TRACK PREMIERE: YLVA debut crushing sonic leviathan with "Metadata"

What is it about the might of the riff, the fuzz of a distortion pedal and overwhelming volume that continues to move us?  Often simple, sometimes complex but for those that love heavy music particularly, we are unequivocally passionate and devoted it. To the wider populous heavy music is  only perhaps interpreted as noise, and angry noise at best, but like any great art, it is really only appreciated by those who understand it and that leads us nicely onto today’s SLUDGELORD debutants, Melborne, Australia’s YLVA. Drawing influences from a deep well, YLVA have created a fantastically challenging, deeply moving and overwhelmingly crushing sonic leviathan of an album, and further proof that as an art form heavy music continues to be at the forefront of the most innovative and challenging music on the planet.

With riffs driven by sonic slabs of sludge and the back beat of metronomic drums, YLVA have manufactured one of the stand out albums of the year, if you’re a fan of Neurosis, Cult Of Luna, Old Man Gloom and Pelican, get ready to meet the new masters of progressive forward thinking metal, YLVA have arrived and today it give us great pleasure to deliver your first taste, as we premiere “Metadata” lifted from their forthcoming debut "Meta” which is set for release via Pelagic Records on November 17^th (preorder here).  Check out this awesome band, like there page and buy there merch.  Bask in the riffs and but prepare to be crushed.  

Band info: facebook || bandcamp

RIFF REWIND (17/5/2012): ÆGES - 'The Bridge'

ÆGES (pronounced “ages”), ambitious rock n’ roll soundscapes and melodies the size of mountains are the electrifying result of four men from diverse musical backgrounds united by their shared love of loud guitars, big drums and catchy songs. Since joining forces in Downtown Los Angeles, guitarists/vocalists Kemble Walters and Cory Clark, drummer Mike Land and bassist Tony Baumeister have concocted a thrilling sound that’s both nostalgic and forward thinking.

ÆGES has made the improbable marriage of massive extremes their hallmark, steering beyond the simple combination of sonic crunch and melodic hooks into a hypnotizing and enchanting lane occupied by pioneering acts like Queens Of The Stone Age and Soundgarden.

Their debut album “The Bridge” (2012) was a guitar driven affair whose singular focus gave way to the even bigger sonic tapestry found on “Above & Down Below” (2014) (review here), cementing ÆGES as four players with distinctive strengths that combine to make something virtually unrivaled today, as clearly evidenced by every single song on their latest release” Weightless” (review here)  Today, however we cast our minds back to their 2012 debut, which I proclaimed was a ‘truly brilliant record’.  So let us rewind the riffs to  this day 5 years ago and 17/5/ 2012.  Check out the brilliant ÆGES.

Source: Another Century here

"The Bridge" By: Aaron Pickford

Album Type: Full Length

Date Released: 17/04/2012

Label: The Mylene Sheath

 

‘What makes ‘The Bridge’ so great and so different is that ÆGES have produced an album unlike anything else out there and as a result this should be applauded.  ‘The Bridge’ is a truly brilliant record’

'The Bridge' CD/DD/LP track listing:

1. Wrong (4:00)

2. My Medicine (2:36)

3. Southern Comfort (5:03)

4. Doesn’t Feel The Same (2:48)

5. Sent From Heaven (Rest In Dirt) (4:18)

6. The Bridge (5:45)

7. Roaches (3:07)

8. The Words We Say (3:57)

9. I Believe In Ghosts (2:17)

10. Fade Out (5:18)

The Review: 

Hailed in some quarters as a ‘Super Group’ of sorts, ÆGES are a breath of fresh in the genre of heavy music, in so much as they remain startlingly heavy whilst retaining a strong element of melody and a tantalising blend of screamed/clean vocals.  The most obvious comparison I could draw upon to describe their music would be ‘Antenna’ era Cave In, indeed Kemble Walters’ vocals reminds me a lot of Stephen Brodsky from the aforementioned band.

So what is on offer with ‘The Bridge’ and why should readers part with their hard earned cash?  Basically ÆGES have produced some of catchiest songs I have ever heard and incorporate the best of elements of metal, e.g. ‘Nasty Riffs’ alongside a staggering vocal performance courtesy of Kemble Walters.  The album is jam packed full of hooky, tantalising Helmet esque riffs, with a hint of that trademark Henry Bogdan bassline.  The twin guitar delivery on opening track ‘Wrong’, is juxtaposed with intricacy and simplicity, with ample amounts of cool phrasing, supported admirably by a solid rhythm section.  The riffs are to die for and at the centre of it, with breathtakingly raw and pure vocal performance. If only medicine could taste as good as this record sounds and the track ‘My Medicine’ chips in with some wonderously floaty guitar fills, bass heavy riffs with hybrid of tonality somewhere between KoRn and Kyuss, with added desert rock spice.  Again the song is just plain catchy, leaving the listener captivated and mystified as a result of spontaneously bursting into song.  This is a big plus point for the album, in that you feel yourself being compelled to sing, seemingly unconsciously and spasmodically. 

The songs just get better and better, one memorable song after another, ‘Southern Comfort’ with its acoustic intro, then into another banger of a riff, the simplicity of which are another source of the albums strength. Bucket loads of thick dirgy riffs and incorporating layers of guitar fills to add variety and texture, keeping the listener engrossed as a result.  ‘Doesn’t Feel The Same’, turns on the 90’s alt metal style, with bursts of influence from Helmet or say Handsome, coupled with aggression, punchy drums and that Henry Bogdan bass tone.  The track is just mouth watering, with a raw groove aesthetic, which is beguiling and mesmeric.  Indeed it’s a track that could been written by Page Hamilton himself. The record is just loaded and brimming with riffs that leave you beaming from ear to ear. 

‘Sent From Heaven (Rest In Dirt)’ has a very sludgy vibe, with a post metal esque opening riff and the vocals on this track are majestic, with a nod to Cave In sdding further dynamics to the record with thrashy galloped riffs at times.  The fuzzy production creates a massive “wall of sound” which only serves to strengthen the tone of the sludgy guitars and the drum work.  ‘The Bridge’ is an assault on the senses, due to the battery of the drums and the layers of riffs that reminded me of the band Zozobra. The track is a big tune, with a strong traditional vibe to it with an amazing hooky chorus and slight variations on the same riffs, which are driving and crunchy.  Kemble Walters is on fire at this point and gives the track his strongest vocal performance, with an almost falsetto type vocal at times.  ‘Roaches’ with its Big Black esque intro is just plain aggressive and bombastic, incorporating the use of background vocals to accentuate the song.  It is the most straight forward track and most aggressive on offer.  Added to the track are hints of distorted bass and a strong bouncy groove. 

The final 3 tracks on the album continue the general tone of the album and each one could easily be big singles for the record and should rightly propel this album into becoming ‘The Feel Good Metal Album Of The Summer.’  What makes ‘The Bridge’ so great and so different is that ÆGES have produced an album unlike anything else out there and as a result this should be applauded.  ‘The Bridge’ is a truly brilliant record

Band info: Bandcamp |Facebook 

6 NEW BANDS: Nikos Mixas' 666 Pack Review for April 2017

The 666 Pack Review

 

It’s the April edition of The Sludgelord’s 666 Pack Review and the Easter Bunny is drunk and horny for fresh blood.  Just kidding, just seeing if you actually read anything other than the reviews.  If you’re new to this, each and every month we handpick 6 review submissions and critique them by only using 6 words, then we rate them on a scale from 1 to 666!  Check out our awesome rating scale below: 

1 – Worse than a eating a handful of Peeps covered in shit.      
2 – Kim Jong-Un would consider this excellent music, um…we don’t. 
3 – You’re average, kind of like Swiss cheese...
4 – You just earned yourself a basket full of jelly beans.  Mmmmm….jelly beans…
5 – Better than the new Deep Purple or Krokus albums, that’s for sure. 
666 – The Easter Bunny got so high off your metal that he challenged The Sludgelord to a fight!!! 

April means the first quarter of the year is almost finished and there’s only a couple of more months until the metal festival season kicks off.  Keep them chops up and send in those demos!  The Sludgelord is a picky listener…and doesn’t care what you think of his opinions….

1). March The Desert - “Tidal Mind” – Reading/Brighton, UK    Rating: 1

This band doesn’t deserve six words…

 

2). Black Tundra - “Black Tundra” – Warsaw, Poland   Rating: 3

Heavy Pelican worship, good, not original.

3). Sparrowmilk - “Articles of Separation” – Cleveland, Ohio   Rating: 666!

This is how you instrumental son!

4). Polemos - “As Within, So Beyond” – Calgary, Alberta   Rating: 2

 

Black metal mixed with punk vocals?

 

5). Rope Trick - “Red Tape” – Providence, Rhode Island   Rating: 3

Very raw, garage band fuzz worship.

6). Shadowake - “EP” – Canada   Rating: 1

Zzzzzz….zzzzzz……zzzzz….zzzzz…..snort…zzzzzzzzzzzzzz……….

 

Band info: March The Desert || Black Tundra || Sparrowmilk || Polemos || Rope Trick || Shadowake

ALBUM REVIEW: If These Trees Could Talk - “The Bones of a Dying World”

By Brandon Green

Album Type: Full Length

Date Released: 03/06/2016

Label: Metal Blade Records

This record is a fluid-flowing masterpiece that builds upon complex, progressive dreamscapes with brilliant artwork reminiscent of the music within. It is clear the band, although instrumental, is thematic in the sense they are making a statement regarding environmental concerns and climate change. The music feels bleak, hopeful, and wonderfully introspective.

“Bones of a Dying World” CD//DD//LP track listing:

1. Solstice
2. Swallowing Teeth
3. Earth Crawler
4. After the Smoke Clears
5. The Here and Hereafter
6. Iron Glacier
7. The Giving Tree
8. Berlin
9. One Sky Above Us

The Review:

Few bands are capable of capturing the icy and frigid atmosphere of the winter months while inspiring hearth-fire warmth in song structures and rhythm. After many listens of 2009’s “Red Forest,” I found myself frequently thinking it was a release that was hard to top, however, “Bones of a Dying World” does just that. Many people may think this release is repeated territory for the band; but this album feels like more. This record is a fluid-flowing masterpiece that builds upon complex, progressive dreamscapes with brilliant artwork reminiscent of the music within. It is clear the band, although instrumental, is thematic in the sense they are making a statement regarding environmental concerns and climate change. The music feels bleak, hopeful, and wonderfully introspective.

“Bones of a Dying World” is an hour long journey full of melody, melancholy, and cinematic post-metal. Hailing from Akron, Ohio, If These Trees Could Talk takes advantage of deep, layered sound full of reverberation and crisp guitar passages weaving in and out of the intense rhythm underneath. Overall, the album has a steady moderate pace with the majority of the songs maintaining catchy, melodic, clean guitar passages. The album also introduces a welcomed amount of distorted and heavy riffs built on top of the clean compositions, something only attainable with their trio of guitars. The group seems to stick to utilizing delay effects with long feedback trails; however, the band delivers a higher understanding of complexity by letting the effects organically enhance the amazing compositions.

The group’s strength relies on intense build up before pummeling the listener with overwhelming and hauntingly powerful riffs. Variation is a strong component of their songwriting, and can be seen throughout the compositions on the album. “Bones of a Dying World” goes by quickly, and I frequently found myself pressing play again for the ominous reverb-soaked journey. The album’s second track, “Swallowing Teeth,” heavily showcases the band’s ability to make the listener lose track of time.  The atmosphere created in their song structures make the listener frequently feel like time passes so much slower as the music sets in, filling the brain full of visions of wandering an icy lake under intense grey skies.

The drums were an interesting touch for me on this record specifically from their simplistic yet huge sound emphasized by the heavy hitting playstyle of Zack Kelly. The massive ambience created by the cymbal work added a ton of character to the guitar textures, and the careful construction of rhythms locked in with the bass really drove home some extremely heavy moments. My only slight criticism of the record is that I wish the bass was not so buried beneath the beautiful guitar work.  There were some extremely inspiring moments between the bass and drums that I wish would have shined through a little more.

The impressiveness of this record really set in during my favorite track, “Iron Glacier.” The song underneath all the ambience and build-up is immensely catchy and extremely heavy. While the performance is deliberate and borderline monstrous at times, the band throughout the album displays just the right amount of aggression. I can only imagine that a live performance from this band would not only be amazing, but could potentially be deeply personal and spiritual for many listeners of post-metal/rock. For a genre somewhat still in the infant stages, If These Trees Could Talk conducts with absolute authority and delivers a potentially timeless record. An album perfectly suited for the winter time; throw on your headphones and check this one out. They absolutely deserve your support.

“Bones of a Dying World” is available here

Band info: bandcamp || facebook

FFO: Pelican, Russian Circles, God is an Astronaut, This Will Destroy You

ALBUM REVIEW: The Dead At Sea - "The Dead At Sea"

By: Charlie Butler

Album Type: Full Length

Date Released: 01/11/2016

Label: Independent

A potent blend of early-Pelican crunch and Kyuss-style riffage, The Dead At Sea distil the sound of desert rock sinking into a cold watery grave.  “The Dead At Sea” is a compelling combination of killer riffs and hushed menace that perfectly evoke the bottomless depths of the ocean

“The Dead At Sea” CD//DD track listing:

1). The SS Corvus

2). 9 Knots

3). Convoy HN25

4). Drop Anchor

The Review:

Birmingham instrumental trio The Dead At Sea make a bold statement of intent with their self-titled debut release. Comprised of members of doom titans, Opium Lord, and stoner veterans, Mothertrucker, the band wade through four leviathan compositions over the course of forty minutes.

This release is suitably heavy for a concept album based on the grim fate of the SS Corvus, a Norwegian steamship sunk by German U-Boats in the English Channel in 1945. A potent blend of early-Pelican crunch and Kyuss-style riffage, The Dead At Sea distil the sound of desert rock sinking into a cold watery grave. “SS Corvus” opens proceedings in grand style while “9 Knots” takes things in a hazier, more psychedelic direction, at times reminiscent of underrated post-metallers, 5ive.

The second half of the album raises the stakes on the heaviness front. “Convoy HN25” kicks off with the kind of high-octane riffage Josh Homme wishes he could still deliver and “Drop Anchor” uses its mammoth fifteen minute duration to build to a pummelling climax, complete with a suitably epic solo.

The band’s unconventional line-up of twin guitars, drums and no bass lends these tracks a distinct character. The guitars are coated in enough thick distortion to pack a powerful low-end gut-punch during the heaviest moments while the lack of bass adds a captivating delicacy to the quieter moments. Some of the album’s best moments come when the volume is dialled back, like the haunting Slint minimalism of the outro of “SS Corvus”.

This is an impressive debut from The Dead At Sea, a compelling combination of killer riffs and hushed menace that perfectly evoke the bottomless depths of the ocean. Hopefully another soundtrack to nautical doom will be with us soon.

“The Dead At Sea” is available here

Band info: bandcamp || facebook

VIDEO PREMIERE: Seattle noise makers Into The Storm gives us a lesson in "Maths"

Seattle noise makers Into The Storm have returned with their latest effort, “Where the Merfalo Roam”. The album which will be released on November 11th via Alive and Breathing Records, is a complex album containing ten compositions that have been painstakingly pieced together riff by riff.  Fans of Baroness, Mastodon and Pelican should appreciate this album since it captures the essence of those bands at times, but also contains its own unique flavour.  For example, the first half of the song “Maturin” contains a brass section and then shifts to noisy blasts of heavy for the remainder of the song.   There’s even some honky-tonk, chicken pickin’ to be found in “Truck Van Trailer” hidden near the end of the sludge infused chaotic riffing.  In conclusion, Into the Storm have created their most progressive and impressive work to date since their inception in 2010. 

Today at The Sludgelord we can offer you a taste of this monstrous record in the form of new video for the track “Maths”, which is undoubtedly one of the album highlights .  My calculations are that this track is a stonewall face melter.  “Where the Merfalo Roam” can be preordered here

Band info: facebook || bandcamp

Cranial - "Dead Ends" EP (Review)

By: Charlie Butler

Album Type: EP

Date Released: 02/09/2015

Label: Moment of Collapse

Cranial forge epic journeys that marry the weighty post metal of early Pelican to the hefty crunch of Mastodon’s “Remission” with captivating results. Bursts of soaring post-rock are employed to provide contrast to the onslaught of chugging armageddon. “Dead Ends” ably demonstrates why Cranial is the perfect name for this band. This is brainy music - intelligently constructed yet skull-crushingly heavy.

“Dead End” CD//DD//LP track listing:

1). Nightbringer

2). Limes

The Review

Würzberg quartet, Cranial have risen from the ashes of instrumental heavyweights Omega Massif. Anyone who misses that band will find ample solace in “Dead Ends”.

Here are only two tracks to savour on this impressive debut release but these lengthy compositions pack in more twists and turns than most LPs. Cranial forge epic journeys that marry the weighty post metal of early Pelican to the hefty crunch of Mastodon’s “Remission” with captivating results. The band navigate shifts in tempo and volume with ease and manage to avoid the pitfalls of obvious build and release dynamics. Bursts of soaring post-rock are employed to provide contrast to the onslaught of chugging armageddon. The delayed lead guitar rising from the smoking pit of distortion in the middle of “Nightbringer” heightens the emotional impact without feeling cheesy or unnecessary.

Cranial mostly let the riffs do the talking but sparingly deploy vocals to powerful effect. Huge reverb-drenched roars occasionally emerge from the wall of noise to heighten the drama, lending an air of black metal to proceedings. This is particularly effective during the cacophonous climax of “Limes”.as the heavily effected vocals blur the boundary between voice and instruments.

“Dead Ends” ably demonstrates why Cranial is the perfect name for this band. This is brainy music - intelligently constructed yet skull-crushingly heavy.

“Dead Ends” is available here

Band info: facebook

Latitudes - "Old Sunlight" (Album Review)

By: Charlie Butler

Album Type: Full Length

Date Released: 22/01/2016

Label: Debemur Morti Productions

Their crunchy take on Pelican’s colossal ambition shot through with Mastodon’s progressive grit is as potent as ever, particularly evident on the monstrous “Altarpieces”. “Old Sunlight” is no retread of former glories though, every track crackles with the energy of the band expanding their horizons. “Ordalian” and “Gyre” are riddled with frantic black metal-influenced tremolo picking, injecting an air of grandiose melody to the Latitudes already epic sound.  “Old Sunlight” consolidates all that was great about Latitudes and stretches it in intriguing new directions to intoxicating effect. Hopefully they won’t leave another four years until the next time.

“Old Sunlight” CD//DD//LP track listing:

01. Ordalian
02. Body Within A Body
03. Amnio
04. Gyre
05. In Rushes Bound
06. Altarpieces
07. Quandary

The Review:

Hertfordshire quintet, Latitudes have built up a fierce reputation as a UK post-metal powerhouse equal to their US peers. New album, “Old Sunlight” shows that the four year gap since their last LP has done nothing to diminish their prowess. Their crunchy take on Pelican’s colossal ambition shot through with Mastodon’s progressive grit is as potent as ever, particularly evident on the monstrous “Altarpieces”.

“Old Sunlight” is no retread of former glories though, every track crackles with the energy of the band expanding their horizons. “Ordalian” and “Gyre” are riddled with frantic black metal-influenced tremolo picking, injecting an air of grandiose melody to the Latitudes already epic sound. These new influences are integrated seamlessly into their sonic spectrum, taking what could have been an abrupt, jarring swerve into new musical territory and creating a distinct sound, bearing the hallmarks of many genres, without slotting easily into any pigeonholes.

The band blur things further with “Body Within A Body” and “In Rushes Bound”. These tracks bring electronic textures to the fore, working alongside the punishing riffs to provide a perfect backdrop for some angelic, yet sinister, vocals. This is a style you rarely hear used in heavy music and works well here. The section in “Body Within A Body” when the music is stripped back to haunting organ and a lonely croon which creates an unsettling atmosphere, redolent of prog voyagers like King Crimson.

“Quandary” brings the album to a close with a sparse guitar and voice ballad, another left turn which reaps rewards. This track and drumless interlude “Amnio” provide effective contrast to the huge big riffing monsters here, allowing the listener to process these trips beyond the event horizon.

“Old Sunlight” consolidates all that was great about Latitudes and stretches it in intriguing new directions to intoxicating effect. Hopefully they won’t leave another four years until the next time.

“Old Sunlight” is available here

Band info: facebook

Giza - "Migration" (Album Review)

By: Charlie Butler

Album Type: Full Length

Date Released: 01/08/2015

Label: Independent

Giza cover a wide spectrum of styles over the course of the four tracks of “Migration”, unleashing a series of tectonic plate-worrying emissions Yob would be proud of. The band lock into a colossal low-end dirge, reminiscent of Pelican during their early period, giving way to more urgent riffing and even a drum solo to close.  This is great release and makes me hungry to hear more.

“Migration” DD//LP track listing:

1). Cenotaph

2). Hasheroid

3). Strawberry Caviar

Giza is:

Richard Burkett | Guitar
Steve Becker | Bass
Justin Rodda | Drums

The Review:

Giza have a real knack for lulling you into a false sense of security. “Cenotaph” kicks off the Seattle trio’s latest opus “Migration” with a lone clean guitar picking out a plaintive melody. This calm is soon broken when the band lurch into some seriously weighty doom. Over the next five minutes Giza unleash a series of tectonic plate-worrying emissions Yob would be proud of.

“Hashteroid” begins in similarly calm fashion with spacious acoustic guitar. It is not long before this peace is devastated by the impact of the titular cosmic debris. The band lock into a colossal low-end dirge, reminiscent of Pelican during their early period, giving way to more urgent riffing and even a drum solo to close.

The second half of the album has a markedly different tone to the first. “Strawberry Caviar” continues the pattern of soft beginnings, but this time the tone is more melancholic. The quiet is drawn out and atmosphere built until the drums and distortion arrive after a few minutes, shimmering into life. The heaviness is still there it’s tempered by a melodic edge, offset by squealing feedback from the overdriven bass.

“Migration” draws to a close with the 14 minute odyssey of “March of the High Priests”. The track begins with hazy drones, before the band move into a prog-tinged acoustic section. Giza establish a real nocturnal atmosphere here, like Pallbearer on “Sorrow and Extinction”, helped by guest vocals from Irene Barber. On first listen I found the sudden appearance of vocals after three instrumental tracks a bit jarring but after a few spins really came round to them - they add an extra dimension.  The mood soon shifts as crushing volume makes a reappearance, bringing all of the elements of the album together for a satisfying climax.

Giza cover a wide spectrum of styles over the course of the four tracks of “Migration”.  Whilst this doesn’t make for the most coherent listen, they more than make up for this with sheer quality and intrigue. This is great release and makes me hungry to hear more from Giza.

“Migration” is available here

Band info: bandcamp | facebook