Ramlord - 'Ramlord' EP (Review)

Album Type: EP

Date Released: 10/3/2015

Label: Broken Limbs

‘Ramlord’ 7inch track listing:

1). 'The Breached Sanctum'

2). 'The Fog of Neglect'

Ramlord is:

Jann | void wailing riffhunter
Benn | knuckle grinding blastmage
Mikke  | seismic barbarian

Review:

'Self-titled releases always make me second guess a band's intentions. Is this a defining statement of the band's core sound? Is it some sort of manifesto? Did they just have no other good ideas for titles? I'm not familiar with Ramlord's previous output so, besides speculation, it's a pretty moot point. Adorned with the grimmest of astral/occult/morbid cover art, Ramlord spew forth their latest and self-titled two track EP.

Complete with the personality only competently unpolished production provides, Ramlord ease into the 'The Breached Sanctum' with clean arpeggiated guitar lines before launching into the blackened crusty riffstorms that sound way more fun than the cover art should allow. Keeping satisfyingly at perfect headbanging tempos for most of the song, riff follows riff as the dual harsh vocals play to each member's strength. Hell, this is a really well-written song.

'The Fog of Neglect' composes the second half of the EP, propelled by the drums that include toms and a kick that are so warm they can only be described as 'fluffy'. For a power trio the guitar is curiously subservient to the bass in the low to low-mid range, which makes a nice change from the wallflower bass tones and mixing so common to the genre. So the bass may not exactly compare in power to Joey DeMaio's sound (honestly though, I'm pretty sure only God could compete with that), but the bass on this EP is diiiirty. It sounds like I'd imagine a rotting manatee to look (just did a Google image search, I was right). Filthy.

At times the EP conjours up the thought of what Coffinworm would sound like if they injected more rock n' roll into their brilliantly miserable sound. It's great, and makes me wish I was around in the 80's tape trading days when my ignorance of that era makes me think I could expect to come across something that sounds as raw and powerful as this. '

Words by: Jake Mazlum

‘Ramlord’ is available here

For more information:

BROKEN LIMBS:
WEBSITE | STORE | BANDCAMP | FACEBOOK | TWITTER

Ramlord:
FACEBOOK | BANDCAMP

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

Singularity - S/T (Album Review)

Album Type: Full Length

Date Released: 23/9/2014

Label: Self Released

‘Singularity’ DD track listing:

1). A Withdrawal of Salivation (02:53)

2). Remnant of Stellar Evolution (02:30

3). Spacetime Devourment (05:42)

4). Monolith (07:09)

5). Throne of Thorns (05:53)

6). Desert Planet (07:17)

7). Utopian Flesh (05:03)

8). The Descent (04:46)

9). The Ascension (03:44)

10). The Resolution (06:33)

The Band:

John Low | Drums, vocals

Nick Pompliano | Keyboards

Jack Fliegler | Vocals, guitars

Adam King | Bass

Review:

This self titled album from Singularity, which means it’s titled ‘Singularity’, is quite the piece of metal as well as having the honour of being the first release from this Arizona based band. Herein lies compatible genres: Gothic, Black, Progressive, and Death metals, all formed into one aggressive and slick package. Think Between the Buried and Me through Cradle of Filth. The album art is very much either King Diamond or Mortician-esque, with a lovely scene out of a very artistic nightmare. You have classics like fog, a rickety damn bridge, a mountain doing its best silent brooding act, a chasm of jagged protrusions, and its all at night, making me want to find a way through other than that bridge. Great stuff, and fits well with the overall motif Singularity is going for.

"But how does it sound?!” I can pretend to hear you shout. You really shouldn't do that at a computer screen, makes you look really crazy. Moving on, the album starts out, kind of like you expect with the above genres, a dark, elegant, almost classical sound, with metal guitars and a sweet double kick going. ‘A Withdrawal of Salvation’ is a pretty short foray to open the album. The band is just getting warmed up however, and differs from several stalwarts by actually recognizing they have a BASSIST. Crazy, right? He is really in the mix, sounding more progressive than any of these genres are known, and he fleshes the sound out nicely. The record does play a little bland from time to time, but that's kind of the other side of the coin. They rely on several tricks of the trade for how fast they play, and for what they play. Most of it has been done before, It does have a very gothic atmosphere, similar to a Cradle of Filth record, and they have an organ or piano, most likely just a good keyboardist, who creates a fairly haunting atmosphere. Its a nicely wrapped package, and is a credit to the genre(s). A really nice touch is allowing the keyboard and guitars to flip who sets what pace and sound, example being in ‘Throne of Thorns’, where you have the guitars and keys slamming chords in sync, providing a jarring harmony. It's quite well orchestrated.

Vocally, the growler sounds quite a bit like the more heavy songs from BTBAM, and fluctuates between growl and what sounds like rubbing steel wool on stone. The break up between the two keeps the songs from bleeding into one another, and does a pretty good job of highlighting the band as well. They aren't really breaking any moulds, but are forming new angles within theirs, and it shows quite a bit of potential. Hopefully the next album will up the ante, and show us something we haven't beheld yet! 

Words by: Hunter Young

You can pick up a copy here

For more information:

http://singularityaz.bandcamp.com/

http://www.facebook.com/SingularityAZ

The Hunted Crows - S/T EP (Review)

Album Type: EP

Date Released: 21/9/2014

Label:  Self-Released

‘The Hunted Crow EP’ DD track listing:

1). Sniff you out (02:02)

2). Gimme me some bad stuff (02:44)

3). New Gun in Town (03:54)

4). Twisted Tongue (03:38)

5). Hungry Wolves (04:29)

Bio:

The Hunted Crows are a two piece from Melbourne. You might listen and think they’re a 20 piece bassoon ensemble. But they’re not. They’re a two piece. Drums, guitar, heavy sweet riffs, groovin’ beats and catchy vocals. Go listen to their debut EP yourself - and quickly, before they’re forced to form a ‘Dixie Chicks’ tribute band to reach end’s meet.

The Band:

Luy Amiel | Guitar, backup Vocals

Jacob Linnett | Drums, Lead Vocals

Review:

Power duos seem to be subversively rising from the general malaise of the music industry of late, perhaps being one of the only ways to make touring somewhat profitable over a larger area. That being said to successfully pull off being a duo requires either a higher level of musicianship, or just a furious attitude with snarling riffs, and pleasantly The Hunted Crows have quite a bit of both to spare.

The biggest thing that will strike you about this self-titled EP is the attitude pervading the vocals and guitar riffs. A heady blend of angry almost punk blues riffs, with swinging drums and vocals that sound like the guy from Kings of Leon finally dropped his balls and started drinking heavily, the fact that The Hunted Crows are from Australia is no surprise.

The best song on here is also the longest and final song “Hungry Wolves” which has some crazy fun effects on guitar. Not to mention the bouncing guitar riffs which are eminently danceable and smile-inducing throughout. The first track “Sniff You Out” is great fun too, having some crazy noise-punk chug going on with surprisingly soulful vocals. The Hunted Crows vocals are actually so good; it has made me question my long-standing opposition to the controversial singing drummer movement.

To mention the mix, everything here is clearly audible and sounds fantastic, the drums are pounding, the guitar is snarling, and the vocals are clear and perfectly reverbed. The drum sound in particular is a highlight; the production makes the kit sound HUGE allowing Jacob Linnet to be exceptionally propulsive.

The only complaint I have with this release, is that it is pretty damn short and I would love to hear a full length in the near future. I hope these guys start touring internationally, you can tell these songs are face blistering live and the stompy beats are fun to jump around to.  Check it out below.

Words by: Chris Tedor

You can pick up a copy here

For more information:

https://thehuntedcrows.bandcamp.com/

http://www.thehuntedcrows.com/

https://www.facebook.com/thehuntedcrows

https://twitter.com/thehuntedcrows

Intercostal - S/T (Album Review)

Album Type: Full Length

Date Released: 01/12/2013

Label: GBS Prod

‘Intercostal’ CD/DD/LP track listing:

1). Hellfire Helix (03:05)

2). Sea’s Calling (03:07)

3). Barrels (03:22)

4). Tools of War (02:40)

5). Wrath (02:42)

6). Lay Down Arms (02:56)

7). Tons of Humans (03:10)

8). Hammered (02:09)

9). The End of Knowledge (03:47)

10). Blood Runs Cold (02:58)

11). Sagawa (03:24)

12). Aftermath (04:11)

Bio:

INTERCOSTAL is a 4 piece massive down-tuned progressive stoner band from Geneva.

The Band:

Batist | guitar

Tavern | guitar

Fred | bass

Mario | drums

Review:

If you have been watching the NOLA documentary series that is currently running on Noisey and has been for the last couple of weeks, you would have been reminded about the vast array of kick ass metal that has emerged from that part of the world over the past twenty or so years. Well for fans of all things NOLA, Intercostal (despite hailing from the bayou formally known as Geneva Switzerland) will take you on a walking tour of all the best of southern metal

Ranging from the progressive stoner vibes of Torche, to riffs reminiscent of ‘Remission’ era Mastodon to the Southern Carolina groove of ‘Deliverance’ era Corrosion of Conformity, throw in the occasional sludge of Crowbar with a lot of pot and you’ve got Intercostal.  The bands self titled album manages to contain all these varied influences whilst at points balance many of the flavours of the NOLA scene at the same time.

The mostly instrumental album is packed with twists and turns, it ploughs through its succession of groovy riffs and are backed up by a high quality rhythm section, held together mostly by an insanely dirty rumbling bass sound that bellows throughout the record alongside the thundering drum beats.

It may not being doing something completely innovative or even bothering to think about possibly having a go at reinventing the wheel. But Intercostal’s self titled album is a solid release which would fit well into any stoner or sludge fans record collection. This is surely an album that will appease its intended fans without question with its Southern NOLA influences, mixed with a blend of stoner rock, making the bands output boom whilst sounding as massive as Andre The Giant on stilts.

Words by: Dan O’Brien

You can pick up a copy here

For more information:

https://www.facebook.com/intercostal

Brunt - S/T (Album Review)

Album Type: Full Length

Date Released: 22/2/2014

Label: Hevisike Records

Brunt – S/T LP/DD track listing:

1). St. Felix of Nola (08:43)

2). The Tale of the Hideous Tricorn (05:30)

3). Rabbit of Cannabong (06:34)

4). A Concise Cosmic History of the Swob Monster Pt. 1 (04:52)

5). Raw Goat (06:24)

Review:

Birmingham based HeviSike have been climbing the ladder of success as of late. With three Vinyl releases and more in the pipeline, this independent retailer-come-record-label is now cemented in heavy history as a bright light amongst the fog of growing names in the music industry.

Their first release, Guernsey power trio Brunt, are fighting the battle for psych-sludge and boy do they wield all the weapons of mass doom-struction! These guys take classic rock, psych rock, doom, sludge and meld it together in a riff based instrumental package fit for any fan of the aforementioned genres.

The tone heavy tracks are laden with atmosphere and full, bright production. Easy on the ears, this is very inoffensive music, something that some may find a bit lacklustre, but I personally feel adds to the trance inducing quality of this kind of metal. The songs progress from riff to riff nicely, adding layers and slight guitar variations with each passing moment.

Production wise, it’s a bit modern feeling for my taste. The drums almost sound a bit like samples, but that could just be due to the clarity of this record over other bands of similar genre. The guitar is extremely well produced. With a bit of multitracking to add texture, the beautifully distorted tone hits that grindy frequency well, complimented by the Tool-come-Om tone of the bass.

Sweet guitar solos dot the songs, dispersing drawn out sections of heavy riffage, adding the psychedelic feel to an otherwise quite metal record. Sometimes however, it does feel like the monotony of repeated riffs could do with a catchy vocal line over the top. Not to say these guys should get a singer, but I’d be interested to hear what a Scott Weinrich style vocalist could lay on top to add a bit more variation.

The songs are obviously well thought out composition wise, but maintain that jammed out feel essential to the organic nature of psych rock. Every so often you can feel the tempo speed up or slow down slightly, not in such a way that it ruins the music, it’s just very noticeable when in happens in the middle of songs.

It’s easy to see what drew HeviSike to Brunt as their first release. They have all the makings of a good band. Overall I feel with more time and more albums they could mature into a big name in the doom and sludge scene. With this release they showed us tonally and composition wise what they could develop on in future releases, and with the help of HeviSike, they now have the vessel to deliver the goods!

Thanks for reading Y’all!

Words by: Asher G. Alexander.

You can pick up the vinyl here and DD here

For more information:

https://www.youtube.com/user/BruntMusic

https://www.facebook.com/bruntmusic

http://brunt.bandcamp.com/

Liquido Di Morte - S/T (Album Review)

Album Type: Full Length

Date Released: 17/06/14

Label: SSTARS®

“Liquido Di Morte” DD/LP track list:

1). Ozric Pentacles 08:33

2). In Death Of Space / Of Death In Space 10:32

3). 144 18:27

The Band:

F. | guitar
C. | guitar & freakouts
Z. | bass
S. | drums

Nicola Manzan: guitarse on In Death Of Space / Of Death In Space
Tommaso Mantelli aka AMA: toy keyboard on 144
Reverend Johnny Mox: apocalypse speech on 144

Review:

Starting with some ominous weirdness, a slow burning open section, the melodies slowly enter into a nicely woven tapestry of sound. The only vocals present are the sample at about the midway point which captures the feel of the track. The whole of the song feels like it's building to the heavy bridge section with solid rhythm guitar and some tremelo picked verbed out post-black metal lead guitar.

The middle track “In Death of Space / Of Death In Space” starts the intensity right off the bat with some noise, under tremelo picked leads. I like how Liquido Di Morte has integrated a blackmetal/gaze feel into a more psychedelic outing, the layering they incorporate also adds an extra degree of unease and this track begins feeling like a backing soundtrack to an alien invasion. At the 4:30 mark or so, the track opens up into some nice melodies over some nice bass playing and solid drumming. The final two minutes of this track are in my opinion the highlight of the album and channel some heavy classical vibes, with a consciousness expanding guitar noise freakout over a frantic repeating melody figure.

“144” begins with an ambient wash of cascading noise over some jazzy drumming, ending with what sounds like aliens trying to contact us from space. At about the 3:20 mark the drums kick into an ominous slow build, the guitar kicks in with an Earth-esque riff with some cool ambient droning, oscillating in the background. This song has a lot of repetition and layering and all the melodic passages are VERY long and similar to a YOB composition. This repetition helps set a deep atmosphere and this track especially should be listened to in an album context and as a complete work. A very historical sounding sampled vocal, sounds vaguely like the Nihilist’s fake American accent from the Big Lebowski movie and breaks up the middle section of the song a bit. The keyboard weirdness near the end of the track is pretty cool and it almost sounds like someone screaming into a vocoder while spinning all the knobs on board at the same time.

I feel like the artwork here is definitely cool enough to warrant a mention, Liquido Di Morte's artwork has an Illuminati-esque feel with a repeated all-seeing eye motif and some yellow rays that seem to be radiating from an outline of an upside-down pyramid. Anyway, it looks pretty badass and an album this intense should have intense artwork to match. I had this album in the car over the weekend before reviewing it with several others and I found myself listening to it more than the rest. It's a definite grower with many layers and Liquido Di Morte has developed an excellent and unique sound. Check it out below and if you have the time and live in Europe see them live too, because I can tell that these songs will be amazing.

Words by: Chris Tedor

You can pick up a copy digitally and listen to the record here and buy the vinyl here

For more information:

http://liquidodimorte.bandcamp.com

 https://www.facebook.com/liquidodimorte

Myrkur - S/T EP (Review)

Album Type: EP

Date Released: 16/09/2014

Label: Relapse Records

‘Myrkur’ CD/DD/LP track listing:

1). Ravnens Banner (04:08)

2). Frosne Vind (01:50))

3). Må Du Brænde i Helvede (04:04)

4). Latvian Fegurð (04:19))

5). Dybt i Skoven (03:03)  

6). Nattens Barn (05:56)

7). Ulvesangen (00:46

Bio:

Emerging from the darkness of Scandinavia comes the debut EP by one-woman black metal band MYRKUR.  Combining the rawness of second wave black metal bands like Ulver and Darkthrone with a natural sonic, ethereal beauty, MYRKUR has created a wholly unique perspective on the genre.    With a distinct sense of Nordic isolation Myrkur’s debut is a feminine yet definitively brutal record that has burst onto the scene like a Valkyrie into battle.

Review:

Myrkur has been quite the topic of conversation over the last several weeks. Theis Dueland’s article on Vice’s website used Myrkur as the basis of an article decrying the misogyny and the foolhardy authenticity requirements of a vocal portion of the larger black metal scene. It’s a valuable article in that misogyny should always be called out and ridiculed for the vile societal cancer it is, but it’s a humanity-wide issue that isn’t unique to black metal culture nor is it more extreme in black metal culture. It’s uniformly damnable in any subculture, musical or otherwise. I bring all of this up, because the article piqued my interest in the music, setting the hype meter into the red.

That article also inspired a fiery debate, and I’d imagine Myrkur’s self-titled EP has been scrutinized under a much more powerful microscope than most as a result. The article’s author would have Myrkur championed as the only exciting voice in black metal over the last several years, while one of the Stereogum’s commenters, the author cites Myrkur as product over art. My belief is that it’s closer to the former rather than the latter, but calling Myrkur the only exciting new voice in black metal is premature and hyperbolic at this point, not to mention that there are numerous exciting voices in black metal in 2014.

When Myrkur is at its best, it ranks amongst the best black metal material of the year. “Latvian Fegurđ” soars with beautiful, melodic tremolo leads accompanied by otherworldly, empyrean singing. The vocals call to mind the reverb-drenched harmonies of Warpaint, though there’s obviously a yawning chasm of difference musically. Once “Latvian Fegurđ” slows down to catch its breath, it falls into an uneasy haze. If you can imagine a keyboardless Emperor circa ‘In the Nightside Eclipse’, you’re in the right ballpark. It’s great stuff!

The colliding moods brought on by the heavenly trem-picking and the woozy, hypnotic dissonance are the clear-cut strengths in Myrkur’s sound. For the (hopefully) inevitable full length, that should be the well from which the bulk of new songs are drawn. “Nattens Barn” starts off just as strongly as “Latvian Fegurđ”, but it begins to fall apart with the shift to the galloping thrash riff that starts about two-thirds of the way in. It’s a bit on the sloppy side and the kick is buried in the mix, which undercuts the power such a dramatic shift in tone might have accomplished otherwise. It recovers nicely by the end, with a return to the aforementioned melodic tremolo leads and blasting. Elsewhere, the EP loses some of the magic of the material I’ve already covered, veering off course into the listless but still pleasant (“Frosne Vind”) or the more or less generic (“Må Du Brænde i Helvede”).

I want to be clear that this is a very promising start. Through a stronger focus on what works musically and perhaps a stronger production (or at least a more even sound for the drum programming) Myrkur should live up to the hype it’s received.

Words by: Daniel Jackson

You can pick up a copy here

For more information:

Myrkur on Facebook
Myrkur on Bandcamp

Wormwood - S/T EP (Review)

Album Type: EP

Date Released: 14/10/2014

Label: Magic Bullet Records/Patac Records

‘Wormwood’ track listing:

1). Hollow Black Eyes (04:00)

2). Indoctrination (03:52)

3). I’d Rather Die (04:19)

4). White Plague (03:43)

5). Reprise (02:19)

Bio:

Couple old friends getting together to make heavy depressing/empowering racket. Pupecki also plays guitar in doomriders and Bevilacqua was their original drummer

The Band:

Chris Bevilacqua | Drums, percussion, various rackets.
Chris Pupecki | Guitars, bass, vox, noise

Review:

When I first started paying attention to a random track playing in the background, I thought for sure I was listening to Celtic Frost, what with that medium-paced trudge and those lovely processed vocals. When I began paying attention though, I found way more sludge than black metal and discovered this Boston band made up of current and former members Doomriders, Disappearer and Phantom Glue are set to drop their first release on PATAC Records and Magic Bullet Records. Simplistic, yet thick and deep, these guys have put out a seriously heavy and haunting record.

Driven by a bestial, hard-hitting mid-tempo grind and a distinctly unpolished, ugly, and bottomless bass rumble, the wheelhouse of this band is clearly the rhythm section. Above the maelstrom, the guitar alternates a discordant ooze with effect-laden sludge atmospherics and consistently unsettles you with brutally effective tritonal dissonance before spacing out in smooth doomed slow jam riff territory (sometimes within a single phrase).

In the length of 18 minutes and 5 tracks they will keep your head bobbing even as the groove wobbles and weaves in gruff almost-disharmony. Ragged feedback and thick-as-hell crunch, set the abysmal mood for the submerged hypnosis of the main riff in ‘Hollow Black Eyes’, which barely moves on the fretboard yet somehow feels liquid and mobile. The strange and phenomenal lead near the end howls with a curious sort of offset wavering/watery feel that matched the yawning void of the verse in a perfectly subtle way.

"Lies, raised on lies, condition your mind"

‘Indoctrination’ begins with the savage delivery of this elegaic motif, as it slows down the trudge into a plodding stomp. Authoritative lines "don't question it - obey" set atop a bass tone that is thunderous and sulphurous; almost slimy. ‘The Liar's Theme’ continues into ‘I'd Rather Die’, the midpoint on the record, as vocalist Chris Pupecki of Doomriders fame growls "I'd rather die than live a lie." Solid sentiment if a bit simplistic -which is a bit of a catchall thought on the EP as a whole as well, though I don't think it suffers from it.  If anything, the lack of complexity makes it more accessible and keeps it uncluttered.

For the last legit song before the outro/reprise slogs through 2 minutes of grimy noise-groove ambience, ‘White Plague’ amps out the impious Frost-veneration, setting off a modern tube-worshipping take on that proto-black metal sound that is fiendish in its stuttering heaviness. It never allows you to fall too far into a groove, keeping you on the edge of resolution as it lyrically "pushes further - further away."

Sometimes crushing, sometimes creeping, this piece reimagines a modernist ‘Morbid Tales’ for the -very- angry, whils being a whole lot more than simply derivative. It will take you back while it situates itself in the right now.

Words by: James Harris

This EP will be available Magic Bullet Records and Patac Records  

For more information:

https://patacrecords.bandcamp.com/album/wormwood

https://www.facebook.com/Wormwoodboston