Goathammer | Drums

Diaboli | Bass

The Review:

“Why are you writing about a four year old demo, you dumb fuck!” you yell at your screen, strangely having chosen to click on the review anyway.

“Because I missed it the first time, not being into cassettes. It fucking rules, though!, I shout back, having somehow managed to hear you through the internet.

Stupid, self-concocted scenarios aside, this review is happening because “Demo ‘12” is being released on CD after only being available on cassette previously. If you missed this the first time, as I did, its worth going out of your way to hear. If you’re looking for a quick way to pigeonhole the band’s sound: think Stockholm in ‘89-’91. But, that also does the band a disservice, as there’s plenty going on, and the material has a unique personality of its own.

Look no further than the gargantuan “Deus Bonus Est”, clocking in at just shy of eleven minutes. The song travels from devastating death/doom to nasty, thrashing death metal and back again over the song’s considerable duration. It works surprisingly well from top to bottom, greatly aided by some extra melody in the song’s latter stages. The songs that surround the demo’s giant original closing track are a bit more by the numbers, but they’re done so well, that it’s difficult to find fault with any of it. There’s a rock n’ roll quality to a song like “Beasts of Faith” that shows that Deathcult have a bit more personality than the average OSDM band, and it’s a swagger that permeates a big chunk of the demo as a whole, though its presence isn’t quite as strong elsewhere.

While Deathcult might not have taken home the sort of accolades that more adventurous counterparts like Morbus Chron or Horrendous have, “Demo ‘12” serves as a reminder that the orthodox, when done well enough, can be just as exciting and satisfying as a band trying something different. But again, quality is key, and there just aren’t many bands that can match Deathcult for quality in this style.

“Demo ‘12” is available digitally here and a CD copy here. 

Band info: Facebook

Horrified - ‘Of Despair’ (Album Review)

 By: Daniel Jackson

Album Type: Full Length

Date Released: 25/03/2016

Label: Stormspell Records (CD),

Infernal Devastation (LP),

Till You Fukkin’ Bleed (CS)

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

‘Of Despair’ CD//LP//CS//DD track listing:

1. Palace of Defilement

2. Infernal Lands

3. Chasm of Nihrain

4. Funeral Pyers

5. Amidst the Darkest Depths

6. Dreamer of Ages

7. Of Despair

8. The Ruins That Remain

Horrified is:

Dan Alderson | Guitars/ Vocals

Rob Hindmarshh | Guitars

Dan Hughes | Bass

Matthew Henderson | Drums

The Review:

Changes in musical direction are nothing new in metal. In fact, most bands end up changing over time, often quite a bit. For some it’s much more abrupt. You could point to Metallica moving away from the dense and imposing thrash of ‘...And Justice For All’ to the ham-fisted arena metal of their self-titled album. Or, to make more relevant comparison for this review, it can happen the way it did for Hypocrisy, who moved from ugly, punishing death metal to a synth-heavy melodic death metal sound. Hypocrisy’s change was more of lateral movement, remaining firmly entrenched in the death metal scene, even while coming up with more accessible, easily-digested songs.

In the case of Horrified, and the their sophomore album ‘Of Despair’, the transition is a bit softer as they’ve retained elements of what worked on their début, ‘Descent into Putridity’, but have broadened their horizons considerably. They’re very clearly still a death metal band, and the album’s tempo is pretty similar to their previous material, but the guitars have taken a much more melodic turn, by and large.

I had a chance to check in with guitarist/vocalist Dan Alderson, and when I asked him about what led to this more melodic turn, he had difficulty putting a finer description to it. In his interview with Kat Gillham at IronFistZine.com, he pointed to Dan Swanö’s legendary “Edge of Sanity” as being a primary influence. When you combine that with a general change in listening choices, and that he wrote most of ‘Descent into Putridity’ at a much younger age; the changes make perfect sense.

Aside from “Edge of Sanity”, it’s easy to hear bits and pieces of any number of melodic swedish death metal bands as the album moves along, even if Horrified still work from a foundation built upon bands like Asphyx and Dismember. With Horrendous’ Damian Herring handling the mixing and mastering of the album, it feels like everything fell into place for this album and the result a huge leap forward for Horrified as a band.

That ‘Of Despair’ and Horrendous’ material share some common links shouldn’t be surprising, but the two bands are still different beasts. Horrendous, especially on ‘Anareta’, is a band straddling the fence between underground melodic death metal and the accessibility of 80s heavy metal and thrash. Horrified, on the other hand, walk a line between nastier, primal death metal and the swed-death which the two bands share in common.

When trying to find a couple of songs to act as a microcosm of the album as a whole, “Dreamer of Ages” and the title track stand out, not just as album highlights, but as the songs that best encapsulate the album’s overall diversity. “Dreamer of Ages” rages early on, with brisk thrash tempos and tremolo death metal riff fit for Sunlight Studio in 1990. Once the song gets to the halfway point the speed slows dramatically, and the song becomes a mournful dirge, bursting with phrased twin guitar leads.

When I asked Alderson about the role of each guitarist (himself and new guitarist Rob Hindmarsh) he explained their dynamic as follows: “Rob only tracked his leads on Of Despair. His solo work on the album gives the trade-offs a nice 80s feel, and I think his shreddy lead work trades off with my more phrasey leads well.” Alderson’s more deliberate and expressive lead work takes center stage on the album’s instrumental title track, a song I hope is a harbinger of what future material will sound like.

While the straightforward death metal moments are very good, it’s those moments of downtempo grandiosity that separate Horrified from other modern day death metal bands. It’s in those moments that Horrified offer us reassurance for death metal’s future, even in being so reminiscent of its past. The performances are imperfect, just like those of the subgenre’s pioneers, but ‘Of Despair’ is also gushing with melody and atmosphere; something that’s all too often lost in translation when the death metal bands of today look to the past for inspiration.

You will be able to preorder the album on CD here. Check back for vinyl pre orders here, and do the same for tapes here.

Band info: Facebook

A Year in Review: The Death Metal Sonic 6 of 2015

By: Aaron Pickford

The Sludgelord’s ‘Sonic 6’ for 2015 is compiled based upon page views alone and calibrated into the list below, so check out the Death Metal “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). Necrowretch– “With Serpents Scourge” (405)

It would be fair to say that I loved this record as soon as I heard it- it is immediate, relentless and nasty in its delivery. Necrowretch have come up with a great album here. For death and black metal heads everywhere.

5). Entrails – “Obliteration” (546)

Entrails offer up riffs, style and atmosphere in spades. They also offer up song writing that is excellent and not often equalled in this genre. If you wish Entombed were still around in the form that they were in 1992, or yearn for a Dismember reformation then this album is a must. Hell, if you even once played Slaughter of The Soul and quite liked it then you should check this record out. It's superb.

4). Horrendous – “Anareta” (576)

There’s so much to enjoy and unpack as I listen to this album again and again, because every song offers a new wrinkle to the formula or another compositional element that most bands wouldn’t think to use. It’s so fucking rich and dense. To put a finer point on things, ‘Anareta’ is the sort of album that lifts death metal as a genre up.  It’s everything I could ask of a death metal album in 2015 and there’s virtually nothing in metal as a whole that’s in Horrendous’ league right now

3). Feral– “Where Dead Dreams Dwell” (677)

Maelstrom finisher “Succumb to Terror” is a suitably brutal end to this very strong album. If you are a fan of the Swe-death genre, this record is a must. It's relentlessly beautiful in its own grotesque and noisy way.

2). Obsequiae– “Aria of Vernal Tombs” (766)

Two key stylistic elements—both very different degrees of old—come together to form something new. It may not be made completely from scratch, but the vision required to make something like this happen deserves praise. Not to mention that purely from a songwriting standpoint this is one of the better albums of the year thus far. Even on that basis alone, ignoring its other admirable qualities, ‘Aria of Vernal Tombs’ warrants the strongest of recommendations.

1). Malevolent Creation – “Dead Man’s Path” (910)

‘Corporate Weaponry’ has blasts aplenty, along with some excellent lead work. It certainly ticks all the boxes: memorable title and thus chorus, breakdown section, time changes and a superb production. Fast and furious in the main, this is a fine example of where Malevolent Creation are at in 2015. Simply put, if you like any of the band's previous work, you will love this. If you enjoy death metal that is not too far into tech-territory, then this record is for you. Death metal, for death metal fans.

Reviews featured in this article were written by: Richard Maw, Daniel Jackson 

The Sludgelord 'Sour 16' for October 2015

By: Aaron Pickford

Welcome, all lovers of the riff, you know the deal by now, however for those of you that do not, let us recap.  Each month, you the reader are unwittingly compiling a list of the top 16 records of the month, covering all genres of metal, but predominately the best the doom, sludge, stoner-psychedelic genres have to offer.  Is it not a chart, in which reviewers or contributors extol their opinion about their favourite music, but simply, the ‘Sour 16’ are the records you guys (readers) have been most interested in over the last month and checking out on this page.

So here is the The Sludgelord’s ‘Sour 16’ for October 2015, the 16 records you’re most looking forward too or are currently checking out.  Dig in, spread the word and perhaps revisit some records you may have overlooked.  The results are compiled based on page views alone and calibrated into the list below. So without further ado, enjoy the ‘Sour 16’. Roll up, kick back, chug a beer and Hail the riff! For more info click on the artwork. (Total views at the time of publication highlighted in red)

16). Zillah – ‘Serpentine Halo’ (210)

I don’t think I’m going out on a limb by saying that ‘Serpentine Halo’ is easily the band’s most accomplished work to this point. If forced to give an easy reference point, I’d say that this is a blend of ‘Whisper Supremacy’-era Cryptopsy along with very early Mastodon and a dash of Gorguts at their most disjointed and jarring. If that sounds as appealing for you as it does me, you should be in good hands with this album.

15). Seahag – ‘The RX Epidemic’ (220)

Metal never sounded so good and I’m glad these dudes woke from their slumber to produce this powerful and chaotic release. So many elements woven together with immaculate structure creating an intense ride that keeps this in constant rotation for me.

14). Suma – ‘Ashes’ (233)

It's a masterpiece of post metal tinged doom. The riffs are straightforward but able to smash through concrete with the volume and vehemence of which they're played. The guitars are layered heavily to allow them to invade your consciousness and claim your brain.  If you're reading this and have yet to listen to this album, stop wasting your time and listen at full volume!

13).Great Falls – ‘The Fever Shed’ (236)

Right from the first note of “Dressing the Saints”, there is nowhere to hide as the band assault the listener with an abrasive opening salvo of shards of metallic noise. Even when the volume dips during sparse minimal sections, there is always a taut menace to proceedings which feels like it could give way to chaos at any second.

12). Goblin Rebirth – ‘Goblin Rebirth’ (235)

If you want something that is out there, entertaining, and from a legendary band, look no further than Goblin Rebirth's self titled debut. Bend your mind, but only to the best of beats with these Italian masters of the reptilian beat!

11). Ravens Creed – ‘Ravens Krieg’ (239)

Once again, it is all about the riffs- Steve Watson managing to accurately mimic the sound of tanks rolling through your town and laying waste to it.  What you get is thirteen tracks of spiteful fury as the riffs and songs rage by.  If you like metal, you really should like Ravens Creed, being as they present the genre in its purest form: riffs, aggression, adrenaline and pace all combine to make a satanic racket of biblical (ha!) proportions.   Uncompromising, extreme music from an island of festering resentment. Hail The ‘Creed

10). Drowning Horse – ‘Sheltering Sky’ (246)

I am brought back to why I listen to this kind of dirge: it taps into the static, that universal thrum, and serves as a meditation, a reprieve from the chaos and noise surrounding us.  A job extremely well done and I’ll have my eye on Perth’s Drowning Horse going forward, hoping that they continue to churn out the catharsis

9) = Graveyard – ‘Innocence & Decadence’ (247)

All in all, “Innocence and Decadence” could be viewed as a polarizing record. Graveyard may lose fans, or they could very well gain them. They’ll probably always have older fans pissing and moaning over “the good old days,” but it’s also likely that, regardless of the extreme reactions people may have against this album, Graveyard will remain one of the most top notch bands around today.

9) = Hyne – ‘MMXV’ (247)

They show off groove without being flashy, talent without being full of themselves, and honestly which puts many bigger bands to shame. If we can see more of this, I am going to have to get more hours in my day! And listen for that little Sabbathian charm!

7). Bastard Grave – ‘What Lies Beyond’ (255)

From the opening of ‘From The Depths’, you know exactly what you are getting; feral death with a punk sensibility. This continues right the way through the album, I am pleased to say. Each song fits nicely with all the others.  No melodies here; straight forward Entombed/Dismember/Grave worship- chainsaw guitars, meaty but rough and ready drums and that bass sound you love are all present and correct.  For fans of all the bands noted along with Entrails and any other sons of Northern darkness you care to name. Ripping stuff!

6). Grim Van Doom – ‘Grim Love’ (273)

I can tell from the off that run of the mill stoner/doom this most definitely is not.
'Goddamn This Love' has your doomy qualities but with an Unsane edge to it (without being too obvious an influence). Vocally I'm reminded of Stephane Azam from French avant-sludge troupe CROWN, and Fade Kainer from Batillus.  'Snowfields' is straight from the Abominable Iron Sloth/Will Haven school of riff writing, jagged and angular but at the same time, round and smooth. This band has set a high standard for whatever they follow this up with, can they do it? I'll be waiting to find out

5) Terzij de Horde – ‘Self’ (283)

As someone who has been listening to black metal for nearly twenty years, I’m thankful that there are bands out there like Terzij de Horde challenging black metal’s standards, to keep it from losing what made it special to me in the first place. Beyond being one of this year’s finest albums, ‘Self’ is important because the beliefs and mindset that gave this album life are as purely black metal as it gets.

4). Clutch – ‘Psychic Warfare’ (311)

It’s the precise interplay in each of these songs that make “Psychic Warfare” – dare I say it – a competitor for album of the year. Be it the way Maines bridges Gasters swing with Sult’s stiff blues in “Quick Death in Texas,” or how the chorus in “Firebirds” only works because of the foundation provided by the verses, “Psychic Warfare” is a mature, well-written album.

3). All Them Witches – ‘Dying Surfer Meets His Maker’ (320)

Groovy and slow like the rocking back and forth of a fishing boat on a quiet lake seems to be the state of mind, but it’s not a lazy album. The free falling jams are certainly laid back and the songs are no different, such as the case with “Open Passageways,” a prime cut that tells a bizarre story while being guided by a wonderful string section that takes this song to a whole new level.

2). Girra – ‘Girra’ (329)

Girra plays a gothic form of blackened doom, and they play it effectively. Their tones, bleak and unflinching, wash like a tide with their almost clanging rhythms, over a very melancholic flat sounding drum beat. It sounds like the beating of a rotted gourd made into an instrument.

1). Horrendous – ‘Anareta’ (439)

There’s so much to enjoy and unpack as I listen to this album again and again, because every song offers a new wrinkle to the formula or another compositional element that most bands wouldn’t think to use. It’s so fucking rich and dense. To put a finer point on things, ‘Anareta’ is the sort of album that lifts death metal as a genre up.  It’s everything I could ask of a death metal album in 2015 and there’s virtually nothing in metal as a whole that’s in Horrendous’ league right now

The ‘Sour 16’ features reviews by, Chris Bull, Eric Crowe, Hunter Young, Dan Jackson, Richard Maw, Mike Wilcox, Victor Van Ommen, Charlie Butler & Eric Sugg