The Sludgelord "Sour 16" for November 2015

By: Aaron Pickford

As we enter the month of advent and start the build up to Christmas, let us rejoice in the knowledge that November brought another bumper month of new music, perhaps much needed stacking fillers for your nearest and dearest, hell even Santa himself loves the riff, Right!

The Sludgelord’s ‘Sour 16’ is back, you know the deal,  each month, you the reader are unwittingly compiling a list of the top 16 records of the month, covering all genres of metal.  It is 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 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 November 2015.   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! All review can be viewed by clicking the artwork. (Total views at the time of publication highlighted in red)

16). Serious Beak – “Ankaa” (200)

Self-described as playing “an amalgamation of psychedelic, progressive and poly-rhythmic discordant music,” this is all about creating atmospheres that, be they lucid and dreamy or viscous and tormented, has seen them create a cinematic work of art.

15). Publicist UK – “Forgive Yourself” (207)

Melancholy guitar and vocals that sound both broken and heartfelt all at once seep into your being and any remaining self is filled with a sonic wash of drums, bass, organ, and other contributions. The listener is wrapped in a warm blanket, the music lulling them into a sleep, a calm…Publicist UK have very much succeeded in recreating that post-punk tranquilizer feeling

14). Tombstones – “Vargariis” (214)

“Barren Fields” sounds like doom, it relentlessly rumbles forth with unstoppable perpetual motion. There is more light and shade with Tombstones, but they are no less weighty, the compositions are all stand alone pieces of music, but all with a vibe running through them and a sound that identifies them.  Simply put, this is a modern doom record and those of us who enjoyed the their last record, Conan, Electric Wizard, Ramesses et al will find much to enjoy here. A fine album, then. 

13). The Ocean/Mono – “Transcendental” (217)

Of the splits to cross the desk, this is one of the most well done and well created albums to happen. Even though it's only about 24 minutes long, this feels like it takes a while, in a good way, to happen to you. Highly recommended if you want to calm the soul, and maybe push some boundaries for yourself.

12). Kowloon Walled City – “Grievances” (227)

Passages of minimal melodic interplay give way to shards of dissonance and outbursts of lean, razor-sharp riffing. The languid tempo of the drums reinforces the weight of the music and together with the gnarly bass, act as the perfect backdrop for intricate guitar interplay.

11). Grizzlor – “Cycloptic” (239)

Each track is a barrage of filthy, lumbering Flipper-style basslines and riffs that sound like Clutch on downers. Effected vocals and pitched down samples sit on top of this to add an acid-fried weirdness to proceedings, echoing crazy Texans, Butthole Surfers.

10). Magic Circle – “Journey Blind” (247)

Magic Circle throws hook after hook and riff after riff at the listener, giving us no shortage of big moments to latch onto, without falling back on the most tired aspects of Sabbath’s catalogue as the default.  Although Magic Circle isn’t going to wow anyone with innovation, for what it sets out to do, Magic Circle does it better than just about anyone going right now

09). Slabdragger – “Evacuate” (249)

Fans of Slabdragger will love this, hell, fans of heavy music in general should love it, it's absolutely brilliant and if this is a precursor to what lies ahead on 'Rise Of The Dawncrusher' we're all in for a wonderful treat.

08). Dragged into Sunlight/Gnaw Their Tongues – “N.V.” (250)

'Alchemy in The Subyear' drips with essence of evil. The guitars, drums and vocals converge to a sharpened point which is hammered into your heart with the force of the bass and allowed to carve your flesh, while the atmospherics drag your soul into the depths of hell.

07). Avatarium – The Girl with the Raven Mask” (252)

At the end of it all, there is the feeling that you have heard something very unusual, but also very enjoyable. It is not a difficult record to listen to and some of the melodies and imagery conjured up are just sublime. It is most definitely a natural progression from the first record- with a more defined sound and identity perhaps, albeit that the first record was very much its own beast. Certainly, this is doom, but of a different kind and it stands alone in the genre. Simply put: make sure you hear it. It is essential.

06). Stoned Jesus – “The Harvest” (290)

“The Harvest” is undeniably good, hitting the spots just right. There’s power in the slow cuts “Black Church” and “Rituals of the Sun,” which puts Stoned Jesus’s fine focus on display. Other cuts like “Youth For Sale” or the aforementioned “Wound” stroke our desire to hear something that’s both heavy and catchy, earning “The Harvest” a spot in one’s record collection.

05). Mammoth Weed Wizard Bastard – “Noeth Ac Anoeth” (301)

The wall of guitar, at times, sounds as though it is ten instruments deep, crushing your brain with the weight of a 150 ton hydraulic press.  All of this contrasts elegantly with lead singer Jessica Ball's siren aria floating above the driving rhythm.

04). Intronaut – “The Directions of the Last Things” (322)

The interspersed samples are delightfully odd, and give a welcome (often comical) break to the up-down-all-around prog fest that this album really is. There are so many sections that break out into something completely unexpected, leaving you extremely satisfied

03). Cult Leader – “Lightless Walk” (334)

Cult Leader have created a monster here, a perfect combination of brains and brutality. There’s enough going on to suggest that “Lightless Walk” is just the start of an intriguing journey to the outer limits of heavy music.

02). All Them Witches – “Dying Surfer Meet His Maker (483)

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

01). Danzig – “Skeletons” (750)

“Skeletons” would have been an awesome opportunity to work with a variety of musicians, those better equipped to handle specific songs and play up their advantages.  The recording quality varies wildly from song to song, as does the overall execution of each song. The strength of Danzig’s vocal performance is pretty consistent with where he was at on ‘Deth Red Sabaoth’, perhaps even a bit better which, sadly, makes it the album’s only consistently positive attribute

This list features reviews by, Chris Bull, Philip Weller, Hunter Young, Richard Maw, Daniel Jackson, Mike Wilcox, Asher Alexander, Victor Van Ommen, Charlie Butler, Peter Man

Mammoth Weed Wizard Bastard - ‘'Noeth Ac Anoeth'’ (Album Review)

By: Peter Man

Album Type: Full Length

Date Released: 04/12/2015

Label: New Heavy Sounds

The wall of guitar, at times, sounds as though it is ten instruments deep, crushing your brain with the weight of a 150 ton hydraulic press.  All of this contrasts elegantly with lead singer Jessica Ball's siren aria floating above the driving rhythm.

‘'Noeth Ac Anoeth'’ CD//DD// LP track listing:

1. Les Paradis Artificiels
2. Slave Moon
3. Nachthexen

The Review:

Although their name may poke a bit of fun at the doom stereotype, Mammoth Weed Wizard Bastard are seriously kick-ass.  The Welsh quartet offers unto the space lords their instrumental-heavy brand of druid doom on their first full length release 'Noeth Ac Anoeth'.  The record contains only three tracks, but comes in at over 50 minutes of total run time.  When you sidle up next to this album and press play, make sure you're in it for the long haul.  The guitars, loaded by Paul Davies and Wes Leon, fire a relentless attack of riffage as James Carrington drums crack with the crispness of Indiana Jones’ whip.  The wall of guitar, at times, sounds as though it is ten instruments deep, crushing your brain with the weight of a 150 ton hydraulic press.  All of this contrasts elegantly with lead singer Jessica Ball's siren aria floating above the driving rhythm.

'Les Paradise Artificiels' is the shortest song at 9:58 and the album's first track.  This one starts fast with the main riff pounding away at your ears.  At 3:43 it could almost make a cut and become two songs, as there is a minute-long interlude into a completely new, low-growling riff.  The band spends the remainder of the track pounding away space-time, letting the synthesizer join in the fun at the outro.  The second track, “Slave Moon”, is another ten minute monster, highlighted by a section that uses Ball's dreamy vocals as a sort of harmonic drone that sounds almost like a second synthesizer.  The track 'Nachthexen' tops out at a, ahem, mammoth 30 minutes in length; it was released early in 2015 as an EP.  It begins with a dreamy guitar riff that is cleansed of any fuzz.  After a short interlude, the second act starts at 2:45 with the crash of power chords allowing the riffs to continue forth.  The third act comes in at 17:00 and is powered by two consecutive guitar solos.  After 21:00, the song runs off the rails amid a garble of synthesizer noise, only to regain consciousness at 23:15 with a sound that seems to belong on the soundtrack of Edward Scissorhands.  To finish,' Nachthexen' again morphs into a brutal, distorted groove that beckons you to head bang till the end.

'Noeth Ac Anoeth' is a protracted foray into the primal depths of the doom genre.  The album has every element a doom fan craves, from ferocious power chord processions to Jessica Ball's ethereal cries to the strange musings of FX and synthesizer, presented at the band's whim.  My favorite song?  I took the band's advice and decided not to choose.  MWWB says: "you may have difficulty focusing."  I agree, and suggest giving up on your presumptions of MWWB and simply let their music wash over you in waves of metal awesomeness.

‘'Noeth Ac Anoeth'’ is available here

Band info: bandcamp | facebook

Holy Mount - "We Fell From The Sky" Deluxe (Album Review)

By: Peter Man

Album Type: Full Length

Date Released: 07/09/2015

Label: White Dwarf

Holy Mount's guitars reverberate effortlessly across each song.  Sparkling solos often feature heavy wah usage to accompany the fuzz, phaser, and echo effects of the melody.  Everything is backed up by the rock solid percussions of Troy Legree, who beats through a snare heavy, 70's styled kit, and the sneaky lines of bass man Brandon McKenzie.  'We Fell From The Sky', the deluxe version, is a deep look into how the band set its roots; it is an album that can robustly stand on its own and will undoubtedly get heavy play in this author's rotation going forward.

‘We Fell From the Sky’ Deluxe DD//LP track listing:

1). Throughout these Eyes

2). We Fell From The Sky

3). Garm of Hounds

4). Born of Eclipse

5). Meadowvale

6). Breeze Blows West

7). The Rain The Might

The Review:

This week I was lucky enough to listen to an album from Holy Mount, the psychedelic/stoner rock band from Toronto, Ontario, Canada.  They recently released a deluxe version of 2011's 'We Fell From The Sky' that includes the two songs off the 7" record 'Breeze Blows West'.  As these seven tracks unfold, you really experience what Holy Mount does best: create dreamy soundscapes that echo an enthusiastic high into your eardrums.

Holy Mount's guitars reverberate effortlessly across each song.  Sparkling solos often feature heavy wah usage to accompany the fuzz, phaser, and echo effects of the melody.  Front man Danijel Losic lays down vocals as though in a trance, imploring the listener to flow with the band.  Everything is backed up by the rock solid percussions of Troy Legree, who beats through a snare heavy, 70's styled kit, and the sneaky lines of bass man Brandon McKenzie.

The second track 'We Fell From The Sky', which bears the same title as the album, is the best of the bunch.  It begins with a hazy riff and settles into a smooth rock beat right away.  Two bold guitar solos fuel the fire right up to the 4:15 mark, at which point the band lights up this fat track with an aggressive tone to finish it off.  The ending is led by a driving beat and also a similarly intrepid lead guitar that is the band's calling card.  The other four songs included in the original album follow a similar pattern of ascension that produces a nice consistency to the compilation.  

Track four 'Born Of Eclipse' is another choice cut where the band mellows out a bit from the other songs.  There are classic rock riffs and some guitar solos sprinkled in, but the overall slower rhythm leaves you with a very pleasant feeling at the end.  'Breeze Blows West' introduces the bonus material and right away you sense its raw direction.  This is a high energy track that features a super trippy guitar solo and reverse drum beat.  'The Rain The Might' is the last track and highlights the vintage drum kit towards the start, then breaks down in the middle to let the bass get some spotlight as well.

Subsequent recordings, such as the full length album 'VOL' from 2014, see the band get a bit risky with their music, which includes incorporating synthesizers and tambourines.  They have managed to add depth and sophistication with these new musical experiments without sacrificing their core energy.  However, what you get with 'We Fell From The Sky', the deluxe version, is a deep look into how the band set its roots; it is an album that can robustly stand on its own and will undoubtedly get heavy play in this author's rotation going forward.

‘We Fell From The Sky’ Deluxe is available here

Band info: bandcamp | facebook

Lung Molde - 'Lung Molde' (Album Review)

By: Peter Man

Album Type: Full Length

Date Released: 30/10/2015

Label: Caligari Records

What makes Lung Molde particularly notable to me is the way they let chords ring out to the point of grisly decomposition; it is the essence of the album.  Drawing similarities to Dopethrone, Bongripper, and Weedeater, Lung Molde creates an obscenely gnarled sound that is very careful to not be too bold, furious, or trippy.  Their absolute despair, and yours, is always at the forefront of their music.

‘Lung Molde’ CS//DD track listing:

1). White in the Red

2). Witch Trench

3). Sunken And Drowned

4). Teeth And Tar

5). Vanquished

6). Skulls in the Acid Well

Lung Molde is:

JH |  Strings, vocals
MS | Hammers
AD | Strings

The Review:

Lung Molde hails from Portland, Oregon and unleashes their contaminated brand of downer doom on the world with 2015's debut, self-titled album.  This record contains six crushing tracks that are best listened to alone, with the lights turned down, in the middle of the night.  All vocals are done in a sort of low growl that prefers to subsist in mud.  While there are a few harmonizing riffs, guitar solos, and up-tempo grooves, they are infrequent.  Much of the album's time is spent grasping onto plodding riffs and slowly bruising them over and over until the remains are unrecognizable.  What makes Lung Molde particularly notable to me is the way they let chords ring out to the point of grisly decomposition; it is the essence of the album.

My personal favorite track, 'Sunken and Drowned', is the album's third offering and also its signature one.  It begins with a clean, yet warped guitar riff which morphs into a fully distorted onslaught that seems to be consumed by a forgotten cesspool in a scarred forest.  The main riff is endlessly beaten for almost four straight minutes before the tempo retreats into the band's trademark march of decay.  Track four, 'Teeth and Tar', is the only song to begin with an aggressive riff.  It features a couple of guitar solos and is a bit schizophrenic; it reminds me of the hybrid thrash/doom band Bison (bc).  The final track, 'Skulls In The Acid Well', surprised me with a duelling guitar feature that had a very classic rock feel.  It finishes out itself, and the album, with a tired whimper, accurately reflecting the band's goal of total surrender.  The other tracks dabble with some varied and familiar metal elements, but are equally as massive as the next, and force the listener to stay grounded in sorrow.

Drawing similarities to Dopethrone, Bongripper, and Weedeater, Lung Molde creates an obscenely gnarled sound that is very careful to not be too bold, furious, or trippy.  Their absolute despair, and yours, is always at the forefront of their music.

‘Lung Molde’ is available on DD here and cassette here

Band info: bandcamp

Prophets of Saturn - Retronauts (Album Review)

By: Peter Man

Album Type: Full Length

Date Released: 17/7/2015

Label: Hevisike Records

The album as a whole succeeds in its goal of importing 1960’s heavy metal into the 21st century.  While each song bares the same intrinsic engineering and fuzz-loaded basics, they each explore a unique path and keep the listener engaged for all 35 minutes.

‘Retronauts’ CD//DD//LP track listing:

1). Retronaut

2). Ultra Wizards

3). Witch Rider

4). Damavand

Prophets of Saturn is:

Ben | Guitars

Max | Bass

Duncan | Drums

George | Vocals

The Review:

For those who dug the Prophets Of Saturn's 2013 self-titled, debut album, they will be extremely satisfied with the 2015 follow-up, 'Retronauts'.  The band's sound is heavily driven by a retro, fuzz core that adds layers of psychedelic/stoner rock, and doom.  'Retronauts' runs with that sound from the first release, and improves the production quality and overall song consistency to produce a signature album that grooves quite easily.

The album as a whole succeeds in its goal of importing 1960’s heavy metal into the 21st century.  While each song bares the same intrinsic engineering and fuzz-loaded basics, they each explore a unique path and keep the listener engaged for all 35 minutes.  Vocalist George Sanderson steers the ship with equal skill using aggressive, primal yelling as he does with the desperate wailings of a cosmic apparition.  Guitarist Benjamin Shore's wah-induced solos take you on a funky joy ride around the nearest moon or asteroid belt, while still allowing the rest of the songs to maintain present course.  Both albums incorporate long portions of instrumental music, but as 'Prophets of Saturn' includes two separately focused instrumental tracks, 'Retronauts' puts their money down and rolls them all into a single 16-minute metal monster, titled 'Damavand'.

The first track, ‘Retronaut’, opens with a dirty guitar riff and is soon joined by the rhythm section to form an infectious grind.  Two minutes in, the vibe gets extra heavy, as they drop an octave and start introducing otherworldly noises.  A brief guitar solo explosion precedes a total breakdown into Sanderson’s reverberated, almost indiscernible chanting.  Max Mead’s bass joins the procession, signalling another impending, full-blown groove which arrives right on time and carries the track for four more minutes to completion.  The second offering, ‘The Ultra Wizards (Of Neptune 9)’ tops out just under seven minutes and brings equal parts gusto and guitar riff to a stylish, retro tune.  The third track, ‘Witch rider’, is a relatively short, high energy song that contrasts nicely with the album’s fourth and final track, the aforementioned epic ‘Damavand’.

Two of the band's members, vocalist George and bassist Max, also play in the band Slow Worm, an ambient/doom outfit that is very worthy of your listening time; George is that band’s drummer and Max strums the guitar.  Considering their diverse musical talents, look for Prophets Of Saturn to continue delivering, and perfecting, their fuzzy blend of vintage, stoner doom that worked so splendidly on ‘Retronauts’

‘Retronauts’ is available here

FFO: Electric Wizard, Uncle Acid And The Dead Beats

Band info: bandcamp | facebook | twitter