INTERVIEW: Doom from the Underground with Shadowmaster

By: Aaron Pickford

At the end of 2017, today’s featured band, Shadowmaster and their self titled debut full length was voted the 11^th best underground release by THE SLUDGELORD.  Since July 2017, we selected 13 albums a month that were either released via smaller labels and/or via bandcamp and took it upon ourselves to focus the microscope on those bands and at the end of the year we selected our favourites and Shadowmaster was one of them. 

Following in the footsteps of legendary doom royalty Candlemass and hailing from Sundsvall, Sweden, Shadowmaster are one of latest and heaviest of doom exports, and we talked to the band at the end of 2017, to get the lowdown on the roots of the band and the creation of their devastating new album, which was released via Seeing Eye Records. 

Can you give us an insight into how you started playing music, leading up to the formation of Shadowmater?

Micke (guitar): I guess it all started when we went to high school. We all found out that we shared the same interest in music, so we developed a friendship and started hanging out, both in and outside of school. As time went by we all started playing in various groups based in our hometown Sundsvall, and as our music taste developed with time, Cedermark and I felt that we wanted to play slow and heavy doom, so we started this band called Desert Crone. In the beginning it was a duo, with Cedermark on the drums and me on guitar. We soon realized that the music lacked a certain feel, so we started looking for a drummer. Eventually we called Jimmy and told him that we wanted him, and he gladly accepted. After that we had some gigs, did a short European tour, made an album, changed name to Shadowmaster and here we are!

For those people unfamiliar with your band, are there any bands on the scene past and present that you would use as a reference point bands to describe your band, and who or what continues to inspire you and push you to try new things?

Micke: Well, I’d be a fucking hypocrite if I wouldn’t mention Electric Wizard to start with, as they are the biggest influence (surprise, surprise). But for people who are unfamiliar with us I would mention Monolord, Belzebong, Burzum and Sleep, to name a few. But honestly speaking, I look for inspiration everywhere. We’re talking movies, nature, emotions etc. Obviously heavy music is the greatest influence, but sometimes when I write, I listen to OST-music. It sounds weird, perhaps stupid, but it’s true. There are no limits to our imagination.

What can you tell us about your debut record and where do you feel it sits within the context of current doom scene

Micke: Dark. Heavy. Disgusting. That’s at least our goal with the album. Nowadays there are tons of bands out there, but you are only drawn to a few. We believe that the reason for this is that most people think that you can just pick up an instrument and write slow music, with no feel to it at all. So we think (and hope) that this album is going to be one of those record that people will react positive towards, and not get bored the first two minutes in. We can only wait and see.

Does anything spring to mind when you think about the completion of your new record “Shadowmaster” and how is the mood in the camp at present?

Micke: Well first of all we are just relieved that it’s done, as we worked really hard on the album both in the studio and in the rehearsal room. But in the end we are very pleased with the results so we are feeling great about the completion of the album. We are excited at the moment. The signing with Seeing Red Records feels great, the music is finally going to be released physically and merch is in the making. Now we will focus on playing live so all is good!

What stands out as your overarching memory from the recording sessions?

Micke: The recording of “The Lizard King” went horribly, as I got nervous playing by myself and fucked up more than once. Because off this I wanted to scratch the song, but Cedermark didn’t agree. In the end we got it, but I was pissed at myself. The recording of “Under His Black Skies” was also a moment of aggression. We first failed at the end of the song, so we had to do a second take. As the song is almost 20 minutes and we play everything live in the studio, it was a pain in the ass. But it wasn’t all bad. The vocals went smooth as fuck, and they sound amazing. Plus we had some help by Björn, a close friend of ours. He helped us with everything during the recording session and mixing.

With you new record in the bag, how is your schedule shaping up over the next 12 months?

Micke: Play as much gigs as possible, spreading the word of Shadowmaster and write more music! We already have a lot of ideas for new songs. Releasing the album on vinyl is also something we will try to do as soon as possible. But mostly perform live, since we truly enjoy it. Releasing some merch is also something we will do. T-shirts will be available in a couple of weeks with a design made by none other than Wizard Of Meth (Mephistofeles).

Finally, do you last words?

You can only die once. After that, nothing, and nobody, can harm you.

Band info: bandcamp || facebook

ALBUM REVIEW: Cities of Mars - "Temporal Rifts"

By: Ernesto Aguilar

Album Type: Full Length

Date Released: 29/09/2017

Label: Argonauta Records

Cities of Mars' unique songwriting and evolving musicianship have much to offer to the doom scene

 

"Temporal Rifts" CD//DD//LP track listing

1. Doors of Dark Matter Pt 1: Barriers

2. Envoy of Murder

3. Gula, a Bitter Embrace

4. Children Of The Red Sea

5. Caverns Alive!

The Review:

Sweden's Cities of Mars may not initially jump out as you as you first listen. As a doom trio mixing in heavy psychedelic overtones and even classic metal melodies in the spirit of Black Sabbath or Uriah Heap, you might just lose them in the traffic of artists traveling similar roads. However, all credit to the band and its label, ever a connoisseur of original musicians, with this self-awareness, and for shaping a concept from start to finish.

Dubbing itself "a heavy band with an integrated storyline," Cities of Mars makes its proper debut this year with "Temporal Rifts," coming after its 2016 EP, "Celestial Mistress," and two tracks in 2015. However, its collection is all based on the same concept, a broad and ancient conspiracy that is unearthed by Russian KGB cosmonaut Nadia, who lands on the planet Mars as part of a covert mission in 1971. With an assist from Monolord's Esben Willems on production, Cities of Mars offer promise at an invigorating premiere.

Cities of Mars has gotten comparisons to the band Sleep at points for good reason. Their distorted, stoner-esque orchestration and other flourishes may spark visions of that San Jose trio. Still, Cities of Mars presents a few areas of its own to be excited about.

First and foremost, it is storytelling. You'll have some quick catching up to do if you are not familiar with the tale, because Cities of Mars pitches you right in. Vocalists  Christoffer Norén and Danne Palm together do a respectable job at conveying affairs, which, as you can guess, get fantastical and spaced out. "Envoy of Murder" is a good instance of this. Johan Küchler's drums lead the way as the story comes down to lyrics that feel mirthless in emotion. But in "Gula, a Bitter Embrace," there is a growing determination, as the trio strike a thicker and faster doom rhythm. The arrangement on "Gula" is solid, but feels like it could benefit by being just a bit more compact. However, the eight-minute "Children Of The Red Sea" following it manages a sublime trance into something that feels like truly memorable doom. Gentler chords grow insistent, as the bass swells and vocals float in an otherworldly way against the guitar strings caging it. The composition here harkens somewhat to Below the Sun's spectacular summer release, but Cities of Mars feels bold in its own way.

The album closes with the psychedelic "Caverns Alive!" It follows the same footprint of some other cuts – lighter open, churning build – and yet the band keeps it sounding fresh. Such, however, might be the biggest question for Cities of Mars. Where does a band whose name and music come from a single concept go after this? Space is, of course, infinite. And as you will come to appreciate, Cities of Mars' unique songwriting and evolving musicianship have much to offer to the doom scene. Without giving away the story, fans will have to simply await to which planet this innately discrepant act flies the next light year.

"Temporal Rifts" is available here:

Band info: bandcamp || facebook

TOP 16 ALBUMS: The Sour 16 (September 2017)

Allow yourself to indulge in a hefty dose of riffs, because it is time to present 16 of the best albums from September, it is time for your SOUR 16. 

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 SLUDGELORD HQ.

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). Boris - "Dear" (623)

From the opening track, “D.O.W.N. –Domination of Waiting Noise–“, Boris conveys punishing volume so effectively that your ears will ache at practically any level.  Every note and every layered vocal has been obsessed over, placed perfectly in the mix, and acts as a distillation of twenty-five years of intense collaborative synthesis.

15). Order - "Lex Amentiae" (637)

This is harsh, in-your-face, old-school black metal. From the opener "Winter" onward, Order stakes a claim to the thorny crown with its barbarous shrieks, lumbering bass and unyielding guitars.

14). Biblical - "The City That Always Sleeps" (679)

“Mature Themes,” the opening track and lead-off single, certainly showcases a barrage of noise that hits like a barbed-wire baseball bat, but rather than making miles doing this sludgy-psych thing, Biblical branches out far and wide, traversing sonic landscapes that are as vast as the country the band calls home.

13). Major Kong - "Brace for Impact" (713)

Poland's Major Kong tests the limits of music with its new recording, "Brace for Impact." The eight-song release is entirely instrumental and rooted in a science fiction theme. Heady indeed, but Major Kong give you a dense, impressive album regardless.

12). Made Of Teeth - "Made Of Teeth" (721)

Made Of Teeth have produced a confident, punchy, and savage debut that provides the listener with labyrinthine levels of surprises around each corner.

11). Monarch - "Never Forever" (784)

Monarch orchestrates layers upon layers of sound that roil gently like a dirty bayou. Bresson's vocals – from plaintive wisps to growls and beyond – make Monarch unlike anything else you hear in doom or drone. Such innovation is why the outfit has cultivated a devoted following throughout their extensive career. Never Forever" gives you a side of Monarch that is rarely seen, and is indicative of a fearless performance. Drone is seldom this accessible, or distinguished.

10). Usnea - "Portals Into Futility" (815)

The guitars are thoroughly dissonant and murky, the bass is husky and drums voluminous. Then there are the vocals, which feel like they're being delivered with the sort of urgency of someone trapped at the bottom of a deep well. The whole composition of the record is just magnificent for doom fans.

9). Queens of the Stone Age - "Villains" (1040)

The musicianship is some of the best out there, and QOTSA knows its lane and sticks with it. Suffice to say, if you are already a QOTSA fan, chances are this recording will not disappoint, or may just a little. For others, there is an entirely different dialogue.

8). Ufomammut - "8" (1078)

The time signatures will still have you scratching your head and the chugging rhythms are no less heady as they are pummeling. The choice to structure songs rather than to orchestrate them means that the ideas unfold quicker than what we’re used to. A totally different listening experience, sure, but it’s one that offers yet another opportunity to throw some quality, heavy psychedelic doom on the turntable.

7). Spirit Adrift - "Curse of Conception" (1119)

“Curse of Conception” is a glorious success and a dazzling evolution of an already excellent band. 

6). Dyscarnate - "With All Their Might" (1181)

For those death metal fans expecting endless blasting, look elsewhere. For those who want a pit destroying festival of riffs: look no further. This is Dyscarnate’s best album so far and a real beast of modern death metal.

5). With The Dead - "Love From With The Dead" (1401)

The opening quartet of tracks here offers up a relentless onslaught of earth-shaking doom. Tim Bagshaw is on fine form, unleashing an endless stream of mammoth riffs and lead guitar that channel the hazy evil of his finest moments in Ramesses.  Lee Dorrian’s half spoken, half roared vocals work well in amongst the carnage and are a breath of fresh air in the modern doom landscape.

4). Belphegor - "Totenritual" (1802)

Once again, as they have over the vast majority of their discography, Belphegor has produced an excellent album of the best blackened death metal. This is every bit as good as anything else the band has put out from one of the best extreme bands in the world, no question.

3). Satyricon - "Deep Calleth Upon Deep" (1914)

 ‘Deep Calleth Upon Deep’ is something of a spiritual successor to ‘Rebel Extravaganza’ in that the goal appears to have been to take an established sound and create the weirdest, artsiest version of it they could and there is evidence of a sweeping creative resurgence throughout the album as a whole.

2). Monolord - "Rust" (2105)

Monolord hits all the superlative notes when it comes to doom and the album's closing tracks, "Forgotten Lands" and "At Niceae," are as close to perfect as you can get.

1). Paradise Lost - "Medusa" (5226)

Depthless despair, thick production with pounding drums accentuating the force of the material and those classic melodic leads are all encompassing, making this their heaviest album  in years and amongst their best. “Medusa” can and will turn you to stone- as you will be shocked and stilled by just how good it is.

A big thank you as always to our amazing writers, your dedication knows no boundaries and for that I am truly grateful.  September 2017’s SOUR 16 features reviews by:  Richard Maw, Daniel Jackson, Charlie Butler, Mark Ambrose, Victor Van Ommen, Conor O’Dea, Jay Hampshire & Ernesto Aguilar

ALBUM PREMIERE: Deadsmoke’s new record “Mountain Legacy” comes crashing down like the heavens themselves have cracked

You like your doom loud and vicious?  Then ask no more because today you shall receive it, indeed straight out of the ethereal haze and armed with a tone that could rupture the tectonic plate, Deadsmoke’s new record “Mountain Lagacy” comes crashing down like the heavens themselves have cracked. 

“Mountain Legacy” is set for release via Heavy Psych Sounds on 29^th September and is the natural evolution for the band, whilst the album retains their archetypal deep fuzz guitar tone and the snarl of the bass, as a follow up to their 2015  self titled debut, “Mountain Legacy” ups the stakes and takes the listener on  a aural journey their debut only dared touch upon, a perfect juxtaposition of light and shade, this album is ultimately cavernous scale and could literally reduce mountains to dust.   

Taking cues from the likes of Conon, Monolord and the mighty Sleep, stylistic it may be rudimentary metal, but this is bludgeoning stuff and maddeningly effective doomentia, that will infect your mind and rattle your soul.  “Mountain Legacy” is available for preorder/buy here and you can check out the album in full below. 

Band info: bandcamp || facebook

ALBUM REVIEW: Monolord - "Rust"

By: Ernesto Aguilar

Album Type: Full-length

Date Released: 27/09/2017

Label: Riding Easy Records

Monolord hits all the superlative notes when it comes to doom and the album's closing tracks, "Forgotten Lands" and "At Niceae," are as close to perfect as you can get.

"Rust" CD//DD//LP track listing

1. Where Death Meets The Sea

2. Dear Lucifer

3. Rust

4. Wormland

5. Forgotten Lands

6. At Niceae

The Review:

Doom and sludge metal both have a handful of performers who can create a truly melodic listening experience. Not a melodic, pop-music-style sort of atmosphere ala Ghost, but rather sounds that are faithful to the subgenres while injecting the kind of talent that reminds you there is so much more to doom mastery than dropping the sixth string down to decent B flat.

Hailing from Gothenburg, Swedish doom metal group Monolord formed in 2013, and its members have set a frankly frenetic schedule, dropping three full lengths and an EP, including the 2014 debut, "Empress Rising." That amount of output is quite unusual, let alone delivering content that has been as well received as Monolord has since it began. The big question is, can the team's newest, "Rust," develop the music while giving its base what it loves?

Monolord hits all the superlative notes when it comes to doom, though the group knows how to plant a strong post as far as different music too. On the opener "Where Death Meets The Sea" the trio strikes a brisker pace than one might expect from a sludgy bassline. Regardless, the track is incredibly satisfying – it's tight, the vocals are exceptional, with a touch of wash-out though audible and story-based, and the mood is thick with dread. The track progression is also superior, as it is followed by "Dear Lucifer," which flows well out of the opener's assiduous pace, matching it until it evolves into an ultra heavy entry befitting the vocal. On the strength of this pairing, Monolord will get a dozen positive comparisons. Likely the best you can say is that more acts are going to be compared to this band before too long.

Monolord's chemistry is palatable. Singer Thomas Jäger deserves a lot of praise for his work. Drummer Esben Willems and Mika Häkki on bass ratchet up the tension throughout "Rust" as well. There are also some creative additions – the strings in "Wormland" or the title track's organ and effects – that are brilliant touches.

In addition, what makes the new release so satisfying is how well Monolord grasp sterling arrangement. That sounds rather technical, but frankly you know an atrocious song by how weakly it is structured. This album's closing tracks, "Forgotten Lands" and "At Niceae," is as close to perfect as you can get. At 15 minutes plus, it is a cut with quite a build. However, the instrumentation by Monolord, the song's pacing and lyrics are presented in a way that keeps you listening, over and over.

"Rust" available to preorder/buy here

Band info: bandcamp || facebook