ALBUM REVIEW: Gargantuan Blade, "Gargantuan Blade"

By: Richard Maw
 
Album Type: Full Length
Date Released: 04/09/2022
Label: Independent
 

“Gargantuan Blade” DD track listing:
 
1). Necromancer’s Blood
2). Black Lotus
3). Dungeon Lord
4). Spectral Pillagers
 
The Review:
 
Well, this is a pleasant surprise! This is 35mins of pure traditional doom metal from these Finnish defenders of the faith. This is not stoner and it does not have death metal inflections. If the cover art makes you think this might be a trad-metal fest or an old school DM outing, think again. This is, simply, doom metal.
 
Looking at the song lengths and titles, it’s clear that the spirit of The Gates of Slumber is alive and well; “Necromancer’s Blood”, “Black Lotus”, “Dungeon Lord”, “Spectral Pillagers”… that’s the track list and the vibe. Conan infused, Robert E Howard worshipping doom!
 
The sound is of course epic, maudlin and mournful. You get the massive and drawn-out riffs of huge weight; you get the faster passages (see “Necromancer’s Blood” and “Black Lotus” for the up tempo coda trick) and solos. This is a perfect crystallisation of how the genre should work and how it should sound- massive, raw and epic.
 
The four-piece line up makes for a satisfyingly thick sound- two guitarists mean that the solos are backed by rhythm playing which bulks things out and allows for a little interplay elsewhere. The sound and production is good- well suited to what is on offer. Even the bass can be heard correctly (as it should be in doom). The vocals of Samuel Wormius hit the right sorrowful notes while the mountainous beats of Rex Torr again capture the true spirit of the genre. They hit the right epic note again and again- “Dungeon Lord” has a touch of “Dark Avenger” about it- excellent.
 
If the above makes it seem that Gargantuan Blade are wholly derivative, that would be a little disingenuous to the band. Yes, this is doom metal- and only doom metal. However, this is not a pastiche or homage: it is doom in the purest form. When a genre is done so well and with such sincerity, issues such as originality are very much secondary compared to the quality of what is on offer. Quite simply, this is a perfect example of what traditional doom is and what it should always be. Highly recommended.
 
“Gargantuan Blade” is available HERE

Band info: bandcamp

ALBUM REVIEW: Apostle of Solitude, "From Gold To Ash"

By: Richard Maw

Album Type: Full Length

Date Released: 23/02/2018

Label: Cruz Del Sur Music

“From Gold To Ash” is heavy as lead and in places just as toxic, guitars are like slabs of unyielding concrete, with the bulk of the album as dark as the blackest pitch in tone and content.  From opening instrumental “Overlord” to the closing “Grey Farewell”, Apostle of Solitude stake their claim for having recorded the best doom release of 2018.”

“From Gold To Ash” CD//DD//LP track listing:

1). Overlord

2). Ruination Be Thy Name

3). Autumn Moon

4). Keeping The Lighthouse

5). My Heart is Leaving Here

6). Monochrome (discontent)

7). Grey Farewell

The Review:

Indiana has produced some of the best metal ever in the form of The Gates of Slumber, and Apostle of Solitude continue in that fine doom tradition. Chuck Brown, the original drummer for TGOS features on guitar and vocals, keeping a nice link to the Indianapolis doom scene. This is a rumbling, raw, traditional slab of doom metal. From opening instrumental “Overlord” to the closing “Grey Farewell”, the band stake their claim for having recorded the best trad doom release of 2018.

It's heavy as lead and in places just as toxic- “Ruination Be Thy Name” is as dark as they come. There are moments of sweetness in the interlude “Autumn Moon”, but the bulk of the album is as dark as the blackest pitch in tone and content. The guitars are like slabs of unyielding concrete and bassist Mike Naish's bass sound and playing come from a man who has hands thick with muscle. Most full length songs here are well north of the six minute mark, with “Keeping The Lighthouse” being concise at 6.23, but the likes of “My Heart Is Leaving Here” clock up close to ten minutes of playing time.

With that in mind, this is not an album for the casual doom fan; this is surely for the faithful, the aficionado- the dedicated. There is a traditional heavy metal influence here in places, both within the vocal melodies and even the riffs (just a lot slower) but really this is true doom all the way. “Monochrome (Discontent)” is a fine example- speed it up and it becomes something akin to Angel Witch. By the time of “Grey Farewell”, the mood of the album- that of grey skies, cold days and unending despairing regrets- has firmly taken hold. This is not for the faint of heart and is instead for the bravest among the doom warriors out there. It's also a brilliant record; deep and dark.

“From Gold To Ash” is available here

Band info: bandcamp || facebook

INTERVIEW: In Conversation with doom legend Karl Simon (Wretch/The Gates of Slumber)

By: Richard Maw

Karl Simon, formerly of The Gates of Slumber is back with Wretch- a street level doom band hell bent on bringing you back to reality with their traditional doom sound. Here we ask him about the band, the album and the upcoming European and UK shows.

Sludgelord: You have European and UK shows coming up, can you tell us what kind of set we can expect in terms of songs and if there are any surprises you might throw in?

Karl Simon: Well, we will be playing the majority of our record and a few TGoS songs that we feel are appropriate to this band.... maybe if people let Chris know they want to hear it we'll play “The Jury”. Which was first written way back when he was first drumming in TGoS on the old Sabbath Witch Demo 

Sludgelord: Is there any new material written for the next record?

KS: Yeah we are working on things as they come. You know it's a process. Write a song chuck it all away but one riff and start over. 

Sludgelord: The Judas Priest cover on your debut is a great choice. “Rocka Rolla” has always suffered a really bad press – certainly here in the UK. I have a lot of time for that album; what made you choose “Winter” to record?

KS: Chris really, really wanted to do it and it totally fit in with the vibe of our early jams, it was a cold and hard winter in 2013. 

Sludgelord: In terms of lyrical themes, the Wretch debut is less sword and sorcery and more down to earth; was this conscious choice?

KS: Yes, and this goes back to TGoS... we did “Suffer No Guilt” and it was something I was very proud of on a lot of levels. The record suffers from our inexperience and lack of budget and connections at the time, but the songs I think were some of the best things we did.  That record opened up doors for us and we got to revisit what we were trying to do with “Conqueror....” also a good record, though I think both were too long!   And if I'm honest too quick back to back and so was “Hymns”, I'm actually stunned at how good the stuff on “Hymns” is when I hear it now - I couldn't imagine playing like that again.  But, lyrically it suffers, badly because we were trying to do "a thing".  Gates could do music very quickly, but I didn't have the words on that one.  “Death Dealer” is pretty much a trope, it's not something I was really proud of lyrically, and I was kicking the edge of my abilities as a guitarist as well.  That was Jason's record on all fronts: better songs, better words... everything.  But I couldn't do the "Conan Crushing Doom" thing anymore.  

When we got Clyde on drums for” The Wretch” I had already been working on much doomier more Vitus-ized riffs and songs and his playing totally brought that crawling doom thing out in us.  Jason still had that bug on his mind lyrically but a lot of stuff was changed in the studio.  In a sense if “Hymns” was his record, “The Wretch” was maybe mine?  I dunno.  That's for other people to decide.  

It felt good to sing things more from my life; and I think the audiences connected with those songs more than with the earlier stuff, more on an "I can relate to that" level.  A song about a giant spider will appeal to some folks, but a song about being in the depths of depression or the desolate feeling of rejection or a relationship falling apart... everyone connects with that.  

With Wretch I wanted to continue to make that kind of music.  Make those kind of songs.   

Sludgelord: Having played with Chris Gordon on the mighty “Suffer No Guilt” opus, was he an obvious choice for Wretch? He has done a great job on the album- grooves and powerful playing.

KS: Chris and I just play very well together I get his drumming and he gets how to play to my guitar stylings. We did right out of the box.  I like to jam, Chris likes to jam.  I mean we fight about every week and I'm sure he's love to shoot me.  But we do work well together.  

Sludgelord: How did you get Bryce Clarke involved with the band?

KS: He was a player I'd seen around and I liked his style a lot. And one day I saw his lady in the bar I work at and I asked what he was up to, he came up and I played him some rough recordings Chris and I had done.  He was interested.  Gave him the demo and he came to the first jam knowing all the stuff. We came up with the coda jam at the end of “RIP” that day. He just took bass solo over the 8th note drone part and Chris and I just played along.  All doubts were gone from my mind then. 

Sludgelord: The power trio is a great band format -there are fewer people to argue with for a start- was it your intention to maintain the format with Wretch, as you had done with TGOS?

KS: Yeah, I mean I know Chris would like a keyboard player and or a second guitarist... and there are times I think it would be cool. And then there are times when I'm like "I fucking hate singing I wish there was a singer out there". But in the end nah. The sound is what we have.  Chris is the drummer, Bryce is the bassist, and I sing and play guitar.  That's the sound and it works. 

Sludgelord: The biggest bands in metal are now getting closer and closer to retirement; do you think that young bands will always come up, or are death, trad, doom and all other sub genres destined for something akin to the modern rockabilly scene - conventions, festivals and nostalgia only?

KS: Probably the latter.  I mean the legends of doom are playing the same clubs a band like us plays. You know? This is a cult thing with a crowd that is also getting older.... and who knows what is going on with this music thing anymore?  

I gave up on worrying about the scene and all that shit years ago.  

Sludgelord: Having read interviews with you in the past, it seems that you have really dedicated your life to doom metal: Is it a high price for a small reward, or have you got out of all this what you wanted?

KS: Well... ... I have gotten what was there to get.  If you think there is money in this. You're wrong.  Over the years people have gleefully hurled the "sell out" thing at me.... and rightly so - I did the same idiot shit; the circle is complete. 

I don't think you can set out to do Doom Metal, it's something you kind of have to have in you, maybe more than any other style of music. 

I've been in a semi depressed state since I was 5 years old.  I remember being that young and realizing on some level how futile and dumb the world is.  And I've not been proved wrong.  The depressions found a home in Ozzy's voice and Geezer's words. And in Wino's voice and Chandler's riffs and words.  The depression found a friend in drugs and booze.  

At this point man I've seen more of Western Europe than almost anyone in my town.  I've met some awesome people.  I've played some great shows.  So what there is to do, I've done. 

Sludgelord: You are playing Roadburn prior to your UK tour; are there any festivals or places you want to play in Europe or the UK which you haven't done in your career yet?

KS: Oh tons.  Lots of places I'd like to play again

Band info: official || facebook

REVIEW: The Gates of Slumber - Stormcrow (EP)

By: Richard Maw

Album Type: EP
Date Released: 29/01/2013
Label: Scion Av Presents

 

 

 

“Stormcrow” DD track listing

1) Death March (5:50)

2) Driven Insane (5:36)

3) Son of Hades (6:11)

4) Dragon Caravan (5:06)

5) Of That Which Can Be (7:55)

The Review

The Gates Of Slumber follow up their excellent thudding opus of 2011 “The Wretch” with this five track EP of pure doom. For “Stormcrow” 'Iron' Bob Fouts is back behind the kit in place of Cool Clyde and his playing works well with the new material, just as Clyde's more straight ahead approach worked well with “The Wretch.” Other than this line-up change, it is business as usual in TGOS camp.

“Death March” opens things on a suitably sombre note, the pace is that of a snail, the vocals mournful, the bass rumbling, the solo- just after the four minute mark- superb. The emotion in Karl Simon's voice shines through and proves yet again that he carries the torch of true doom passed through the ages by Ozzy, Wino et al.  “(Devil's Grip) Driven Insane” opens with a strong drum groove with a nice thick yet live sound. When the layered guitars kick in with the distorted bass it is clear how much time Sanford Parker put into producing this and that he has the tones just right. The vibe is pure Vitus, the main riff infectious and the groove sits in the pocket very well. A burst of pace can be found after a few minutes and the rhythm section performs particularly well with Jason McCash's bass lines pinning together the sound fluidly. The “Sabbathian fast bit” is a tried and tested method in doom- but one not used to great effect much these days. It is good to see it back and acting as a bridge to the close of the song with a return to the central refrain- songwriting is not dead yet!

“Son of Hades” gives the listener a kind of mid paced chug with strong vocal hooks and creeping riffs. Worth noting is the shift to lyrics of a perhaps more personal nature in latter day material by this superb band. They appear more personal- albeit told in allegory and metaphor- than earlier albums such as “Suffer No Guilt” or “Conqueror”. Emotional heft has always been one of doom's strengths so this shift in lyrical focus is welcome and effective. Solos abound as the track progresses as the rhythm section keeps the pace and groove going well. A slower tempo follows with an effective chant and we are on to the penultimate track.

“Dragon Caravan” sounds like the title implies; lumbering, heavy with danger lurking everywhere. The riffs snake around appropriately with the guitars weaving in a rather melancholy way. The lyrical tale of frailty and weakness is a great companion piece to the downward musical spiral that the listener experiences. The guitar and bass of a three piece line-up often have more room to breathe and utilise creativity and such is the case here; McCash's role is crucial.

“Of That Which Can Never Be” finishes the EP in crushing style; doomy crashing chords herald in nigh on eight minutes of despair and creeping dread. Simon's voice carries the song along with a melodic performance of depth and power. Indeed, this closing track is perhaps closest in tone to earlier records. Make no mistake, though, this EP represents another progression in TGOS's sound and style. Each release has been different, whether by sidestepping or moving forwards, but the sound of the band is always recognisable. With more and more bands ploughing the doom furrow, this is no mean feat in itself.

If you like your doom traditional and very much METAL then this EP should be checked out immediately. To assist you Scion A/V are giving the download away for FREE! Just click the link, download, listen and enjoy.I assume that hard copy formats will also be available soon; I would buy the vinyl for the artwork alone, let alone the music. A CD copy for the car wouldn't go amiss either... The band gives you something, it is only fair that you give back. Doom on.

 



Band info: Facebook || Official