We’re beyond stoked to welcome Saltbuck into the fold—a band whose sound hits like
a landslide and lingers like smoke in the lungs. Known for their tectonic
riffs, suffocating low-end, and a tone that feels carved from the bedrock of
despair, Saltbuck have carved out a
singular niche in the heavy music underground.
With a new album looming on the horizon—one that promises to be their most
punishing and immersive yet—we sat down with the band to dig into their
origins, their creative rituals, and the bleak vision fueling their next
chapter. This isn’t just a signing—it’s a seismic shift.
Stay tuned for the full interview and exclusive insights into what’s
coming. Saltbuck is here, and the
ground beneath us is already trembling.
THE SLUDGELORD: For those
unfamiliar with your band, could you share a bit about yourselves? How did you
come together, and what led to the band’s formation?
We originally played together in
our previous band, Sunstone,
which was primarily a doom band. After releasing our second album, our drummer
relocated to Australia, making it difficult to continue booking gigs. The three
remaining members decided to regroup and focus on crafting some truly angry,
filthy music.
The Making of "Gorb"
THE SLUDGELORD: Tell us about your
latest record, "Gorb." Did your approach to this album differ from
past releases? Did you change studios, gear, or aim for a new sound?
The writing process for "Gorb" was challenging. Our
first album, "Cityslicker," came together quickly as we
experimented and kept the ideas that resonated. However, the pandemic hit right
in the middle of writing "Gorb," and since we work best
collaborating in the rehearsal room rather than bringing in fully formed songs,
it disrupted our usual flow.
Once we had the material, we chose to record with Wayne Adams at Bear Bites Horse. Wayne
had previously produced excellent work for friends in the London doom
scene—like Existence
Dysphoria’s "Minus
Negative," Borehead’s second EP, and Old Horn Tooth’s "True Death"—so
working with him was an obvious choice. He really helped us highlight the raw,
gritty aspects of our sound.
We also dropped our tuning even further to make the low notes hit
especially hard, and we pushed for more grit in the guitar tones to create an
extra gnarly sound. If you enjoy the overwhelming wall of sound from bands like
Primitive Man and Bongripper, you’ll feel
right at home with our music.
Writing, Rehearsals, and Recording Memories
THE SLUDGELORD: What was the
writing and rehearsal process like for the album?
The writing and rehearsal process was heavily impacted by the pandemic,
which forced us to adapt how we worked together. Our preference for in-person
collaboration was challenged, but we managed to bring our material together
despite the obstacles.
THE SLUDGELORD: What stands out as
your most memorable moments from the recording sessions?
There are a few key memories: Wayne showing up on the first day riding a
massive motorbike; the sheer heaviness in the room when we laid down the first
rough track as a full band; and our singer/bassist absolutely letting loose on
vocals—he really delivers when it counts.
Reflections on the Journey
THE SLUDGELORD: Now that the album
is complete and just weeks from release, how do you feel about the journey of
creating it? How does it represent your current creative state?
Finishing "Gorb" was a significant achievement,
especially after the challenges we faced. The album reflects where we are
creatively, capturing our growth as a band and our commitment to pushing our
sound further.
The Album Artwork
THE SLUDGELORD: Album artwork
often goes unnoticed, but it's an essential part of the record for me. Can you
share how the artwork came together, your thoughts on the final result, and any
favorite album covers?
At first, we thought we could quickly put together some artwork. However,
we soon realized that it needed more thought. We began analyzing the album’s
themes and our influences. Living in a large city deeply affects us—personally,
professionally, and artistically. We’re also fans of sci-fi literature, which
often inspires us.
We tried to translate our perception of the music into visuals, combining a
sense of unease and bleakness with our influences. After reviewing various
portfolios, we were drawn to the cover of 71TONMAN’s "End of Time" LP and
chose the artist, CVSPE.
It was a fantastic decision—he understood our vision quickly and, after a few
iterations, we landed on the final artwork. CVSPE was professional, efficient, and easy to work with.
As for favorite album covers, there are too many to list, but some
standouts include:
·
Fu Manchu – “In Search Of...”
·
Sleep – “Dopesmoker”
· Blood Incantation – “Hidden History of the Human Race”
·
Mastodon – “Remission and Leviathan”
·
King Crimson – “In the Court of the Crimson King”
·
Pink Floyd – “Dark Side of the Moon”
·
Santana – “Santana”
THE SLUDGELORD: How closely does
the artwork reflect the themes or mood of the music?
The artwork closely mirrors the album’s sense of unease and bleakness,
aligning with the music and our lived experiences as artists in a metropolis
influenced by sci-fi literature and heavy soundscapes.
Looking to the Future
THE SLUDGELORD: With the new
record complete, what are your future plans?
We’ve been away from the scene for too long, and we’re eager to bring more
heaviness. We have a couple of tracks left from the recording sessions—long,
pounding songs that didn’t fit "Gorb" but deserve to be
heard. Stay tuned for those.
Additionally, two of us are working on a new death/doom project with a
mysterious third member. As longtime death metal fans, we’re excited to explore
this direction more fully.
Final Thoughts
THE SLUDGELORD: Do you have any
final words for our readers? Anything you’d like to say to fans who have
supported you?
We’re honored to be part of the Sludgelord
family. You know you’ll always find crushing music from this label, so
don’t wait—grab a copy of "Gorb"! To all our fans,
thank you for your ongoing support throughout our journey.
