ALBUM PREMIERE: DUN RINGILL offer fans a dark and doomy "Welcome"

When The Order of Israfel took a one year break from September 2017, the rhythm section Patrik Andersson Winberg (Bass) and drummer Hans Lilja (also in Lotus) grabbed the chance to create new music again together with Patrik's old band mate from the Doomdogs era, Tomas Eriksson (Intoxicate and ex Grotesque).

To make this exciting project of DUN RINGILL as great as possible, the band teamed up with Gothenburg's fellow musicians, guitarists Tommy Stegemann (Silverhorse), Jens Florén (also in Lommi & ex- live guitarist for Dark Tranquillity) and Patric Grammann (SFT, Neon Leon). Of what started as a dark and doomy jam project with Nordic folk influences, should become something bigger: This Friday, March 1^st, DUN RINGILL will release their first full-length album, “Welcome”, with Argonauta Records! Ahead of its official release, you can stream the album now and in full, exclusively with THE SLUDGELORD!  “Welcome” is issued on CD, LP and Digital Download formats  and is available to purchase at: www.argonautarecords.com

Says the band “We are super stoked that we finally will be able to show the world our beloved debut album that we recorded last year and we are extra happy that The mighty Sludgelord are streaming this beast exclusively before it is released officially!”

Band info: facebook

The Sludgelord "Sour 16 for July 2016

By: Aaron Pickford

As we talk stock at The Sludgelord, that we achieved the milestone of publishing 4000 articles and over 2000 album reviews this week (n.b. Steve Howe’s contributions cannot be understated), our commitment to offer you many more magnificent riffs is unwavering, therefore it is time cast our minds back upon the month of July and digest the 16 albums that would become July’s sacrilegious ‘Sour 16’, the finest and most profane riffs around bundled together into a premium sized sonic soufflé.

You know the drill, each month; you the reader are unwittingly compiling a list of the top 16 records that we featured in July, covering all genres of metal.  Is it not a chart, in which reviewers or contributors extol their opinion about their favourite music.  The ‘Sour 16’ are the records that have been trending the most at Sludgelord Headquarters.

The results are compiled based on page views alone and calibrated into the list below. So kick back, with a cold one and let the power of the riff compel thee! All reviews can be viewed by clicking the artwork and we have included album streams wherever possible. (Total views since their publication are highlighted in red)

16). Graves At Sea – “The Curse That Is” (303)

The album opener and title track drops the anchor to establish the length, tone and rhythm this 76 minute voyage is about. An unpredictable, violent haze of amplifier worship, “The Curse That Is” is a strong candidate for one of the top 10 albums of 2016.

15). The Human Condition – “Pathways” (308)

This is a classy album, full of doom and melancholy. The band are great live and boasts some of the North West's most enduring doom talent from such luminaries as Unsilence, for instance. The band play a blinder throughout and front man Nathan Harrison really captures the feeling of powerlessness so prevalent in the lyrics and themes here. Harrowing stuff indeed.

14). The Order of Israfel – “Red Robes” (330)

Titled "Red Robes," their sophomore album is a crushing slab of classic doom. Twin guitar harmonies permeate the arrangements; slow, lumbering beats intermingle with high-energy, uptempo passages; stark vocals deliver creep out lyrics; all in support of their almighty neck breaking riffs.

13). Wytch Hazel – “Prelude” (343)

If you have any interest in Tull, Ash, Lizzy, Sabbath et al and yearn for a band to come along and play like those heroes of a bygone era, Wytch Hazel are definitely worth your time and money. They are a great band and one that is doing something unique- out are occult tropes and devil-ish imagery, in are song-writing, medieval sonics/themes and enthusiasm rather than cynicism. A triumphant record on every level.

12). Bleak – “No Light No Tunnel” (350)

From the jagged intro of “Teeth” to the guttural barks that bring “Fuck Your God” to a close, Bleak do not let up for a second. Every track here is a potent blend of Converge’s nastiest moments and the crushing attack of Coalesce brewed in a vat of filthy, thick sludge.  “No Light No Tunnel” is not pretty but makes for a horribly captivating listen. Few records this year will match the vitriolic onslaught Bleak deliver here.

11). Adolyne – “Of Ash/Of Shit/Of Shame” (363)

The whole album feels like it’s teetering on the edge of collapse which lends a real thrill and urgency to proceedings. This is felt most strongly during epic closer “Brawler’s Fracture”. Intense, restless riffing akin to Keelhaul is swallowed by a buzzing swarm of squealing guitars that threaten to consume all. Just before chaos fully descends, the track breaks into a crushing slow-motion finale.  “Of Ash/Of Shit/Of Shame” is a skilfully constructed visceral journey. Adolyne create a unique noise, a captivating damaged racket that will enrapture those with a taste for uneasy listening.

10). Wo Fat – “Midnight Coment” (400)

Stoner, psychedelia, doom and classic rock all coalesce here with massive results. Only one track under five minutes, the rest sprawling languidly well over that mark. Hendrix jamming with Fu Manchu and Sabbath¸ simply put, this is storming stuff; wrought from the heaviest of iron and the lightest of air. Massive.

9). Ghold – “PYR” (444)

“PYR” is an exceptional release from Ghold that really cements their position as the finest heavy act in the UK right now. It is the sound of a band who exist in a world of their own, above and beyond our plane of existence and drifting ever closer to the outer limits.

8). Reproacher – “Nature’s Bastard” (475)

Huge, awkward riffs dominate the landscape, their ugly, discordant racket is reminiscent of Converge at their nastiest.  This is a mighty offering, a captivating combination of savage intensity and considered dynamics.

7). Cough – “Still They Pray” (507)

6). Solothus – “No King Reigns Eternal” (748)

An encompassing album with an unforgiving heaviness, "No King Reigns Eternal" sees Finns Solothus’ improve on their debut album, and release one of the heaviest doom releases so far this year. Instilled with death metal elements and no signs of calm, it is a harrowing album full of weighty monolithic riffs and a murky atmosphere.

5). Wormed – “Krighsu” (953)

Krighsu’ is ten tracks of unrelenting tech-death, set at a warp speed that has no intention of ever slowing down.  Space is infinite, and it seems WORMED’s ability to create jaw-breakingly heavy music is just as vast.

4). Cold World – “Autumn” (1033)

Börner writes and creates music that should appeal to both purist and tourist alike. Not because he haphazardly smashes the pieces into each other, like a child with their toys, but because his instincts and strengths do so organically.  “Autumn’ is flush with atmosphere and overall is a cohesive and brilliant listening experience.

3). Wretch – “Wretch” (1877)

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.

2). Periphery – “Periphery III: Select Difficulty” (2009)

Experimental metal bands like Periphery will (hopefully) never settle for sticking to one particular groove.  Constantly innovating, this adds to “Juggernaut”, jumping off from that platform and diving into dark, unexplored depths.  Music should surprise and inspire, and “Periphery III: Select Difficulty” does both with eye-opening results.  Just watch out for unexpected face-melting, okay?

1). Dunsmuir – “Dunsmuir” (2021)

Dunsmuir, manages the uncanny trick of amounting to the sum of its parts. The record's players have some serious pedigree and none if it is wasted. Vinny Appice is as powerful as ever, with a beastly snare sound, while Bone and Davis are a formidable strings team. Fallon puts in a hardworking and uniformly stellar shift as per usual.  Simply put, if you like Clutch and Dio-era Sabbath, you will be right at home here. If you are a fan of Fu Manchu, there are sounds for you here as well. This album rocks, it’s that simple.

A big thank you as always to our amazing writers, your dedication knows no boundaries and for that I am truly grateful.  February’s “Sour 16” features reviews by:  Richard Maw, Daniel Jackson, George Parr, Charlie Butler, Chris Markwell, Doza Hawes  & Gerardo Pacheco

The Order of Israfel - "Red Robes" (Album Review)

By: Doza Hawes

 

Album Type: Full Length
Date Released: 27/05/2016
Label: Napalm Records

 

 

 

Titled "Red Robes," their sophomore album is a crushing slab of classic doom. Twin guitar harmonies permeate the arrangements; slow, lumbering beats intermingle with high-energy, uptempo passages; stark vocals deliver creep out lyrics; all in support of their almighty neck breaking riffs.

 

 

“Red Robes” CD//DD//LP track listing:

 

1. Staff In The Sand
2. The Red Robes
3. In Thrall To The Sorceress
4. Swords To The Sky
5. Von Sturmer
6. Fallen Children
7. A Shadow In The Hills
8. The Thirst

 

The Review:

 

2016 has been a tough year for music fans. We've lost too many great musicians and we've seen the end of some truly great bands this year. But-- the Doom genre is still thriving, great music keeps coming out and The Order of Israfel have again delivered us a killer album to keep us going!

 

Titled "Red Robes," their sophomore album is a crushing slab of classic doom. Twin guitar harmonies permeate the arrangements; slow, lumbering beats intermingle with high-energy, uptempo passages; stark vocals deliver creep out lyrics; all in support of their almighty neck breaking riffs.

 

Aside from the great song writing, excellent musicianship, and fresh riffs, what really stands out on this album is the production. The guitars are fuzzy yet articulate, the drums sound like you're sitting in the front row at an intimate venue, and the bass is low and growling. The vocals are stark and sound virtually unaffected. The brutally spartan vocal sound is the perfect match for singer Tom Sutton's unapologetic style. He's not here to show off vocal chops or wow you with vocal gymnastics, his style is more subtle than that, drawing you into a bleak world of doom and destruction, monsters and chaos, not unlike the early Hammer Horror films of the 1960's and 70's. Love it or hate it, he's putting himself out there and not hiding behind any studio magic.

 

Another standout is the wide range of energy and tempo on this record. The songs take their time, building from slower, crushing tempos to upbeat, high energy rock passages in a way that catches you off guard and punches you in the face.

 

I can predict some listeners scratching their heads about the acoustic ballad, "Fallen Children." At first listen, I did, but as I've spun the album a few more times this track has grown on me and it offers a brief break from the riffs before dragging you back in with the upbeat track, "A Shadow in the Hills."

 

With little exception, the songs on "Red Robes" are long. Final track "The Thirst," clocks in at nearly 16 minutes, but these songs need to be long. The band masterfully navigates from passage to passage in a way that, similar to progressive rock, takes the listener along for the ride.

 

"Red Robes," out now on Napalm Records and is available here

 

Band info: facebook

The Sludgelord Exclusive Video Premiere - "Swords To The Sky" By The Order of Israfel

By: Aaron Pickford

THE ORDER OF ISRAFEL unleash their second studio album “Red Robes” – out May 27th via Napalm Records and today at The Sludgelord we present the European premiere of a brand new video for their track “Swords to the Sky”.  Having established themselves as a formidable live act and on the back of their debut album “Wisdom” in which we declared that it was   "a strong contender for album of the year” in 2014, this record is essential listening, so be sure to check out this awesome tune below as well as all the important info you need.  

“Red Robes” will be available as 6-page digipack with bonus DVD, as well as 2LP Gatefold edition with bonus DVD.  

“Red Robes” track listing:
1. Staff In The Sand
2. The Red Robes
3. In Thrall To The Sorceress
4. Swords To The Sky
5. Von Sturmer
6. Fallen Children
7. A Shadow In The Hills
8. The Thirst

Bonus DVD: Live At Sweden Rock Festival 2015
1. The Noctuus
2. The earth will deliver what heaven desires
3. On black wings, a demon
4. Promises made to the earth
5. Wisdom/Morning sun (Satanas)



Band info: facebook

Live Review: Pentagram / The Order of Israel & Mower @ Sound Control, Manchester, 15/11/2015

By: Phil Weller 

 “Bear in mind that there’s a scene now,” Cathedral vocalist and Rise Above Records founder Lee Dorrian recently mused to me, reflecting on his band’s humble beginnings. “When Cathedral started there was Candlemass – and Trouble if you looked deeper – but there was only a handful of people around the world that actually listened to this type of music. Now it’s a recognised thing and it has a whole scene around it. It’s a genre in its own right with about 40 different sub genres, it’s a lot more recognised than it was.”

Indeed, if it weren’t for Pentagram, the case for argument that doom wouldn’t even be a thing at all is as strong as an ox on steroids. The fact that The Sludgelord itself exists is credence to Dorrian’s comments on the movement’s expansion, on the fact it is now exactly that, a movement. Yet, I’m in two minds whether Pentagram’s headline show in Manchester tonight, in support of their eighth album, ‘Curious Volume’, should have happened.

Put bluntly, Bobby Liebling, a legend though he may be, ain’t no spring chicken anymore. He’s old, haggard, frail and looking more like Golem than an untouchable Rock God. He heavily relies on his microphone stand to keep him upright, his knees always seeming on the verge of buckling. He tries to dance seductively – but a 61 year old’s hairy nipple protruding from a half buttoned up gold shirt is not want I want to see. Ever. Mid-set someone in the audience yells the million dollar question of “how are you still alive?” Everyone laughs, I do too, but I laugh with an air of discomfort. How is he still alive? I spent the set terrified he’d keel over and die at any moment, it was painful.

On the other hand however, you have to admire his balls – but not see them, good god no! At least he didn’t go that far. He could be at home with his feet up having a nice cup of cocoa by the fire and reading Oprah’s book of the week. But no, he’s still at it, making new music with his cohorts and getting out across the world letting people hear it live and in the flesh. As for the dancing and sickening eroticism, my friend strikes upon a point: “That’s what it would have been like seeing them in the 80s.” So yeah, they may not be particularly aging gracefully, but this is authentic Pentagram and it is definitely an honour to witness such a vital band strut their stuff.

Musically they are reasonably strong. It’s nothing mind blowing, but Victor Griffin has some impressive riffs and lead work in his arsenal. Back in the band as part of his continuous yo-yoing in and out of the quartet, he’s the real torchbearer tonight, giving the band some fire and sharpness. The explosions of opener ‘Death Row,’ met with huge cheers, are impressive. But it’s more the weight of their import and gravitas than the performance itself that makes it – you know that once upon a time this was a band capable of giving much, much more.

Elsewhere, described by that same friend as “Misfits with perms” Sweden’s The Order of Israel, one of two support acts, had helped make the night a little more memorable. Blending NWOBHM jaunts, classic rock sensibilities (so many harmonies) and a doom rock gloom, tying it all up in a bow that is resolutely Scandinavian, there is plenty to get into here. Imagine the lovechild of Ozzy Osbourne and Mikael Akerfeldt fronting a band that manages to bring to mind Danzig, Judas Priest and Pentagram themselves across the same song. Those harmonies are an integral bedrock to their sound and it adds a gracefulness that flirts with the darker, doomier aesthetics of the band. It’s hard to decipher whether what they do has an element of cheese or charm to it, but regardless they produce an enjoyable set with plenty of energy and moments which has the crowd nodding in appreciation.  

Yet, the show is stolen, in one hell of a smash and grab, by the local support. Manchester’s Mower is simply incredible. Still seeing themselves as the “new boys” on the scene – especially in a city already rife with doomy goodness – you could forgive them for being nervous. They’re supporting their idols and, with no recorded music out there yet, are still proving themselves to the masses. Under the dim spotlights of Sound Control however, they don’t just grab the bull by the horns but they kill, gut and eat the fucker too.

A three piece consisting of a guitarist, vocalist and drummer, listening to them, you couldn’t even imagine there being a bassist. The guitar tone manages to perform something of a miracle in creating enough low end to fill the void that a bassist would otherwise – and simultaneously cure any constipation suffers  in the room – while maintaining a pinpoint clarity that bolster’s the presence and intricacies of his riffs.

JJ is a hilarious frontman, slapping his slightly obtuse (beer) belly and acting like a bit of a nutter all round. His growls are gigantean and fierce though, a really prestigious forcefulness to them that swallow you whole. Visually they are just as compelling for it.

The youngest and hungriest band on the bill, they give it everything they have and more. The passion and heart they play with is clear to see. So many of the local scene is here to support them too. Getting John Nicholson of Pist to leave the pub for half 7 is an achievement in itself, but in all it shows the admiration people have for them already.

Pentagram may be fading out with age, but without them there wouldn’t be youthful and devastatingly entertaining bands like Mower in existence. It’s time to pass the torch, but thanks to the Virginian hell bringers, they’re spoilt for choice for whom to pass it to.



An interview with Tom Sutton from The Order of Israfel

Sludgelord) Tell us about how The Order of Israfel got started, how did you come together and decide to start The Order of Israfel?

            Tom) I've had this band in mind for over 10 years.  I'd been working on ideas

            and songs since about 2003, and then when I moved to Gothenburg in 2012,

            it was   finally time to look for the right people for the band.  I had met Patrik

            on the Pentagram tour when I was guitar teching for them.  His old band,

            Doomdogs played 3 shows on that tour, and I got along really well with

            everyone in their band.  When I started talking about moving to Gothenburg,

            he said he'd be interested in playing together.  That was the first piece of the

            puzzle.  Patrik knew of Hans, our drummer, knew about his old band, Lotus,

            and knew he   was a Black Sabbath obsessive.  We got together and

            jammed.  It was great straight away, actually.  Staffan came a bit later.  We

            tried out a few people, but none of them seemed right.  Finally, Staffan, who

            was my housemate at the time, asked to hear the demos of my songs, and

            really liked them.  We tried him out, and it sounded great.    We're very lucky

            with how the line-up has turned out.  We sound good together, and we all

            get along really well.

Sludgelord) What is the meaning of the name?

            Tom) I first heard the name Israfel when a friend referred to him as the angel

            of music.  That idea just totally captured my imagination.  I feel like music is

            one of the great divine forces for good on Earth, and I loved the idea of an

            angel that personifies that.  Yes, it comes from Islam and is mentioned in an

            Edgar Allen Poe poem too, but the main inspiration came from that first time I

            Heard the name.  The idea behind the name The Order Of Israfel is from my

            experiences in finding such a strong connection between music fans around

            the world.  It doesn't matter what genre you're into, if two people who truly

            love music come together, then there's some kind of understanding there.  I

            created the idea of The Order as a celebration of that understanding and

            connection, and of the divine healing, uplifting, and teaching power of

            music.
 

Sludgelord) How does it feel being a doom band from the Swedish home of thrash metal?

            Tom) It's fine!  We know some of those guys.  Actually, we're playing at the

            next Gothenburg Sound Festival with some bands like that.  We're

            comfortable not having an immediate doom metal scene around us, 'cos it's

            normal for doom bands to exist in isolation.

Sludgelord) You have had a pretty relentless tour schedule, tell me about some things you do to keep centred during the hectic times?

            Tom) I highly recommend listening to Enya!  But really, I love the guys in the

            band, and when I was dealing with some personal issues during this tour, they

            were 100% there for me, as we all were for each other, and that helped me

            during the difficult times.  And Enya!

Sludgelord) What has been your favourite country to play in?

            Tom) Hmmmm, I would say that the best gigs on the tour for us were

            Gothenburg in Sweden, Siegen in Germany, and Paris, France, but

            everywhere is fun to play in its own way.  Norway is beautiful, the UK is full of

            Sabbath vibe, Germany has a lot of serious doom metal fans.  There's

            good things everywhere.
 

Sludgelord) If you had to name an overall influence the band have used to inspire the music (not necessarily another band, it could be an ideology or something unrelated like a love of food) what would it be?

            Tom). It would be spiritual pursuits, I guess.  Looking for ways to be kinder,

            happier, simpler.  Some of the songs are directly about those things. 

            And nature too.  I love the feeling of forests, and we tried to create that

             kind of feeling in the songs.  

Sludgelord) What would you say is the biggest accomplishment the band has achieved?

            Tom) I guess making an album that we're proud of is the biggest.  We're really

            happy with everything from the album itself to the artwork.  But there have

            been a few proud moments.  I love it when people who are serious doom fans

            write to us.  And we had some great reactions on this tour.  One guy followed

            us to three shows in the UK.  He even slept in his car to make it happen.  That

            kind of stuff makes us really happy.

Sludgelord) Tell me about the phenomenal album you recently released, how was the recording process? What was the writing process like?

            Tom) Thanks very much!  The writing process was pretty much me slowly

            putting songs together over a period of a few years.  Once the band

            was together,   there were some parts of songs that we worked on together,

            though.  I wanted to create the kind of spooky but heavy and rockin'

            songs that I wanted to hear.  We recorded it with a guy called Jörgen

            Cremonese, along with Charlie Storm who recorded the drums and co-

            mixed it with Jörgen.  The drums were done at Charlie's studio in one day,

            and the rest was at Jörgen's    house.  It was really relaxing that way.  We had

            no deadline at all.  We just recorded till we were done.  He has a nice

            house on a hill, so the view was great, and the atmosphere was perfect. 

            He's very particular about details.  Everything from amps to string types to

            what plectrum we used for each song.  He's a great producer.
 

Sludgelord) Run me through the live gear each one of you use, how does it differ from the gear you used to record?

            Tom) On the album, it was a Swedish amp called an Elmwood for both Staffan

            and I, along with an old VEM through fuzz pedals.  And we used an old Vox

            for the solos.  On stage, Staffan is using a Schmidt by Diesel, which

            sounds wonderful, and I've been using my Hiwatt through a modified

            Ibanez Tubescreamer.  Staffan and I just used the same guitars we play

            on stage.  Patrik has a great   Acoustic bass amp that sounds killer, and his

            own custom bass made by Inferno Guitars.  And Hans has this killer Ludwig

            kit that used to belong to Dozer.  We all love that kit.

 Sludgelord) What are you listening too at the moment?

            Tom) A lot of Cathedral as always!  That never ends!  I recently played a

            Status Quo tribute show with another band I'm in called Horisont, so I've been

            really exploring the 70's Status Quo records.  And one thing I love to do is listen

            to Hans Zimmer's Batman soundtracks while reading Batman comics, so a lot

            of that too.
 

Sludgelord) Anything you would like to plug?

            Tom) Sure!  Horisont have just released a new 7" called 'Break The Limit', which

            is the first thing of theirs I've played on, and my new band, Night Viper, will be

            releasing its first single soon too.  We sound like early Judas Priest or 'Kill 'em

            All'- era Metallica as fronted by Tina Turner.  Check it out!

Interview by: Asher G. Alexander