TOP 16 ALBUMS: THE SOUR 16 (November 2017)

As we enter the countdown to Christmas and with a mere 17 days to go 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 top16 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). Sect – “No Cure for Death” (823)

Sect have set the standard for hardcore music and what it should aspire to in 2017. If you’re looking to heavy music with a message, look no further than “No Cure for Death”.

15). Slabdragger & Wren - “Mothers Of The Beef And The Magic Of Invention” [Split] (874)

Both bands deliver the best kind of cover version; one that takes the source material and imbues it with their own unique spirit to create something new and exciting.  An essential purchase for any fans of the UK heavy underground and maybe it’ll turn some old Zappa and Beefheart heads towards the sludgier side of life too

14). Cannibal Corpse - "Red Before Black" (938)

Once again, Cannibal Corpse have crushed all in their wake and returned as conquering anti-heroes of the death metal genre.  Cannibal Corpse remain the death metal band by which many other death metal bands are judged and remain my go-to band of choice if I want to listen to something extreme, violent, uncompromising and also oddly, inexplicably, insanely listenable.

13). Hooded Priest - "The Hour Be None" (959)

This is doom metal that will appeal to anyone with a sense of theatre and anyone who wants to bang their head as well; there is some great metal on offer here. Huge and sprawling in its ambition, “The Hour Be None” is a doom tour de force and I recommend it highly.

12). Amenra - "Mass VI" (1054)

Amenra’s music is real and comes across as brutally honest. The formula (sonic + emotional heft) = (a heavy album) is one that’s been done many times before, but what Amenra does that sets them apart from the pack is the diligence they use when drinking from the well of inspiration. Amenra makes their listener feel and live with them. This keeps Amenra in touch with why they started making music in the first place. It’s this artistic integrity that helps make “Mass VI” what it is. 

11). Pale Horseman - "The Fourth Seal" (1084)

Pale Horseman offers a special sort of heft to their music, with mesmerizing guitars convulsing, vocals crunching  and the drums creating a war beat that is stifling in weight.

10). Fister & CHRCH – “Fister/CHRCH” (Split LP) (1120)

Over the course of nearly forty minutes, CHRCH and Fister, employing different sonic palettes and lineups, craft a perfect split for the moment: unholy, polluted, funereal and dismal – a requiem for humanity’s end times that is as beautiful as it is ugly.

9). Manilla Road - "To Kill A King" (1205)

In summary, To Kill A King is a superb and epic metal album, forged from the finest steel.

8). Dead Quiet – “Grand Rites” (1255)

All of the nuance and balance on this record really make it an experience that never bogs the listener down. It is for these reasons, that Dead Quiet’s “Grand Rites” is one of the best Canadian Metal records of the year.

7). Purple Hill Witch - "Celestial Cemetery" (1256)

From the Deep Purple-indebted organ intro, to the bluesy pentatonic riffing, there’s no doubt that the latest LP from Norway’s Purple Hill Witch is pure retro-metal worship.  The pervasive garage metal swagger elevates some pretty raw material and proves that they have the chops to be a really excellent outlier in the doom metal underground

6). Clouds Taste Satanic - "The Glitter of Infinite Hell" (1381)

Clouds Taste Satanic’s blend of doom, stoner and sludge chords, capacious basslines and drums set an imposing climate that sets them  apart from their peers. Each cut here feels distilled down to the pitched greatness of its many influences. Guitars simmer like the hunt during a horror movie and by the albums conclusion, chances are your mind will be thoroughly mashed.

5). Converge - "The Dusk In Us" (1897)

Today, with random acts of violence, anger and pessimism dotting our timelines, maybe Converge just now seems like a soundtrack to our contemporary apocalypse

4). Godflesh - "Post Self" (2301)

It may be a disturbing, challenging last will and testament of humanity’s futurist hopes and dreams, but “Post Self” is an invigorating, complex, and honest piece of industrial metal.  Perhaps most importantly, in a genre that can be glutted with repetitive speed metal riffs and samples of shouting despots, Godflesh stands as one of the smartest bands working today.

3). Norilsk - "Le Passage des Glaciers" (2752)

French canadian doom duo Norilsk return from a two-year layoff with a surprising new album, one that gives a reengaged sound to the pair's signature style.  Norilsk manages to be bold without being alienating, and that is indeed refreshing.

2). Electric Wizard - "Wizard Bloody Wizard" (9121)

 “Wizard Bloody Wizard” transcends whatever the in-thing of the moment is, and focuses instead on musicianship, the album's all-analog approach creates a warm, vintage sound for the songs and on the whole Electric Wizard feels re-energized, whilst  remaining true to their seedy pedigree

1). Morbid Angel - "Kingdoms Disdained" (28760)

This album is a statement of intent, placing the focus on convulsive rhythm changes and dissonant, jagged riffs over accessibility.  ‘Kingdoms Disdained’ is Morbid Angel's most uncompromising album of their career and their best album in nearly twenty years, and I don’t consider that light praise.

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

ALBUM REVIEW: Purple Hill Witch - "Celestial Cemetery"

By: Mark Ambrose

Album Type: Full Length

Date Released: 10/11/2017

Label: The Church Within Records

From the Deep Purple-indebted organ intro, to the bluesy pentatonic riffing, there’s no doubt that the latest LP from Norway’s Purple Hill Witch is pure retro-metal worship.  The pervasive garage metal swagger elevates some pretty raw material and proves that they have the chops to be a really excellent outlier in the doom metal underground

“Celestial Cemetery” CD//DD//LP track listing

1. Ghouls in Leather

2. Harbinger of Death

3. Celestial Cemetery

4. Around the Universe

5. Menticide

6. The First Encounter

7. Burnt Offering

The Review:

From the Deep Purple-indebted organ intro, to the bluesy pentatonic riffing, there’s no doubt that the latest LP from Norway’s Purple Hill Witch is going to be pure retro-metal worship.  Thankfully, their enthusiasm and chops go a long way, and some inspired moments carry a record that could slip into pure nostalgia.   The pervasive garage metal swagger elevates some pretty raw material and makes me believe this power trio has yet to release their breakthrough record.

       

Opening track “Ghouls in Leather” is definitely the best cut on “Celestial Cemetery”, bouncing easily between first wave proto-doom and NWOBHM riffing meets punky metal hooks.  Guitarist Ingvaldsen’s vocals are strong and when he offers some variations (sometimes sounding like a young King Diamond) or the occasional falsetto punctuation, you catch him developing his own, more distinct cadence.  His guitar work, meanwhile, is distinct enough to be the star attraction –heavy on the balls rather than pyrotechnics.  He gets some sweet tone that sounds loose enough to be mistaken for some early garage rock, or a Blue Cheer outtake.  “Harbinger of Death”, in particular, highlights Purple Hill Witch’s ear for a killer riff, even if the refrain pales in comparison.  The title track, the appropriately spaced out, reverby “Celestial Cemetery”, has Ingvaldsen’s best vocal delivery, but highlights the relatively low bass levels.  It’s a shame that I can’t hear more of Andreas Schafferer’s interesting work, even if I can FEEL it when the volume is cranked enough.  “Around the Universe” is a good track bolstered by a really thrilling, Steppenwolf-style solo.  Kvam’s subtly jazzy kit-work is a nice touch, too.

The final two tracks, “The First Encounter” and “Burnt Offering”, while they have their moments, also highlight the limitations of the record.  The bass continues to be too low in the mix, while little guitar flourishes occasionally seep through the left channel at a level just quiet enough to be maddening.  The harmonica closing of “Burnt Offering” is a cool idea with an execution too minimal to really rock.  By this point I really wished there was a return to the gloomy organ music of “Ghouls in Leather” – with a solid anchor to the dueling guitar and harmonica, the song would be that much heavier, and more memorable.  While these criticisms may be quibbling, Purple Hill Witch set the bar high for themselves.  They’ve proven they have the chops to be a really excellent outlier in the doom metal underground, on par with spaced out weirdos like Captain Beyond or Italy’s Black Hole.  If they can capture and sustain the energy of the first half of ”Celestial Cemetery”, they’ll be in for one hell of a record.

“Celestial Cemetery” is available here

Band info: facebook

"From the doom streets of Oslo": The Sludgelord Presents: "Serpents, Gods & Men" by Tempelheks

Tempelheks is a psychedelic doom rock experience. Based on the heavy riff of the 70's, Tempelheks experiment with folky and traditional melodies coupled with eerie and mystical vocals. A groovy but hard beat drives the desert caravan onward. With the 2014 debut LP, they built the foundation of the serpent-worshipping cult's temple.

Originally conceived  as a solo project in 2013 Tempelheks released their debut EP "Red Forest " which got picked up by a doom/stoner channel on YouTube. The unexpected attention motivated Tempelheks to write their self-titled debut album in 2014. Since then, founding member HS has been accompanied by Andreas Prestby (drums, percussion), Espen Sande Larsen (bass, backing vocals) and Sindre Øhman (guitar).

Among the band's inspirations you'll find Uncle Acid, Jex Thoth and Egypt as well as Thin Lizzy, Pentagram and King Crimson. Hailing from the doom streets of Oslo, Norway where they rule together with bands such as Tusmørke, Hymn and Purple Hill Witch. The band is now ready with their second full length which will be released on Heksekunst Productions  on Friday 19th of August.

Drawing lyrical themes that are heavily inspired by characters and events from Robert E. Howard's fantasy universe "Hyboria", today at The Sludgelord, it gives us great pleasure to present their new album “Serpents, Gods and Men” in full for your listening pleasure.  The album can be pre-ordered here

“Serpents, Gods & Men” track listing:

1). The Serpent Citadel
2). Cobra
3). Riders
4). Fall of Man
5). Awakening
6). Come Atlantis
7). Hyperborean Rites
9). An Ancient Wizard
10). Dawn of Man

Band info: bandcamp || facebook

Purple Hill Witch - S/T (Album Review)

Album Type: Full Length

Date Released: 27/7/2014

Label: The Church Within Records

‘Purple Witch Hill’ CD track listing:

1). Queen of the Hill (07:56)
2). Astral Booze (06:39)
3). Final Procession (07:44
4). Karmanjaka(05:02)
5). The Landing (04:38)
6). Aldebaranian Voyage (Into the Sun) (03:33)
7). Purple Hill Witch (11:11)

Bio:

Purple Witch Hill is a doom metal trio from Oslo Norway. They formed in 2010 and released a demo called Doomstone Blues in 2011, an EP called Alchemy in 2013, and their first full length album, Purple Hill Witch, in 2014.

Purple Hill Witch is:

Andreas Schafferer | Bass

Oyvind Kvam | Drums

Kristian Ingvaldsen | Vocals, Guitars 

Review:

You would think that sometime the world would slow down it’s production of these trippy, fuzzed out doom albums, but I really don’t think that the doom machine is showing signs of stopping anytime soon. As long as bands like Purple Hill Witch keep popping up, there really isn’t any reason for the world’s doom metal production to slow down, either. With the amount of doom metal that is out in the world already, I have enough to occupy me for the rest of my life, despite the fact that it makes up at least 75% of what I listen to on a daily basis. However, every time I go on bandcamp to look at new music, there is a constant supply of new doom albums that are continuing to perfect the art of blending the vintage sounds of Sabbath, Pentagram, Vitus, all those guys, with their own style.

Purple Witch Hill is definitely one of those bands. It can be hard for bands in the Stoner/Doom genre to distinguish themselves, since it can be very easy to fall into a fairly generic sound, but PWH gives just enough variety to keep you listening, but still keeps one consistent sound throughout the album, which is always good. As a listener, you can tell that these songs are all meant to go together – there aren’t any duds, these aren’t just the first 7 songs they wrote and decided to toss onto the album.  In my own humble opinion, and there are countless exceptions to this rule but I still think it holds some kind of validity, a power trio is the setup that allows for the most creativity in doom, and I would use Purple Witch Hill as an example of this any day of the week.

The band can come together and rock hard all together for the main riffs of a song, but can jam out and do their own thing during solos or longer instrumental breaks. If you really pay attention to the bass in the song ‘Final Procession’, it is clear that Andreas Schafferer really knows when to follow the guitar, when to follow the drums, and when to break off and give us some nice little bass lick behind everything else. This is a quality I also attribute to Geezer Butler, so you can clearly see the influence there.

Kristian Ingvaldsen, the guitarist and vocalist, brings that same element of Sabbath worship to the table, but somehow holds down the role of Ozzy and Tony. This is a guy who consistently lays down badass riffs for a full 48 minute album without a single boring moment, his only break being a few well-placed, well-written solos. Check out the track ‘The Landing’ for what is probably his most Sabbath-influenced song (although they all really do channel the Sabbath very nicely), from its slow, epic riff starting the song off, to his slow, deliberate solo, to the faster breakdown, very reminiscent of the breakdown in ‘Hand of Doom’, to his Ozzy-esque vocals.

All-in-all, this is a great album for someone who doesn’t like their metal to deviate too far from Ozzy era Sabbath, but still likes the nice fuzzy sound of Electric Wizard or other more modern stoner/doom.

Words by: Alex D.

You can pick up a copy here

For more information:

https://www.facebook.com/PurpleHillWitch