RIFF REWIND (18/07/2013): On Pain of Death - "Year Naught Doom"

Formed in the boggiest of the boggy depths of Ireland in March '08, On Pain of Death play slow and twisted doom/sludge metal. The band played their first gig in June '08 and recorded their self-titled first demo over that same weekend and the next in Oaks Recording, Enniskillen, NI.

The band continued to play throughout the Summer and returned to Oaks at the end of September to record their next E...P which features one slab of degrading filth called "Rotting in a Tomb of Depravity". Not happy with the outcome of the recorded EP, OPoD decided to shelf the release with an intention to rework and re-record the track for a future release. A cover version of the Sepultura track “Troops of Doom” was recorded and released on vinyl by Blind date Records in December '09. The release featured bands such as Moloch, Thou, Aguirre, Loss and Hey Colossus all doing doomed out covers.

In the latter half of 2010 early 2011 OPoD recorded their first album entitled "Year Naught Doom". With Handshake Inc. on board "Year Naught Doom" was released as a free download in late 2012 and subsequently released on tape in the summer of 2013 by Dry Cough Records and on LP via Sentinel Records.  Still considered an active band, but yet to release any new material for 5 years, I feel it is time to remind you all just how disgustingly bleak this album was and perhaps reignite the spark within the band to follow up this stunning record. 

Today we are rewinding the riffs back 4 years to the day in order present “Year Naught Doom”. So if you missed it the first time, be sure to remedy your error by checking out our review in full below. 

By: Matt Fitton

Album Type: Full Length

Date Released: 3/7/2013

Label: Dry Cough Records (Tape) |

Sentinel Records (LP)



A mind melting and deeply intoxicating injection of Sludge and Doom, You'll need to watch Disney films for a week straight afterwards just to recover from the whole damned thing. Highly recommended.

“Year Naught Doom” CS//DD track listing:

1). Year Naught Doom (11:28)

2). Tell Your God to Be Ready For Blood (13:14)

3). It Came From the Bog (17:42)

The Review:

Ireland can kick out some noise when it wants to (see: Slomatics), and some of its filthiest noise in recent years has been produced by Sludge / Doom dealers On Pain of Death. Their current opus of depraved sick riffery is 'Year Naught Doom'. It saw a vinyl release at the tail end of 2012, but is being released on tape by the mighty Dry Cough. So let's get into it, shall we?

What you get for your cash here is 3 tracks of complete Doom horror to sink your fangs into, or whatever else you might be sporting. 42 minutes of harrowing sounds to wake the dead, and probably drive the living insane.

First track shares the album title and commences this ritual with suitably slow tendencies. Soaked in atmosphere and the potential for menace, it'd probably burst into flames if it walked into direct sunlight. It rolls on at an ominous pace, heavy as hell and full of feel. The low end that this band has is thick and syrupy, just the way I like it. The riffs are droning and the drumming pounds more like a curse is being banged into existence. If you listened to this enough it might give you an infection of some kind. It's sick, in a beautiful way.

'Tell Your God to Ready For Blood' is even more destructively slow and torturous. You constantly get the feeling that something very bad is about to happen, and when it kicks in even only slightly, the effect will still produce permanent damage in your ears if played too loud. The vocals are hissing and delivered with absolute venom. They'll haunt you. By the end it's so heavy that the cup on my desk nearly went all Jurassic Park.

The album rounds out with nearly 18 minutes of 'It Came From The Bog'. I can only imagine that the 'it' in question is the sound that this band commits to murderous tape. Like the death throes of an ancient being, heard across time and space and recorded in Ireland. It's really good!

Slow, winding and intense, it's an experience that your ears will beg you to cease, and your dark heart will implore you to let continue. The feedback at the end will rupture your arteries.

I seriously advise that you get this latest offering from On Pain of Death however you can. A mind melting and deeply intoxicating injection of Sludge and Doom, weighing in more heavily on the latter. You'll need to watch Disney films for a week straight afterwards just to recover from the whole damned thing. Highly recommend

Band info: Facebook

TOP 16 ALBUMS: The Sour 16 for April 2017

Telekinetic Yeti

Yes, it is that time again O ye lover of riffs, “The Sour 16” returneth.  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 page views alone and 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 red)

16). Necrowretch – “Satanic Slavery” (438)

For something so embedded with crust, rust and cadaverous unmentionables, it is an incredibly refreshing, riff-dense monster of an album, almost ebullient in its putrid malevolence.

15). Witchapter – “Spellcaster” (521)

14). Hawkbill – “Self Titled” (578)

Track by track these rusted broke-down tractor boys weave a landscape that is reminiscent of the groovier parts of Grief or perhaps an even more slowed down and swampy take on some Weedeater.   With a natural emphasis on groove and natural timing and feel, this album moves like a sloth with a spliff in its mouth.

13). War Brides – “Regrets” (585)

Chicago bruisers War Brides raid the vaults of the noise rock greats to create a compellingly ugly debut LP in the shape of “Regrets”. It is a quick and dirty shot of addictive mayhem, channelling the nastiness of its influences to fine effect and offers hints of evolution into a stranger beast over the course of future releases.

12). Cowardice – “With Condolence (599)

the sound is relatable and as tender as a fingernail wrenched from its bed. It drifts between aching sadness and violent bouts of self-disgust. This stratum of emotional, chemical and physical self-destruction is the calling card of genuine, heartfelt sludge, and “Without Condolence” is definite rap on the door.

11). Ohhms – “The Fool” (600) 

 

10). Kenoma – “The Tides will Prevail” (611)

Kenoma are firmly focused on the metal side of the post-metal equation for the most part of “The Tides Will Prevail” and manage to create huge, enveloping sound constructions reliant on intricate interlocking guitar parts rather than a phalanx of effects pedals.  The albums extended gestation period has produced an absorbing set of finely honed post-metal behemoths.

9). Aathma – “Avesta” (634) 

Wonderfully straddling the line between a live and studio sound, thanks to the efforts of producer Carlos Santos and the unfailingly excellent mastering work of the ever-prolific James Plotkin, ‘Avesta’ sounds absolutely mighty.  A must-listen for fans of Yob, Baroness, Mastodon and anyone interested in ambitious stoner-sludge metal.

8). Earth Witch – “Out of the Shadow” (661) 

Every track is a winner. Every riff is massive. The production is raw and warm. Everything sounds big. Everything sounds heavy. This is surely exactly the record that Earth Witch set out to create and I applaud them highly for it. Fantastic and heavy stuff and one of the best albums I have heard so far this year.

7). Moloch/Disrotted & Cloud Rat/Moloch  - “Splits” (675)

6). Mage – “Green” (702)

No fuss, no messing about, just good quality stoner/doom of the finest order. Check this album out and check the band out live: I guarantee that you won't be disappointed.

5). Mastodon – “Emperor of the Sand” (794)

this is the best album in a long while from the band, it is accessible without straying that far from the band's template and still finds the band in a modern class of one. Time will reveal just how good this record is, but my feeling is that this one will stand the test of time.”

4). The Obsessed – “Sacred” (959)

Quite simply, I can't find anything on this album I don't like. The best comeback of the year, without a doubt. This record will be turning up in many year end lists, without a doubt. It could even be the best album by The Obsessed, but only time will tell on that one. I can't recommend this highly enough.

3). Artificial Brain – “Infrared Horizon” (1272)

The artwork depicting a mournful android grieving the loss of another android is absolutely devastating as a visual, and that same feeling permeates the whole musical experience.

2). Spidergawd – “IV” (1462)

“IV” is eight tracks that follow the verse-chorus-verse-chorus formula and does so with licks, vocals, lyrics and melodies that are sharp, fast, and poignant. As far as that’s concerned, there’s absolutely nothing to complain about

1). Telekinetic Yeti – “Abominable” (3755)

All in all, the recording has a huge sound and the production is absolutely amazing. It has everything you could ever want and I would rate it as a perfect 10. The album is truly remarkable and is sure to go down in history as one of rock’s greatest debuts. These guys are definitely heavyweight contenders to find their place at the top of the scene

A big thank you as always to our amazing writers, your dedication knows no boundaries and for that I am truly grateful.  April 2017’s “Sour 16” features reviews by:  Richard Maw, Daniel Jackson, Andre Almaraz, Grim Trashcan, Victor Van Ommen, Richard Maw, Charlie Butler, Jack Taylor, Conor O’Dea & Stephen Murray

REVIEW: "Moloch/Disrotted" & "Cloud Rat/Moloch" (Splits)

By: Charlie Butler

Album Type: Splits

Date Released: 10/05/2017 |10/04/2017

Labels: Feast of Tentacles |

Halo of Flies

“Disrotted/Molch Split 7”//DD track listing:

1). Disrotted – “Deliquium”

2). Moloch – “Fleshwound”

“Cloud Rat/Moloch Split 12”//DD track listing:

1). Clout Rat – “Sueno”

2). Cloud Rat – “Perdiak”

3). Cloud Rat – “Stench”

4). Cloud Rat – “Baby Sling (Balloon Born)”

5). Cloud Rat – “Biting the Air”

6). Cloud Rat – “Pit”

7). Cloud Rat – “Amber Flush”

8). Moloch – “The Ninth Wave/Bloody North”

9). Moloch – “Lead”

The Review:

2017 looks set to be an amazing year for Moloch. The Nottingham sludge dealers will be spreading their crushing misery across the US in support of Thou in the summer and are about to unleash a cavalcade of new releases. The first two waves in this attack are a couple of mighty splits; an LP with Michigan grind/punk whirlwind Cloud Rat and a 7” with funereal Chicago doomers Disrotted.

I’ve been hungry for more Moloch since their great 2016 split LP with Lich. The new material on offer across these two new records more than lives up to my expectations and sees the band take their sickening racket to new levels of extremity.

“The Ninth Wave / Bloody North” opens the Moloch side of the Cloud Rat split with twelve minutes of unrelenting terror. It begins with lumbering stop/start riffs and harrowing howls that establish a mood of all-encompassing dread from the very first second. The track degenerates further into a bottomless pit of despair, like a mix of Eyehategod and early Swans filtered through a grimy noise rock lens. Just when you think this treacly crawl could not get any more unpleasant, the track drops down to a lone dirty bass and screeching feedback which acts a backdrop for a harrowing sample of indecipherable barked threats and desperate tears. It’s unlikely you will hear a more distressing and powerful track this year.

“Lead” offers some relative respite from this onslaught but still consists of repetitive bludgeoning riffs. It sees Moloch expanding their sonic horizons to take in some unhinged lead guitar squalls and more expansive sounds that bring a hint of black metal to the pounding finale.

The band’s contribution to the split 7” with Disrotted is the most direct of these new tracks. Relatively perky by Moloch’s standards, it’s a hard-riffing no-nonsense sludge assault but still mired in a swamp of feedback and filth.

Moloch’s offerings on these splits see them raise their already impressive game, making them the ones to beat when it comes to ugly, messy, noise-riddled doom. My ears and soul should have recovered from the carnage inflicted by these new songs just in time to enjoy their imminent new LP.

The best part of split releases is getting introduced to killer new bands and Moloch have teamed up with first class partners here.  Disrotted contribute seven minutes of slow motion punishment to their split 7”. The band’s brand of Burning Witch-style torment is a good foil for Moloch’s more aggressive approach, unleashing molasses-thick waves of doom that wash over the listener to create a dense, hypnotic wall of sound. Once you’ve entered the dark cloud of Disrotted’s aural domain, it’s hard to pull yourself free.

Cloud Rat’s ever-shifting blend of high octane grind, crust and hardcore punk is completely captivating and a brilliant contrast to Moloch’s drudgery. “Sueno” kicks things off with a pummelling intro riff that blurs into chaotic screamo mayhem while “Baby Sling / Balloon Born” introduces some spidery, discordant guitar lines that shift into furious d-beat sections that recall the fury of the much-missed Hammers. Every track here is loaded with twists and turns that strike the right balance between complexity and no-nonsense rock fury that results in an addictive blast of cathartic fury. The hints of keyboards throughout these tracks culminate in the glorious curveball of closing track “Amber Fury”. A brooding piece of post-punk synthcore it sounds like Cold Cave being played through a broken radio. The fuzzy lo-fi production only adds to its haunting quality. Somehow this complete change of sound sits perfectly beside the chaos that precedes it and within the split LP as a whole. It demonstrates that Cloud Rat are an amazing band who could turn their hand to pretty much any genre and produce gold.

Overall, these two splits are both essential purchases that showcase three incredible underground bands. Buy now.

“Disrotted/Moloch” is available here and “Cloud Rat/Moloch” is available here and USA

Band info: Moloch Facebook || Disrotted Facebook || Clout Rat Facebook

ALBUM REVIEW: Iron Witch - "A Harrowed Dawn"

By: Chris Bull
 
Album Type: Full Length
Date Released: 22/07/2016
Label: Secret Law Records

 

‘A Harrowed Ground’ is packed with vehemence and anger bubbling under the filthy surface and threatens to go berserk if pushed...Thankfully we don't get our heads smashed in, rather we get a warning that should we push any further, we'll be whacked about the head with the fat end of a pool cue.  It's this menace, like the stare of a crazed junkie on a comedown, that's made Iron Witch one of the stand out sludge acts in the UK and with Chris Fielding behind the desk, the edges are polished but no less piercing and deadly, he has captured the essence of a band at their crushing best. Iron Witch are carrying the torch for British Sludge and are glowing in the light it provides.

 

 

‘A Harrowed Ground’ CD//DD//LP track listing:

 

1). Beauty and Rot
2). Salvation Through Nothing
3). Machinery of Violence
4). Under the Pyre
5). Belly Full of Rats
6). Solitude and Decay

 

The Review:

 

When a band are able to make a sizeable name for themselves before releasing a full album, you know there's something special going on! Iron Witch are such a band; their collection of splits, EPs and singles thus far have been very well received by anyone and everyone who has listened and many a stage has been obliterated by their live performances. Now with a modified line up and debut full length 'A Harrowed Dawn', Iron Witch demonstrates that they're not fucking about.

 

'Beauty and Rot' sets a moody tone with the use of clean guitars and slow motion riffage to kick things off. It's packed with much vehemence and anger bubbling under the filthy surface and threatens to go berserk if pushed...Thankfully we don't get our heads smashed in, rather we get a warning that should we push any further, we'll be whacked about the head with the fat end of a pool cue, or so the brooding menace of 'Salvation Through Nothing' leads me to believe.  It's this menace, like the stare of a crazed junkie on a comedown, that's made Iron Witch one of the stand out sludge acts in the UK, the thought that at any point, they could snap and embark on a frenzied attack is always in the back of your mind.

'Machinery Of Violence' begins with some downtrodden melancholy and then gives nods towards Eyehategod, a reference the band would have no qualms about, as the filthy grooves and paranoid wails emerge from the bleak fog. 'Under The Pyre' and 'Belly Full Of Rats' further perpetuate the Eyehategod references; the former in it's slow building, rabid delivery and the latter in it's pulsating swing...and that opening riff, man that's a tasty slice! 'Belly...' has the distinction of being my personal favourite on this album, a difficult feat considering the quality of the songs throughout. It's got the kind of nasty groove that makes me grimace and nod my head in public...and I already look like a weirdo.

 

Last up is 'Solitude and Decay', a moody number, calculated and caustic in equal measure, the despair in the melody of the opening riff will make 90's kids question their misspent youth...then that rage that has been held back throughout the album is finally unleashed and justified in it's aggressive furore which then descends into regret, mourning and alcoholic shame.

 

Once again, with Chris Fielding behind the desk, the edges are polished but no less piercing and deadly. He's managed to produce some of the highlights of 2016 and here, captures the essence of a band at their crushing best. Iron Witch are carrying the torch for British Sludge and are glowing in the light it provides.

‘A Harrowed Dawn’ is available here

 

Band info: facebook || bandcamp

 

RIYL: Eyehategod, Moloch, Siege Mentality, Crypt Lurker

Monoliths - "Monoliths" (Album Review)

By: Charlie Butler

Album Type: Full Length
Date Released: 01/07/2016
Label: Dry Cough Records |
Crown And Throne Ltd

This self-titled debut respects the crushing pedigree of the band’s constituent members while heading into uncharted territory. Over the course of two 16 minute behemoths, Monoliths create an absorbing world of bludgeoning repetition and psychedelic heaviness, fusing a more exploratory approach with the filth and weight of the heaviest doom

“Monoliths” DD//LP track listing:

1). Perpetual Motion

2). The Omnipresence of Emptiness

The Review:

Few bands live up to their name quite like Monoliths. Members of Ommadon, Bismuth and Moloch have combined to forge a collaboration every bit as colossal as you might expect from some of the bleakest and nastiest bands the UK has to offer.

This self-titled debut respects the crushing pedigree of the band’s constituent members while heading into uncharted territory. Over the course of two 16 minute behemoths, Monoliths create an absorbing world of bludgeoning repetition and psychedelic heaviness.

The aptly titled “Perpetual Motion” opens proceedings. The motion in question is an aggressive, sludgy trawl based on a single riff that is in a constant state of flux. The band strike a perfect balance between elegantly structured restraint and free jamming. Imagine a lumbering, doom equivalent of Mike Vest’s space cadets, Blown Out, and you won’t be disappointed.

“The Omnipresence of Emptiness” takes the template of “Perpetual Motion” and drags if further into the beyond. The track begins with a monumental riff that sounds like all of Om’s finest moments, played simultaneously at foundation-shaking volume. The scratchy, urgent bursts of lead guitar, hinted at previously, are given free reign here, blossoming into more grandiose swathes of noise as the track builds in intensity. Carefully deployed vocals make an appearance too, guttural barks and shrieks adding to the cacophony.

Monoliths have crafted an intriguing debut here, fusing a more exploratory approach with the filth and weight of the heaviest doom. Hopefully this is just the start of their compelling journey into the charred pit of oblivion.

“Monoliths” is available here (UK and Europe) and here (USA)

Band info: facebook

Moloch/Lich - "Moloch/Lich" Split 12inch (Review)

By: Charlie Butler

Album Type: Split 12inch

Date Released: 5/01/2016

Label: Dry Cough Records|

Vendetta Records |

Vetala Productions

Moloch contribute two slabs of crawling, lumbering sludge. “Disability” is nine minutes of creeping despair, pummelling riffs and pained vocals combining to harrowing effect. The whole thing is caked in thick distortion and squalling feedback.  Lich use their side of this release to rattle through 8 tracks of break-neck power violence punctuated with crushing breakdowns.  They occupy a similar stylistic space to Moloch, but filter their noise through a punk/hardcore lens without losing focus on the riffs.  This is a strong split, both sides equally matched in terms of ear-bleeding ferocity. An essential purchase for connoisseurs of sonic filth, this is a powerful document of the UK underground.

“Moloch/Lich” Split 12inch LP track listing:

1). Moloch – Disability

2). Moloch - Holding the Hand of Someone Dying

3). Lich – Beggar’s Teeth

4). Lich – Rat Teeth

5). Lich – Fields of Malice

6). Lich – Negation Delirium

7). Lich – Dead Water

8). Lich - Disir

9). Lich – Lazarus Pit

10). Lich – Hat Trick of Idiocy

The Review:

Extremes of tempo are always welcome in heavy music. This split LP is a fine example of this, with Kent’s Lich occupying the faster end of the spectrum, while Nottingham’s Moloch firmly embedded at the turgid depths. What unites these bands is a single-minded dedication to producing an ugly racket, regardless of speed.

Moloch contribute two slabs of crawling, lumbering sludge. “Disability” is nine minutes of creeping despair, pummelling riffs and pained vocals combining to harrowing effect. The whole thing is caked in thick distortion and squalling feedback. It occupies a potent middle ground between the heavy hitters of doom and the gnarliest noise rock. “Holding The Hand Of Someone Dying” is every bit as bleak as it soul-crushing title, continuing the previous track’s onslaught while adding hints of off-kilter discordance, reminiscent of Primitive Man. These tracks are Moloch’s strongest to date and bode well for future releases. Hopefully a full-length offering is somewhere on the horizon.

Lich use their side of this release to rattle through 8 tracks of break-neck power violence punctuated with crushing breakdowns. Now, sadly defunct, the band boasted members of awesome UK scream bands Battle of Wolf 359 and Me And Goliath. There are hints of these sounds here, mixed with a more aggressive metallic approach and played through amps, barely clinging to life as they are pushed to breaking point. They occupy a similar stylistic space to Moloch, but filter their noise through a punk/hardcore lens without losing focus on the riffs. It’s a shame this will be the final release from Lich, but hopefully this split will allow more people to realise what a devastating force they were.

This is a strong split, both sides equally matched in terms of ear-bleeding ferocity. An essential purchase for connoisseurs of sonic filth, this is a powerful document of the UK underground.

“Moloch/Lich” is available here

Band info: facebook