ALBUM REVIEW: Lord Vicar, “The Black Powder”

By: Richard Maw

Album Type: Full Length

Date Released: 26/04/2019

Label: The Church Within Records

It's a doom epic and a throwback to the very best records of the genre. Truly, this is a masterpiece of doom metal and a worthy addition to any doom fans collection.

“The Black Powder” CD//DD track listing:

1). Sulphur, Charcoal and Saltpetre
2). Descent
3). World Encircled
4). Levitation
5). The Temple in the Bedrock
6). Black Lines
7). Impact
8).  Nightmare
9). A Second Chance 

The Review

Lord Vicar are doom royalty, of course- comprising as they do ex-members of a couple of the most influential and greatest doom bands of all time. With an opening track timing at 17mins 16secs in the form of “Sulphur, Charcoal and Saltpetre” the band have opted for an explosive (!) start. Quiet acoustics give way to the murkiest ground out riffage after a couple of minutes and Chritus familiar vocal kicks in. Elsewhere there are tracks which run over 10mins and 8mins, so expect true doom.

Naturally, “Gates of Flesh” was similarly expansive in places, as was “Fear No Pain” and so on. This is what the band do. However, this time around the tracks on offer seem darker than ever. “Descent” takes the vibe even further downward, with Kimi's guitars stirring the blackest pitch in an already dark cauldron. It's an unsettling and in-no-way-uplifting listen. The band reference their own work and one member's previous band's work in the lyrics and everything from the double tracked vocal to the tempo shifts are sublime. This is doom perfection.

There are no rays of sun to be found in “World Encircled” either. The downtrodden feel is relentless and it's a reminder that doom is not really about occult stylings, sludge or 70's biker films at all. It's about crushing misery and despair. Saint Vitus know it, Trouble know it, Sabbath, The Gates of Slumber... they all know it too. Lord Vicar are standing on the shoulders of such giants and also standing alongside them as a modern archetype of what doom should be.

There are grooves here and there, too- it's not just a one paced pity-party. Indeed, the tracks are dynamic and organic in that they take their own path and meander through solo breaks, time changes and some very deft rhythm section interplay.

With 9 tracks on offer, this is a lot to take in on one sitting- think The Gates of Slumber's “Suffer No Guilt” opus and how hard to follow it can be until you fully assimilate it. Just like all the best records, though, the album reveals itself with repeated listens (in my case broken up into commutes both to and from work). “Levitation” plays on its title by being positively upbeat in sound compared to other tracks- but still maintains the crucial down factor throughout. More true doom follows in the form of “The Temple in the Bedrock”, this time with an up-tempo start that'll get even the most downcast head banging. It comes complete with a very down-tempo middle section, but the structure and arrangements are absolutely on point- it comes back around on itself and marks itself out as an all out rager right in the middle of the record. Excellent.

“Black Lines” brings some straightforward heaviness delivered expertly. The pace is not glacial, so this is another head-nodder that brings a 70's Sabbath feel to the album. It's deftly handled and another high point elevating the middle of the record to essential listening. Impact is lunk-headed bludgeon riffola which is again guaranteed to get your head banging and even your toe tapping. It's elemental stuff and all the more forceful for it.

Things cannot stay up forever, though, so “Nightmare” brings acoustic sadness and a militaristic middle to the record. A haunting diversion that bridges the previous rockers with the closing epic of “A Second Chance”. The band return to the bleak sound of the opening third of the album here- to great effect. It's bleak, depressing and quite beautiful in its own way.

As noted earlier, it's hard to review a record of this size and scope as it takes in so much and covers so much ground. The quality of the album will shine through on first listen, but the depths of the album can only be explored with repeated dedicated listening. It's a doom epic and a throwback to the very best records of the genre. Truly, this is a masterpiece of doom metal and a worthy addition to any doom fans collection. With that, I can only close by saying that this comes highly recommended and that you will get out what you put in. Incredible.

“The Black Powder” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Devil To Pay - "A Bend Through Space and Time"

By: Richard Maw

Album Type: Full Length

Date Released: 12/08/2016

Label: Ripple Music

Simply put, this album slays. It delivers on all levels. The band know that hell awaits down the line, but they are having a great time on the way. Life affirming stuff.

“A Bend Through Space and Time” CD//DD//LP track listing: 

1. On and On (in your mind)
2. Don’t Give Away the World
3. Kobold in the Breadbasket
4. Laughingstock
5. The Meaning of Life
6. Recommended Daily Dosage
7. Knuckledragger
8. Kerfuffle
9. Your Inner Lemmy
10. the Demons Come Home to Roost

The Review:

Devil To Pay hail from Indianapolis, the Midwestern city that spawned The Gates of Slumber- but this album is a different proposition. The record is at the stoner end of the doom spectrum; that is to say that the sounds here have as much in common with Orange Goblin or Fu Manchu as they do with Sleep. The groovy “On and On (In Your Mind)” sets out the band's stall with some propulsive riffs and deft drumming- good vocal, solid work all around. “Don't Give Away The World” continues building on this foundation; a rumbling groove is complimented by a great mix in which the bass rumbles and runs with Butler-esque precision.

The downtuned riffage does not stop there and the band shows another more restrained mood through “Kobold In The Breadbasket”, which has a trippy quality. The rhythm sections works very well throughout the album- the intro to “The Meaning of Life” highlights its' lock-tight precision (nice cymbal chokes, too). The band can burn rubber when necessary- witness “Recommended Daily Dosage” for proof.

“Knuckledragger” sounds as you might expect from the title and includes the album's title in the lyrics (listen out). The band's knack with song titles continues with “Kerfuffle”, which is a head nodder of a tune, and the titles reach a peak with “Your Inner Lemmy”, which possesses all the swagger of Motorhead in any era- a raging badass of a track! It is a fine tribute to the great man's approach to life and knocks Metallica's plodding “Murder One” right out of the ring.

After this rip roaring ride through the stoner rock universe, “The Demons Come Home to Roost” is an epic finisher. Close to eight minutes of dynamically shifting tempos, metallic crunch and powerhouse performances. Simply put, this album slays. It delivers on all levels. The band know that hell awaits down the line, but they are having a great time on the way. Life affirming stuff.

“A Bend Through Space and Time” is available here

Band info: facebook || bandcamp 

Wretch - "Wretch" (Album Review)

By: Richard Maw

Album Type: Full Length

Date Released: 26/08/2016

Label: Bad Omen Records

This is a fine debut and a much needed shot of trad doom, with actual songs, - in an era of obsession with amps and pedals (but without, you know, actual songs and stuff). It is a triumph for this intrepid trio and surely there are great things to come for the band. Make no mistake, Wretch are here and Wretch will bring you real doom or throw you out of the bar if you don't like it.

“Wretch” track listing:

1). Running out of Days

2). Rest in Peace

3). Blood Finger

4). Winter

5). Icebound

6). Grey Cast Mourning

7). Drown

The Review:

For me, it was an exultant thought of “at last!” when this album came through for review. Regular readers of The Sludgelord will know what high regard I hold Wretch main-man Karl Simon's previous band, The Gates of Slumber, in. TGOS are one of the best doom bands of all time, end of discussion. The split of the band and the untimely passing of bassist Jason McCash (much missed) meant that Simon would have to rise, phoenix-like, with a new band.

Wretch show from the off that they are a trio to be reckoned with. Out are the Conan/sword and sorcery tropes of the TGOS, in are the street level stylings of Saint Vitus; doom, despair and downers. “Running Out Of Days” kicks things off in great style. As an opening statement of intent, as a stand alone track, as a return for Karl Simon: it is a triumph. It has all that is great about doom; cracking riff, good thick AND clear production, great hook and theme. A banger.

“Rest In Peace” takes the tempo down a notch. Although Simon is the marquee name involved, Chris on drums and Bryce on bass (as they are credited on Facebook) play their part in this record and contribute a rock solid foundation for the riffage and vocals. The pure Sabbath worship on offer here is a treat. “Bloodfinger” is a mellower instrumental track, drenched in phase- solos without anything other than the rhythm section underneath are assured...

“Winter” has an insistent main riff and a creepy feel, reminding me of a lowed down and fuzzed up early “Judas Priest”. “Icebound” is the record's central pillar, and the only song of epic length- coming in as it does at over eight minutes. The arrangement is pure doom- massive riff, vocal, solo, vocal and so on. This is doom in its purest form; unadulterated and unadorned (Sabbath-esque fast section guaranteed). A cowbell also features here, praise the dark lord!

“Grey Cast Mourning”is a rather moving clean guitar instrumental with lots of tape hiss and character- a more musical cousin of something Mr Chandler might whip up, perhaps. It works as a fine intro/bridge into the excellent “Drown”- which rounds this seven track album off in strong style. Downtuned and downcast, this is a rip-ride of a track; slow and crushing.

Karl Simon has managed to bring the more direct elements of his previous band (and of the genre's other greats) and combine them with his distinctive vocal and guitar style to make Wretch work as a band. As a reference point, think of the final album by TGOS (obvious, considering the title) combined with the more street level bands of doom. This is a fine debut and a much needed shot of trad doom, with actual songs, - in an era of obsession with amps and pedals (but without, you know, actual songs and stuff). It is a triumph for this intrepid trio and surely there are great things to come for the band. Make no mistake, Wretch are here and Wretch will bring you real doom or throw you out of the bar if you don't like it.

Band info: official || facebook

Conjurer - ‘Old World Ritual’ (Album Review)

By: Richard Maw

Album Type: Full Length

Date Released: 06/06/2015

Label: Independent

Conjurer are reliably badass: rumbling riffs, raw production, rough and ready gruff vocals... it's all there. I liked this album from the very opening of ‘Never Enough’. Similarly, ‘Trudge Down’ and ‘Entheogen’ cover murky ground with some excellent grooves. It is not sludge like EHG, it is not doom like the aforementioned TGOS, but it does combine the best of the two parent genres to create a unique sound. Maybe if Crowbar covered Saint Vitus it would sound a little like Conjurer?

‘Old World Ritual’ CD//DD track listing:

1.Never Enough 05:43

2.Trudge Down 03:48

3.Entheogen 03:42

4.Black Throne 03:23

5.Singularity 04:13

6.Flesh To Ash 05:28

7.Witch's Hale 02:51

8.Time Stands Still 04:50

9.Marauders 05:43

10.Gold Mask 05:45

Conjurer is:

Dillon Enright

Dustin Mendel

John Rau

Gabe Whitcomb

Brian Wyrick

The Review:

All right! Indiana has produced some kick ass bands- The Gates of Slumber and Thorr Axe, to name but two. Now the state-with-a-lot-of-heavy-already brings us this! Conjurer are kind of sludge, kind of doom- maybe even a cross between the two genres?! One thing is for sure, it is not “occult rock” and thank fuck for that. I feared that they would be so before I pressed play (based on the name) but I was very pleasantly surprised. If I hear another band “channelling the spirit” of 1970's horror films and combining it with cynical retro production I may have to only listen to the ‘Slowly We Rot’ by Obituary on repeat for the rest of my life. It is the only thing to cleanse these boring, trendy abominations from my mind.

Fortunately, Conjurer are reliably badass: rumbling riffs, raw production, rough and ready gruff vocals... it's all there. I liked this album from the very opening of ‘Never Enough’. Similarly, ‘Trudge Down’ and ‘Entheogen’ cover murky ground with some excellent grooves. It is not sludge like EHG, it is not doom like the aforementioned TGOS, but it does combine the best of the two parent genres to create a unique sound. Maybe if Crowbar covered Saint Vitus it would sound a little like Conjurer?

‘Black Throne’ takes rudimentary chordal riffing and makes a fine song out of it- a rolling groove, strong vocals and a cool time change for the last 40 seconds or so. Magic. ‘Singularity’ is aptly titled, being as it has a single minded approach: make big riffs, make big noise and repeat. That is not a snipe at the album as a whole, though. There is a lot of variety here. The band makes a virtue of offering up some really different sounds and textures. Yes, there are even hooks to go with the tempo shifts and key changes. Some tracks, like ‘Flesh to Ash’, ride the slow groove, whilst others such as ‘Witch's Hale’ clip past at (for anything in the sludge genre) lightning speed.

The rest of the record is similarly consistent; ‘Time Stands Still’ reminded me of the much missed Scissorfight- just a lot darker. ‘Marauders’ is pretty vicious stuff and again is pacey for any of the genres involved. ‘Gold Mask’ closes this excellent debut with some sinister sounding clean guitar and sinister lyrics. The vocals, should you want a description is perhaps on the early Mastodon side of things- shouty, but not without melody.

This is a fine record and one that offers a nice combination of genres and good variety throughout. Definitely try it out if you are a fan of any of the bands mentioned in this review. You won't be disappointed.

‘Old World Ritual’ is available here

FFO: Crowbar, Saint Vitus, Scissorfight

Band info: Facebook | Bandcamp

Choice Cuts : The Gates of Slumber- Hymns of Blood and Thunder

Album Line-up :

Karl Simon | Vocals, Guitars, Keyboards

Jason McCash | Bass (R.I.P)

Bob Fouts | Drums

A tribute to Jason McCash

It is with a rather heavy heart that I write this particular entry in the Choice Cuts canon. Sadly, Jason McCash, ex-bass player with The Gates of Slumber died on Saturday 5^th April, leaving behind a wife and three children. I did not know him and we never met, but I certainly respected his creativity and contributions to the genre of doom metal. Back in 2009 TGOS released their, for me, definitive release: Hymns of Blood and Thunder. It was released on Rise Above with fantasy artwork and a foreboding set of song titles.

I first picked up the record in early 2010, a couple of months ahead of the Cathedral show at ULU in London- Church of Misery played too and it made for a very memorable and diverse evening of doom.  The band I was looking forward to that night was TGOS- I simply loved Hymns... and I still do. For me, it is an absolute metal classic. It changed my life for the better and played a large part in inspiring me to start playing metal again.

Chaos Calling kicks things off with a meaty and analogue production- I adore the drum sound and the playing of Iron Bob Fouts; a class act with excellent phrasing and ideas. Karl Simon's voice is in true doom style- a plaintive wail, full of melancholy and drama. TGOS are perhaps often seen as Simon's band- the voice, the guitar riffs and traditional leads, but McCash was just as important- his bass work is inspired and meaty, underpinning every track on this remarkable record. Indeed, without a second guitar player, McCash can be heard clearly under most lead breaks and he contributed some excellent writing to the record. His liner notes make very interesting reading- particularly as they cover the two doom epics on the record- The Doom of Aceldama and Descent Into Madness.

Chaos Calling is followed with another up tempo number- Death Dealer. It is a strong one-two combination to open with before the album expands its horizons with the absolutely superb Beneath The Eye of Mars. Essentially, the Roman empire's militaristic ethos is summed up over the course of its six minutes. Richly evocative and well paced, it is heavy metal heaven. The Doom of Aceldama follows with a doomy intro and then tempo changes with an excellent vocal from Simon. A very fine piece of writing. Musically, there is a fair bit of Saint Vitus within TGOS, but there is also a fair bit of Priest and Cirith Ungol too. Yes, there are fantasy themes and homages, but there is also a sense of human sorrow and drama in their best work- this track exhibits their tendencies well- even allowing for an acoustic passage to bring light to the shade.

Age of Sorrow is a maudlin instrumental that bridges the first and second half of the record. According to the liner notes, it pre-dates the album recording sessions, its gestation actually dating to the “Conqueror” release. The lead work from Simon is a treat- soaring and sad at the same time. The Bringer of War has a huge main riff and stop start arrangement. Another excellent riff marks the middle section and a memorable vocal passage tops it off. The second of the album's two epics follows with Descent Into Madness sounding exactly like its title. Taking its inspiration from HP Lovecraft's “At The Mountains of Madness” tale, the piece is classic doom all the way- slow, but not too slow, great hooks, great lyrics, great riffs. Musically, the track has something in common with earlier material, such as the “Suffer No Guilt” album- epic lengths, lots of ideas and musical shifts.

Iron Hammer is a celebration of all things metal; Trouble, Metallica, Judas Priest, Ozzy, Sabbath, Maiden, Slayer... they all feature. The track is great- propulsive rhythms, great central idea. Pure metal. The Mist in The Morning is the album's oddball- a short folk song with Jackie Palmer supplying haunting backing to Simon's voice. Lyrically it is a reflection on loss, made ever more poignant by recent events. Listening to it now, I am moved to reflect on the lyrics like never before. 

The title track rounds out this astonishing achievement of a record- traditional metal is hammered out with aplomb- the tenth track of an album that is a great listen from start to finish. The sound is unified, the themes varied, the vibe just right. This is doom, this is metal, this is great music.

Yes, it would be true to say that I loved this album from when I first heard it. I then collected the back catalogue on whatever format I could find and waited for the release of “The Wretch” in 2011 (another great record). I love all their other albums too, but this is the one for me. I own the CD, the vinyl and I also literally bought the t-shirt. I feel privileged to have seen the band live and to have been able to anticipate a new album from them. Sadly, I will never be able to do that again. To say that Jason McCash's passing leaves a hole in the doom metal community is an understatement. To quote: “How dark is it now? How lonely the day?” It is a question that I cannot adequately answer. Hail and farewell to Jason McCash- metal warrior, family man and purveyor of the finest doom. He will forever live on in The Book of Heavy Metal but his chapter has ended far too early.

Words & Recommendation by : Richard Maw

Album Details :

Hyms of Blood & Thunder was the 4^th Full Length album. Released by Rise Above Records in 2009

Track list :

1). Chaos Calling

2). Death Dealer

3). Beneath the Eye of Mars

4). The Doom of Aceldama

5). Age of Sorrow

6). The Bringer of War

7). Descent into Madness

8). Iron Hammer

9). The Mist in the Mourning

10). Blood and Thunder

Recorded in Chicago's Semaphore Studios with producer Sanford Parker (Nachtmystium, Pelican)

Released on CD and on three different vinyl 2x12" editions.
1) Regular gatefold LP (x300 clear, x300 transparent grey, x300 deep red).
2) Deluxe boxed LP (in glossy box with insert, x300 black)
3) Deluxe boxed die hard LP (in glossy box with back patch, A2 poster and insert, x300 on transparent brown (disc 1) and transparent claret (disc 2).

Our thoughts and deepest condolences go out to Jason McCash's loved ones, friends and band mates. May he rest in peace and may his music forever touch the hearts of those who loved him.