ALBUM REVIEW: Lord Vicar, “The Black Powder”

By: Richard Maw

Album Type: Full Length

Date Released: 26/04/2019

Label: The Church Within Records

It's a doom epic and a throwback to the very best records of the genre. Truly, this is a masterpiece of doom metal and a worthy addition to any doom fans collection.

“The Black Powder” CD//DD track listing:

1). Sulphur, Charcoal and Saltpetre
2). Descent
3). World Encircled
4). Levitation
5). The Temple in the Bedrock
6). Black Lines
7). Impact
8).  Nightmare
9). A Second Chance 

The Review

Lord Vicar are doom royalty, of course- comprising as they do ex-members of a couple of the most influential and greatest doom bands of all time. With an opening track timing at 17mins 16secs in the form of “Sulphur, Charcoal and Saltpetre” the band have opted for an explosive (!) start. Quiet acoustics give way to the murkiest ground out riffage after a couple of minutes and Chritus familiar vocal kicks in. Elsewhere there are tracks which run over 10mins and 8mins, so expect true doom.

Naturally, “Gates of Flesh” was similarly expansive in places, as was “Fear No Pain” and so on. This is what the band do. However, this time around the tracks on offer seem darker than ever. “Descent” takes the vibe even further downward, with Kimi's guitars stirring the blackest pitch in an already dark cauldron. It's an unsettling and in-no-way-uplifting listen. The band reference their own work and one member's previous band's work in the lyrics and everything from the double tracked vocal to the tempo shifts are sublime. This is doom perfection.

There are no rays of sun to be found in “World Encircled” either. The downtrodden feel is relentless and it's a reminder that doom is not really about occult stylings, sludge or 70's biker films at all. It's about crushing misery and despair. Saint Vitus know it, Trouble know it, Sabbath, The Gates of Slumber... they all know it too. Lord Vicar are standing on the shoulders of such giants and also standing alongside them as a modern archetype of what doom should be.

There are grooves here and there, too- it's not just a one paced pity-party. Indeed, the tracks are dynamic and organic in that they take their own path and meander through solo breaks, time changes and some very deft rhythm section interplay.

With 9 tracks on offer, this is a lot to take in on one sitting- think The Gates of Slumber's “Suffer No Guilt” opus and how hard to follow it can be until you fully assimilate it. Just like all the best records, though, the album reveals itself with repeated listens (in my case broken up into commutes both to and from work). “Levitation” plays on its title by being positively upbeat in sound compared to other tracks- but still maintains the crucial down factor throughout. More true doom follows in the form of “The Temple in the Bedrock”, this time with an up-tempo start that'll get even the most downcast head banging. It comes complete with a very down-tempo middle section, but the structure and arrangements are absolutely on point- it comes back around on itself and marks itself out as an all out rager right in the middle of the record. Excellent.

“Black Lines” brings some straightforward heaviness delivered expertly. The pace is not glacial, so this is another head-nodder that brings a 70's Sabbath feel to the album. It's deftly handled and another high point elevating the middle of the record to essential listening. Impact is lunk-headed bludgeon riffola which is again guaranteed to get your head banging and even your toe tapping. It's elemental stuff and all the more forceful for it.

Things cannot stay up forever, though, so “Nightmare” brings acoustic sadness and a militaristic middle to the record. A haunting diversion that bridges the previous rockers with the closing epic of “A Second Chance”. The band return to the bleak sound of the opening third of the album here- to great effect. It's bleak, depressing and quite beautiful in its own way.

As noted earlier, it's hard to review a record of this size and scope as it takes in so much and covers so much ground. The quality of the album will shine through on first listen, but the depths of the album can only be explored with repeated dedicated listening. It's a doom epic and a throwback to the very best records of the genre. Truly, this is a masterpiece of doom metal and a worthy addition to any doom fans collection. With that, I can only close by saying that this comes highly recommended and that you will get out what you put in. Incredible.

“The Black Powder” is available HERE

Band info: bandcamp || facebook

THE SLUDGELORD PRESENTS: The Sour 16 for August 2016

SubRosa



It is time cast our minds back upon the month of August and digest the 16 albums that would become August’s sacrilegious ‘Sour 16’, the finest and most profane riffs around bundled together into a premium sized sonic soufflé.

You know the drill, each month; you the reader are unwittingly compiling a list of the top 16 records that we featured in August, covering all genres of metal.  Is it not a chart, in which reviewers or contributors extol their opinion about their favourite music.  The ‘Sour 16’ are the records that have been trending the most at Sludgelord Headquarters.

 

The results are compiled based on page views alone and calibrated into the list below. So kick back, with a cold one and let the power of the riff compel thee! All reviews can be viewed by clicking the artwork. (Total views since their publication are highlighted in red)

16). Bossk - "Audio Noir" (364)

The shimmering soundscapes of “The Reverie” gently ease the album into life. The track glides through waves of serene guitar atmospherics, before being crushed under a slab of molten distortion. Even though the classic quiet/loud dynamics of post-rock are employed here, Bossk manage to avoid the obvious, telegraphed crescendos by taking a more understated approach, conversely when they crank up, Bossk prove that they have honed their riffcraft to perfection. “Heliopause” is a relatively short burst of stoner aggravation while “Atomsmasher” fully delivers on the cataclysmic power of its name. In summation, Audio Noir” is a triumph for Bossk that sees them comfortably deliver on their fans’ anticipation for a full-length.

 

15). Body Void - "Ruins" EP (371)

Sounding like a seismic shift, 'Swans' instantly obliterates everything. The riffs slowly and mercilessly attack the central nervous system while the vocals suffocate and strangle. At the tail end of this EP comes the even more epic and gigantic 'Ruins', if you can imagine Andy Dufregne's escape in ' The Shawshank Redemption'; slow, filthy, dark, foreboding, this track is the embodiment of it. Body Void have set the bench mark pretty damn high now, surely they will follow this up with something truly amazing.

 

14). Warfather - "The Grey Eminence" (397)

“The Grey Eminence” is a better record than Warfather's debut (which was in itself a good album!) and is a credit to those involved. This is a style of death metal I like a lot; a mixture of all elements of the genre without too much of any one thing. This is controlled force and a must listen for death metal heads everywhere.

  

13)= Earthship - "Hallowed" & Khünnt - "Failures"  (405)

“Hallowed”is well represented with monolithic riffs, multi layered vocal arrangements and in standout track “Monolith” it delivers one of the heaviest moments within the course of the album. To me it appears as if the band had held back on us up until this point, because they have unleashed a truly astonishing album, which pummels and pounds you with a thick narcotic groove. This album is sonic alchemy of all their best elements, making this album a great listen and one to be admired.

 

 

Khünnt create the kind of bleak racket that would make even Khanate cry themselves to sleep, echoing the ragged noise rock monotony of Shit and Shine it is strangely euphoric and completely crushing in equal measure. “Failures” is a bold step forward from Khünnt. It sees them maintain their reputation for sonic drudgery while finding new ways to subject the listener to aural torment.

11). Howling Giant - “Black Hole Space Wizard”: Part 1” (EP) (469)

Howling Giant come across as a confident band that are bursting at the seams with invigorating hooks that sound as familiar as they are new. They have the discipline to take their time fleshing out riffs without losing sight of the song, their energy and passion is felt throughout, which is the glue that holds this EP together.

 

10). Make - "Pilgrimage of Loathing" (526)

An encompassing album that sees Make drag the psychedelia and post-metal of their previous recordings into a sludgy realm full of menacing atmospherics and hard-hitting riffs, Pilgrimage Of Hate is sure to please those who like their doom dark and heavy, but less predictable than the average group.

 

09). Lord Vicar - "Gates of Flesh" (551)

For anyone wanting quality traditional doom, the purchase of this album is a no brainer. Lord Vicar represents the very best in the genre and this album is a focused and fulfilling listen.

08). Hexxus - "Tunguska" (577)

Hexxus brings something different from the word go, desolation lays in their wake, pain and fear tremble before their sheer levels of decibel destruction.

 

7). Yeti On Horseback – “The Great Dying” (583)

Soaring melodies, crushing and enveloping riffs, brutal vocals, “The Great Dying” has got the lot! It's beautifully downtrodden in it's make up and utterly captivating.

 

6). Devil Electric - "The God's Below" (EP) (647)

 

Hailing from the Melbourne, Australia, Devil Electric unleash abevy combination of, ‘riffs of old and new in a collision of unholy matrimony’.

 

5). Black Tar Prophet/Iron Gavel - "Black Tar Prophet/Iron Gavel" Split (636)

 

4). Castle - "Welcome to the Graveyard" (829)

This is fantastic heavy metal of the most traditional kind, forged, I can only assume, in the fires of hell

 

3). Shadow Witch - "Sun Killer" (915)

This record is a fine debut and places the band amongst the retro rock/doom/metal scene but shows that they have a unique sound and approach. If you have been enjoying bands such as Demon Eye, R.I.P, Uncle Acid, Satans Satyrs, Electric Citizen and so on, well, Shadow Witch are better then some of them and can mix it with the best of them!

 

2). Slomatics – “Future Echo Returns” (1608)

When a band's guitarist has their own signature fuzz pedal, it's a safe bet that they can cut through solid rock with their riffs; when both guitarists have an alternate version of the same pedal then prepare your eardrums for some serious, rock crushing heaviosity. The towering heaviness of the riffs and the images of the infinite, shimmering darkness of space is executed and captured perfectly. An amazing album worthy of any and all praise it will undoubtedly receives.

 

1). SubRosa - "For This We Fought the Battle of Ages" (2694)

If you love really emotionally charged hard hitting music, give this record a listen. I had very high expectations of this record, and those expectations were met and then exceeded.

 

A big thank you as always to our amazing writers, your dedication knows no boundaries and for that I am truly grateful.  August’s “Sour 16” features reviews by:  Richard Maw, Dan Brownson, George Parr, Charlie Butler, Chris Bull, Hunter Young, Eric Crowe, Victor Van Ommen  & Gerardo Pacheco

ALBUM REVIEW: Lord Vicar - "Gates of Flesh"

By: Richard Maw

Album Type: Full Length
Date Released: 17/6/2016
Label: The Church Within Records

For anyone wanting quality traditional doom, the purchase of this album is a no brainer. Lord Vicar represents the very best in the genre and this album is a focused and fulfilling listen.

“Gates of Flesh” CD track listing:

1). Birth of Wine
2). The Green Man
3). A Shadow of Myself
4). Breaking the Circle
5). Accidents
6). A Woman out of Snow
7). Leper, Leper

The Review:

Doom, done properly, is the greatest. Lord Vicar, known for doing doom properly do not disappoint here. Kimi Karki brings some seriously great guitar riffs and sounds to the table- always adhering to the Iommi blueprint (and of course the lineage of doom players that came afterwards). Expect swinging grooves, more psychedelic and gentle sections and some rather mournful vocals from Christian Linderson (supergroup!).

I am drawn to any track/album/imagery- and even public house- that has anything to do with “The Green Man”, so track two was a given for me. It is a fuzz drenched groove that leads the track off and the airy production carries the riffs along nicely. “A Shadow of Myself” is a rather sombre affair- no surprises there- but is also primarily a bass solo that is an excellent listen. Now that may be a surprise!

“Breaking the Circle” boasts a hypnotic riff that defines the term doom metal- just massive- and echoes The Gates of Slumber's final recorded work; all paranoid lyrics and fatalistic atmosphere. “Accidents” represents the “loping groove” side of Sabbathian doom which goes into a snails pace and then into swinging tempo pace. Truthfully, this track felt to me like a bit of a filler- but that is only because the three sections are so distinct. I also hasten to add that each section is great... it just didn't feel like a song. “A Woman Out of Snow” is a very different proposition- gentle acoustics and a mournful vocal sets up an album highlight. It's different, but believe me when I say that it is still very doomy. When the band kick in, the groove is fantastic and the minor key harmony is a killer.

“Leper, Leper” is the album's epic closing statement. Downtrodden doom, clocking in at over ten minutes in length, the track lets the band spread their wings and really lock into the groove. For anyone wanting quality traditional doom, the purchase of this album is a no brainer. Lord Vicar represents the very best in the genre and this album is a focused and fulfilling listen.

“Gates of Flesh” is available here

Band info: facebook

RIYL: Reverend Bizarre, Count Raven, Saint Vitus, Black Sabbath