ALBUM REVIEW: The Obsessed - "Sacred"

By: Richard Maw

Album Type: Full Length

Date Released: 07/04/2017

Label: Relapse Records

Quite simply, I can't find anything on this album I don't like. The best comeback of the year, without a doubt. This record will be turning up in many year end lists, without a doubt. It could even be the best album by The Obsessed, but only time will tell on that one. I can't recommend this highly enough.

“Sacred” CD//DD//LP track listing:

1.Sodden Jackal

2.Punk Crusher

3.Sacred

4.Haywire

5.Perseverance of Futility

6.It's Only Money

7.Cold Blood

8.Stranger Things

9.Razor Wire 03:32

10.My Daughter My Sons

11.Be the Night

12.Interlude

13.On So Long (Bonus Track)

14.Crossroader (Bonus Track)

The Review:

The Obsessed, or at least Wino and side men (ever changing), return after a twenty three year hiatus from releasing albums. While Saint Vitus is not Wino's band, so are discounted here, of all Wino's bands- the ones he runs- The Obsessed enjoy the greatest reputation. The rep is deserved. Their self titled, “Lunar Womb” and “The Church Within” are all classics in their own right.

To be fair, Spirit Caravan was a great band, The Hidden Hand was a great band, Wino's solo electric and acoustic records... all great! “Sacred”, though, has something more. From the moment I pressed play, I was hooked. This is a record that I find very hard to fault. The production is great; thick guitar, lots of low end, punchy drums, great mix. The songs are even better.

Kicking off with the re-recording of “Sodden Jackal” is a solid move; it sets out where the band is at these days and it also makes it clear that business as usual has resumed. It's still a powerful and creepy track after all these years. Wino's on great form vocally too. Henry Rollins once described The Obsessed as being the sound of  someone getting really angry, really slowly. Indeed.

The rest of the record simply thunders by and keeps song lengths taught and toned. Those who have looked out for advance tracks will know “Punk Crusher” already. It's a great Motorhead-esque blast of  rock 'n' roll. The title track is trippier in sound and scope than you might expect and nods back, as much of the album does, to 60's/70's psychedelic rock as well as Black Sabbath. The record has some crossover with Victor Griffin/Place of Skulls/Pentagram; it's doom, but doom rock as opposed to metal a lot of the time. This sensibility makes “Sacred” a very listenable album indeed. It is never heavy for heavy's sake. The song writing shines through.

There are punkier moments on offer such as “Haywire”, too. It's a trait that Wino shares with his compatriots in Saint Vitus; no one tempo runs through the album and there is more variety than you might expect. The grooves come thick and slow on “Perseverance of Futility”, with nice organ and percussion flourishes along with the drums and guitars. There are other quirks on the record too, Wino and the since departed Sherman trade lines to great effect on Thin Lizzy's “It's Only Money” and makes the song into an event (kind of like how “Step Down” sits as a curio on “Bomber” by Motorhead). As a big fan of Thin Lizzy, it's great to hear this turn up mid album on a record by a band who (on paper) are quite different.

The instrumental “Cold Blood” proves that Wino can riff with the absolute best of them (Iommi, Griffin et al) and it is a real stand out and left field highlight of the record. The solos are really good, too. There is more bluesy doom/rock to be had on “Stranger Things”, which uses a weird acoustic guitar figure to open and close and has some very strong riff passages and vocals. Another of the preview tracks, “Razor Wire”, is absolutely badass and an album highlight for me. When Wino sings “I'd rather get high, than pay the rent” I absolutely believe him. “My Daughter My Sons” is a track which is in some ways closer to Wino's acoustic output, both in lyrical content and laid back vibe.

By the time we get to “Be The Night”, dripping with biker attitude and some inspired soloing, the album proper is nearly over. I have not heard an album which clips by like this in a long while. Sweet is the sound of expectation being met, that's for sure.

There are two bonus tracks on offer here, “On So Long” is over nine minutes of doomy goodness, while “Crossroader” is a very catchy nod to Steppenwolf/Hendrix era rock. Quite simply, I can't find anything on this album I don't like. The best comeback of the year, without a doubt. This record will be turning up in many year end lists, without a doubt. It could even be the best album by The Obsessed, but only time will tell on that one. I can't recommend this highly enough.

 “Sacred” is available here

Band info: Facebook || Bandcamp

“11 is one Louder”: Iron Void part II. Guitarist Steve Wilson chooses his Top 5 Trad. Doom Albums

As we may have mentioned before, Iron Void are one the UK's leading exponents of traditional doom: doom with singing, doom with riffs, doom with... songs?! A few weeks back Iron Void bassist, Jonathan “Sealey” Seale chose his top five trad doom records in the first of a two article feature.  Today we present part two of this double header with Iron Void, guitarist/vocalist, Steven Wilson choosing his own top five trad doom albums, so turn the dial all the way to up because “11 is one louder”

Black Sabbath – “Black Sabbath”

The album that started it all! As soon as you hear the rain and thunder with the church bell tolling in the distance, you know you're in something heavy. It could be argued that they've done better albums since, but the first one captures the sinister essence of Black Sabbath while keeping the blues and jazz part of their sound. Songs from this and the “Paranoid” album were the first Sabbath riffs I learned to play, and I learned a lot about how the drums, guitar and bass can work together. Each instrument is really clearly defined and easy to make out. I don't always agree with everything Ozzy Osbourne says, but I think he could be right about this being his best vocal performance on record. This is a simpler sounding band, but just as heavy as their later albums. This record sounds good at any volume level. It's heavy and powerful, loud and relaxing and melodic if you turn it down.

Cathedral – “The Carnival Bizarre”

“Hopkins – The Witchfinder General” is a very cheesy song, and I'm sure we're all sick of it now. It did get me into Cathedral and made me check out their albums though, so it served its purpose in that respect. I think this was the first or second Cathedral album I ever heard. It's the first one without Adam Lehan (Gaz Jennings plays all the guitar on it) and that seems to give it a different character. Gaz was able to do whatever he wanted and it seems to be a bit more focused for it. It's the perfect mix of heavy doom metal and psychedelia. I don't know if Lee Dorian's vocals have aged that well, but it really opened my eyes to simple songwriting and how much you could do with a couple of riffs. It's worth mentioning that the track 'Utopian Blaster' features a guest solo by none other than Tony Iommi himself! It's worth checking out just for that fact alone. I've still got the double 10” vinyl somewhere in my collection and it's not likely to be sold any time soon!

Iron Man – “Generation Void”

Like the other albums on my list, “Generation Void” is mainly made up of simple riffs and well timed vocals, backed up by a tight rhythm section. That's all you need to be honest! Al Morris III comes up with riffs to rival even Black Sabbath on this album. I heard it years ago but I only bought a copy on CD about ten years ago. It just always seems to have been there. Someone must have taped it for me at some point because I remember listening to it a lot. This is probably the first 'Maryland doom' band that I heard, and the simple song writing mixed with melodic vocals have stayed with me into my songwriting for Iron Void. The riffs from 'Final Resting Place' (from “Spell of Ruin”) are directly inspired by Al Morris' guitar playing style.

Spirit Caravan – “Jug Fulla Sun”

After Iron Man, Spirit Caravan are the next logical step forward. I met up with Murray (who I would later find out was in year Zero) and a mate of his a couple of times with the intention of starting a band. It never came to be, but one of them suggested I listen to this record. I remember thinking the name sounded daft, but it stuck in my memory. I think I bought the “Dreamwheel” EP before this, but this was the first full album of Wino's music that I ever got hold of. From here, I moved on to Saint Vitus and The Obsessed, as well as The Hidden Hand, Place of Skulls, you name it. I couldn't believe that I'd never heard of Wino before 1999/2000. I knew about Iron Man but I'd never heard any Pentagram, Saint Vitus or anything like that. I really like simple riffs and powerful clean vocals, and Wino is the master of that! His influence can be heard in everything we've done so far, especially my approach to playing guitar and singing at the same time when playing live. He's not really doing anything unique, but the way he plays really struck a chord with me. Having Gary Isom and Dave Sherman as the rhythm section couldn't have done any harm either! Spirit Caravan's music taught me that it's OK to write simple songs on purpose. They were a master class in how to put together a power trio.

Pagan Altar – “Judgement of the Dead”

Another band that I didn't get to hear until I got online. I think I first heard this album around 2003 or 2004, when it was out on CD as “Volume 1”. I got the vinyl reissue entitled “Judgement of the Dead” a few years later, and it was worth every penny. Their music is a mix of NWOBHM, classic rock and what we would now call Doom Metal. Simple heavy rock arrangements with bluesy guitar but dark, sinister and honest vocals and lyrics. This is their debut album, and it's a bit rough production-wise. I tend to like these the best though, because it's the first incarnation of a band. Everything is new and the enthusiasm is still there. Pagan Altar reformed with a new drummer and bass player a few years ago after a resurgence of interest in the band. We were lucky enough to gig with them a few times and it was a pleasure to see and hear them play live, even though Terry was obviously a lot older than he looked on the album cover! He is sorely missed and unfortunately there are still a lot of doom and metal fans out there who have no idea who he was or what the band might have sounded like. 

Iron Void plays “Hammer of Doom” fest this Saturday.  Check the poster below for more details. 

Band info: bandcamp || facebook



Eternal Black - 'Eternal Black' EP (Review)

‘This is the most enjoyable doom EP I have heard for a while. If you like your Vitus, The Obsessed or anything the man Weinrich has put out you will enjoy this for sure, being as it ploughs a similarly soulful furrow.’

Album Type: EP

Date Released: 30/06/2014

Label:  Self Release

‘Eternal Black’ DD track listing:

1). Obsidian Sky

2). The Dead Die Hard

3), Armaggedon’s Embrace

Eternal Black is:

Hal Miller: Bass
Joe Wood: Drums
Ken Wohlrob: Guitars, Vocals 

Review

This is more like it! A power trio who play doom in the style of anything that Wino gets involved with. It’s bluesy, doomy and damn cool. “Obsidian Sky” has a lovely lumbering groove with pitch black riffing. As soon as I put this track on, I liked it. It's better than most of the stuff out there these days. Derivative, yes, but done sincerely and with style.

Of the three tracks on offer here, “The Dead Die Hard” is perhaps my favourite. An excellent main riff and a bass player who plays bass (think Geezer Butler) with a fuzzed out tone. In all honesty, though, “Armageddon's Embrace” is just as good. Coming in at exactly the same length as its predecessor (6.22) it comes with spaced guitar work allowing the vocals to breathe.

This is the most enjoyable doom EP I have heard for a while. If you like your Vitus, The Obsessed or anything the man Weinrich has put out you will enjoy this for sure, being as it ploughs a similarly soulful furrow. Great stuff and highly recommended.

Words by: Richard Maw

‘Eternal Black’ is available here

For more information:

Listen: https://eternalblack.bandcamp.com/releases

Like: https://www.facebook.com/blackhanddoom

Live Review : Desertfest, London, UK, 25th April 2014

It was with some level of excitement that I attended the third annual Desertfest. Having attended the inaugural weekend two years ago, I had an idea of what to expect but nonetheless my expectations were still high. Sadly, I only had the money for a day ticket, so I chose the Friday- this enabled me to see Spirit Caravan and gave me an excuse to take the day off work, so I was all set.

I had formulated a rough plan of campaign, mainly based around seeing whatever Wino was involved with. With time limited and the need for some food at some point, I managed to take in five bands across three different venues. All in all, a success!

I started the day in odd fashion at The Vans Store (?!) opposite Camden tube to watch a Wino acoustic performance. The setting was odd, to say the least, as tourists vied to look at shoes amongst assorted metallers, stoners and biker types. Wino took to the stage well past the scheduled start time- not his fault as he took time to point out- the (floor level) stage was set for an intimate and interesting performance. Amongst some tuning issues (“shitty Taylor...I asked for a Gibson!”) the man turned in an inspired and at times shredding performance. Wino’s voice was in full force as he blew through the best material from the “Adrift” solo record- “Don’t Care” making a very welcome appearance- and other material less familiar to me; including a new track about something fairly esoteric which I now can’t recall. Great stuff, with a party atmosphere in full effect. Spirit Caravan partner-in-crime Dave Sherman helped out with guitar and backing vocals later on in the set, before Wino took it all home with a storming cover of Motorhead’s “Iron Horse/Born to Lose.” To hear that solo album highlight in a live setting made the show for me- great vocal performance, great guitar and a doom legend about two metres in front of me. A superb start to the festival.

the close of the set I hot footed it over the road to the Electric Ballroom to catch Monkey3 perform their unique brand of instrumental space/stoner rock/metal. As Wino had over-run, I was concerned that I would have missed ten minutes or so of their set- no such problems arose. The festival was VERY well organised indeed; Monkey3 were taking the stage as I (and many others) entered. The band played absolutely superbly, with the bulk of their set being drawn from 2013’s outstanding The 5^th Sun opus. The atmosphere was trance like, the playing tight and effective. Monkey3 played to a very respectable crowd- perhaps ¾’s full?- which for a gig at 5pm at the start of a festival is some going. The crowd lapped it up as a space like atmosphere prevailed, assisted by the large screen visuals as a backdrop. Truly outstanding, the band looked floored by the positive reaction coming their way.

At this point, I broke for a falafel wrap and a beer with a couple of friends heading to the Uncle Acid gig taking place up the road. It is with some regret that I thus missed Sasquatch- I had wanted to see them, but there we are.

Regardless, I made it to the Underworld with enough time to see the bulk of Sixty Watt Shaman’s set. They played inspired and aggressive material dating back, incredibly, over a decade. The crowd were very into this one with the band ratcheting things up accordingly. I had never seen them before, but on the strength of this I certainly would see them again. The band looked the part, played the part and delivered in spades- I was glad I made the effort.

The Electric Ballroom then became my home again, and after a quick check of the vinyl racks on the balcony, I settled in to watch Ed Mundell’s UEMG (Ed of Monster Magnet fame, no less). Once again, I had not heard any of his material which again brings home just how great festivals are. I always prevaricate over buying a ticket because “I’m only really into a couple of the bands that day...” or “I’m not really too bothered about the headliner...” etc etc. These excuses are weak and regrettable, as I have learned that the point of a festival is that you get to see numerous bands for a fraction of a single gig ticket price AND you get to see bands you never would have done in other circumstances. All these things make festivals an absolute win- I saw two bands I wouldn’t normally have checked out and really enjoyed both- thus enriching my own life and contributing to the band’s take home money. Result. Mundell and his two man UEMG turned in a convincing and distinctly American take on instrumental space rock- stratocaster blazing, the solos were note perfect and the rhythm section played tightly, backing Mundell up. This is one space fleet you should catch the next time they land here.

Expectations were then high, not as high as some punters, but high nonetheless for the headliners. Spirit Caravan took the stage after ten pm, but after sound checking their own gear and not coming with any kind of rock star attitude. Wino, now completely grey haired, is not as sprightly as he once was, but his voice and chops are still totally there. Sherman backed up ably with a bass tone that rumbled away, while Henry Vasquez of Saint Vitus fame manned the kit with precision and power. They turned in a career spanning set of heavy and soulful sounds from Jug Fulla Sun onwards. After Vasquez’s snare drum was battered beyond repair, a halt to proceedings was called with Wino frustrated and calling for a joint form the crowd (delivered and graciously received). After a few minutes the trio were ready to resume hostilities and focused on turning in a tight and impactive set. Whenever I  listen to or watch Wino in any of his projects I am always reminded of what Rollins said about The Obsessed; “the sound of a man getting angry really slowly” and it is as accurate  with Spirit Caravan as with any of the man’s other projects. Just like that, day one of Desertfest was over and I faced another tube and train journey home.

In conclusion, I spent £25 on a ticket that allowed me to see five great bands in well run venues that were a stone’s throw from each other. I absolutely endorse Desertfest and recommend it to anyone with an interest in doom/sludge/stoner/psych etc. There will be more than one band that you will be interested in, more than one band you will be glad you bothered to check out for the first time and you will get a well run festival that is superb value for money. All hail Desertfest!

Words by : Richard Maw

The Sludgelord News : Desertfest London 2014 Day Splits & Tickets On Sale

Here are the day splits and day tickets are on sale now. Organisers have managed to do a super price for all these bands.  More to be announce yet, including the Sunday headliner. Sunday main support will be re announced in Feb.


Friday 1 day pass - £25
Saturday 1 day pass - £30
Sunday 1 day pass - £30
Sat/Sun 2 day pass - £60
Weekend ticket - £85
Plus booking fee

Get your tickets here:http://www.leedstickets.com/eventinfo/3843/Desertfest-2014

For regular updates head over their facebook page or their official page here

Earthride - 'Earthride' EP Reissue (Review)

 By: John Slaymaker

Album Type: EP

Date Released: May 2012

Label: Totem Cat Records

Kyle Van Stanberg's guitar tone is simply to die for; I think he drill's holes in his valves and fills them with cream. :) With his sweet wah heavy solo's sweeping effortlessly in and out of these big chunky fat riffs. Dave's lyrics tackle drug crazed demons that invade your home and mind, even Ozzy would pretend he's lost his keys.  Did I mention that Earthride's overall sound is something akin to maybe Motorhead?  If they themselves decided to take the dark path of doom.

‘Earthride’ CD track Listing

1). Earthride 6:27

2). Black 5:09

3). Enter Zarfreyals 4:03

4). Weak End 7:46

5). Fighting Devils Inside You (Live) 4:54

6). Hacksaw Eyeball (Live) 5:22

7). For Mere Remains (Live) 5:57

Earthride is:

Dave Sherman | vocals

Kyle Van Stanberg | guitar

Josh Hart | bass 

Eric Little | drums.

The Review

Earthride play fuzz heavy, groove laden down tuned doom. With vocals that make Lee Marvin sound like one of the Tweenies. Formed in 2000 just before Spirit Caravan's sad departure from the doom/ stoner scene (with whom Dave played Bass).  The band recorded this E.P. and released it on their own 'Earthbrain' label, the same year. Dave is quoted on the sleeve notes telling us he was selling this E.P. on the road whilst playing the last Spirit Caravan gigs.

Here we go, scream if you wanna go faster, Earthride take us straight into the title track with a gravelling, grooving riff that won’t let up, or let you off for that matter. This E.P. starts off at a mighty thundering pace, with Dave's gravelly vocal accompanying a tight fat low ended rhythm section. This song makes me want to straddle a hog and thunder down a highway, shades on, helmet off.  ‘Black’ starts off with another nice repetitive riff at about the right bpm for some morning glory. The solo comes in halfway through, nice and polite, only to come back a bit later on with even more points to make. ‘Enter Jacfreyals’ is the shortest song on the E.P. at around four minutes. Dave takes a rest and lets the band happily jam some nice chubby licks. ‘Weak End’, is the most doomed song on this E.P., riffing bleakness out of the speakers until Kyle comes in with a solo that makes it all a bit demulcent.

Kyle Van Stanberg's guitar tone is simply to die for; I think he drill's holes in his valves and fills them with cream. :) With his sweet wah heavy solo's sweeping effortlessly in and out of these big chunky fat riffs. Dave's lyrics tackle drug crazed demons that invade your home and mind, even Ozzy would pretend he's lost his keys.  Did I mention that Earthride's overall sound is something akin to maybe Motorhead?  If they themselves decided to take the dark path of doom.

The original four tracks are re-released with three quite awesome live tracks, one song from each of their full lengths. The live tracks mix well with the studio tracks, with good production and mastering.  This E.P. is out now on Totem Cat Records.  I leave you with word from Dave Sherman "Fighting the Devils Inside You" and "We're only here because of Black Sabbath".  Never a truer work spoken!

  

Band info: Facebook