ALBUM REVIEW: Hollow Leg, "Civilizations"

By: Richard Maw

Album Type: Full Length

Date Released: 25/01/2019

Label: Argonauta Records

This Florida outfit come on like a freight train- an unstoppable band channelling the spirit of early High on Fire

“Civilizations” CD//DD//LP track listing:

1. Litmus
2. Dirt Womb
3. Mountains of Stone
4. Black Moon
5. Hunter and the Hunted
6. Intro
7. Chimera
8. Akasha
9. Exodus

The Review

This Florida outfit come on like a freight train- an unstoppable band channelling the spirit of early High on Fire but moving a little slower. From the opening pounding of “Litmus”, you expect sludge and that's what you get.

That said, there is much more to this record- acoustic guitars and clean vocals on “Black Moon” are just the start. There is a fair amount of stoner-ish atmosphere (“Hunter and the Hunted”, “Intro”) and some really cracking riffs. The production and mix are great; weighty and pleasing to listen to and the tempos are not just one slow pace. There are some real head-nodders in here too; “Chimera” is one of them and it utilises a mid-paced but oddly groovy approach. 

If you prefer a bit of gloom, then “Akasha” covers it well with some very doomy sounds that will appeal to even the most ardent Sabbath purist. The closing close-to-eight-minutes of “Exodus” is an expansive finish to a blinding record.

Hollow Leg inhabit the same kind of space as High on Fire (first album) but also cover the territory of Sleep, The Sword (early) and other bands who are on the doom/stoner/sludge spectrum whilst not quite fitting into one bracket. Recommended and really good.

“Civilizations” is available HERE

Band info: bandcamp || facebook

REVIEW: Green Lung - "Free the Witch" [EP]

By: David Jupp

Album Type: EP

Date Released: 19/02/2018

Label: Deckhead Records

In a genre packed with bands that draw on decades-old tone and aesthetic, it takes a mature hand to re-appropriate bygone creativity without sounding forced. Luckily there is a confidence and craft present in Green Lung’s writing that belies their months.  If Green Lung can expand the template that has served them so well across these four superb songs then a truly exciting future awaits.

“Free the Witch” CS//DD track listing:

1). Lady Lucifer

2). Free the Witch

3). Living Fossil

4). Older than the Hills

The Review:

It’s been two hundred and fifty days or so since Green Lung announced themselves on the UK heavy-stage with their blistering demo ‘Green Man Rising.’ In the months that have passed since that promising release, the London quartet have refined their craft across a host of England’s underground stages. Now armed with a growing following and half-an-hour of new material, the question is can Green Lung transfer the heft and excitement of their live show to tape?

‘Free the Witch’ sparks with lead single ‘Lady Lucifer’ and a crescendo of crisp guitar hammer-on. As the tension builds and we reach the twenty-seventh second, Green Lung proceed to drop the hammer on what is sure to be one of 2018’s stand-out riffs. The groove on display here bangs with such an endearing audacity that you can only hope the record to follow will measure up. As guitarist Scott Masson whittles down the dirt, singer Tom Templar makes his entrance. Washed in reverb and folk-horror croon Templar transmutes the bands 70’s aesthetic, from cover to sound. ‘You smiled with lips incarnadine, whispered black magic, rites obscene.’ As the song climbs to its apex Masson cracks the reigns with an outrageous solo and “Free the Witch”’s opener sets a ridiculous standard.

Title track ‘Free the Witch’ is up next and is a much more direct affair. The lurch and swerve of ‘Evil Empire’ that crackled in the opener is now replaced with a full pelt nod to debut-era The Sword. Just as the record becomes in danger of reverting to type the arrangement peels back and Masson injects another well-judged solo. ‘Free the Witch’ lurches home on a bed of cultish chant and half-time stagger.

In making the jump to Bear Bites Studios (Vodun, Ghold) and employing Wayne Adams on production Green Lung have shed the compressed savagery of their live demo and allowed their stellar rhythm-section room to breathe. Track three ‘Living Fossil’ demonstrates this upgrade perfectly and the song is all Andrew Cave’s. The arrangement follows a similar pattern but before any unwanted familiarity encroaches, Cave’s bass swaggers in for an overdriven solo. The months spent on various stages refining these cuts is evident and Templar hauls the song home, ‘Living fossil, a blast from the past.’

Green Lung’s debut closes in sprawling fashion with ‘Older than the Hills.’ Not content to banish their live demo to audio-history there is a clever re-integration of the vocal hook from ‘Freak on a Peak’ but this time the extended track-length really allows the band to flex their muscles. Across its eight minutes each musician takes a moment in the spotlight, and as Masson’s guitar wails in the storm Cave and Wiseman’s rhythm section rumble home on an array of deft fills and charming girth.

In a genre packed with bands that draw on decades-old tone and aesthetic, it takes a mature hand to re-appropriate bygone creativity without sounding forced. Luckily there is a confidence and craft present in Green Lung’s writing that belies their months. This confidence is only emphasised by the fact that b-side ‘When the Axe Comes Down’ is left off their debut. When you are in a vein of writing so rich you can cast away such strong songs it can only be a good omen. And that is what ‘Free the Witch’ is, an impressive and rousing omen, of greater things to come. If Green Lung can expand the template that has served them so well across these four superb songs then a truly exciting future awaits.

“Free the Witch” is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Wolftooth - "Wolftooth"

By: Richard Maw

Album Type: Full Length

Date Released: 19/01/2018 (Digital) |

05/2018 (LP) | 09/03/2018(CD/Tape)

Label: Cursed Tongue Records |

Blackseed Records

If you were disillusioned by The Sword after their first three albums, and if you loved Earth Witch then don't delay and get hold of this album as it is a riffing stoner metal delight.

“Wolftooth” CD//CS//DD//LP track listing:

1). Blackbirds Call

2). Aegaeon

3). Sword Of My Father

4). White Mountain

5). Frost Lord

6). The Huntress

7). Season Of The Witch

8). Forged In Fire

The Review:

Cursed Tongue Records, who recently put out vinyl for the excellent Earth Witch “Out Of The Shallow” album, have got in early as the label for Wolftooth. The band hail from Indiana and have not existed much longer than the time it has taken to put out a three track EP and then record this full length. So, what are Wolftooth all about?

It turns out that this four piece are purveyors of the finest in stoner metal; melodic riffs, but also fuzzed out tones and big sounds are the order of the day here. Think The Sword as a starting point (opener “Blackbirds Call” uses similar rhythmic motifs) but also think Angel Witch and you are about there.  Similarly “Aegaeon” utilises twin guitar sounds to excellent effect and uses slothful pacing to make the heavy happen. Great lead work and a spacey feel combine well. “Sword of My Father” has a great opening riff with some twists and turns and a solid Ozzy type vocal over the top.

“White Mountain” brings laid back vibes (the second of their demo EP tracks re-imagined for their debut), before “Frost Lord” ups the tempo and metal quotient considerably. “The Huntress” is clearly one of the bands centre pieces- featured on their aforementioned EP- this is a fine slab of melodically inclined stoner metal with great lead work and a well paced plodding tempo. The four minute mark brings a swinging groove of the finest type. Headbanging heaven.

Of the remaining two tracks, “Season of the Witch” is a bluesy and laid back track- a surprise change of pace late in the record, while “Forged in Fire” is every bit as dramatic as the title suggests. A slow burning intro, huge riffs and over six minutes of metal to close out this very worthwhile album. If you were disillusioned by The Sword after their first three albums, and if you loved Earth Witch (or haven't heard it) then don't delay and get hold of this album as it is a riffing stoner metal delight

“Wolf Tooth” is available here

Band info: bandcamp || facebook

REVIEW: Howling Giant - "Black Hole Space Wizard: Part 2 [EP]

By: Ernesto Aguilar

Album Type: EP

Date Released: 25/08/ 2017

Label: Independent

For such a new outfit, Howling Giant brings sophistication to the lyrical and musical aspects that you might not expect. The result will astonish those fans who have been eagerly awaiting this sequel.

"Black Hole Space Wizard: Part 2" CD//DD track listing:

1. Henry Tate

2. The Pioneer

3. Visions

4. The Forest Speaks

5. Circle of Druids

6. Earth Wizard

The Review:

Nashville, Tenn.'s Howling Giant, a relatively new addition to the stoner rock lexicon, has generated high hopes early. The first EP in this thematic series gained reams of positive reviews. Such coverage was earned fairly. Part One of the story was quite fuzzy, as well as robust, and drew comparisons to Electric Wizard, among other performers.

Yet can "Black Hole Space Wizard: Part 2" draw the same lofty praise as the initial recording?

The concept recordings – it is still a bit unclear if the story will carry on into a third EP, or more than that – tell the tale of humankind's rise and ultimate vanquish through the eyes of a protagonist. Such a heady vision can easily collapse under the weight of presenting that depth of a story with any hope of coherence. Howling Giant indubitably plumbs this mythology, but make it clear the music comes first. Arrangements are dexterous and vocals plaintive when needed, urgent the next. For such a new outfit, Howling Giant brings sophistication to the lyrical and musical aspects that you might not expect. The result will astonish those fans who have been eagerly awaiting this sequel.

Howling Giant has garnered a lot of support for its sound and been likened to bands like The Sword. Although you can hear many classic-tinged acts in Howling Giant's sound, repeated listens may conjure diverse parallels. The album's opener, "Henry Tate," for example, has a sound and vocal delivery reminiscent of NoMeansNo circa "The Day Everything Became Nothing." Given NoMeansNo's pioneering post-punk bona fides, that comparison is a high compliment, but it gives you a glimpse at how deceptively talented this young band is on the new release.

The new music seems like an impressive leap from Part 1. The washed-out vocals get a much better mix this go around. Drumming here is standout. The storyline, without spoiling anything, is furthermore going to keep you listening, especially if you enjoy a story with your songs. All said, Howling Giant demonstrates early accolades were deserved.

"Black Hole Space Wizard: Part 2" is available here

Band info: bandcamp || facebook

11 IS ONE LOUDER: Illinois stoner doom trio Earth Witch discuss their Top 5 stoner doom albums

A stoner/doom trio from Illinois is how Earth Witch are described and it is very accurate! Their debut album “Out of the Shallow” is most definitely for fans of Sleep, High on Fire and The Sword.  There are massive riffs on offer and the tracks have quite a range to them, too. You get mellow and bluesy swaggering muscular grooves and psychedelic Sabbath goodness elsewhere.

Simply put Earth Witch have delivered one of the albums of the year, every track is a winner. Every riff is massive. The production is raw and warm. Everything sounds big. Everything sounds heavy and for that Earth Witch need to be applauded for delivering a fantastic and heavy record and today it is our great pleasure to welcome the band to talk us through their top 5 stoner doom albums, as we take our weekly trip into the extreme and turn the volume all the way up to 11.  Why do we go to 11,  because its one louder

Kyuss - "Welcome to Sky Valley"

Kyuss really started to come into their own on "Welcome to Sky Valley", their third full length and first with member changes and being on a major label. I mean, "Blues for the Red Sun" is equally killer, but "Welcome..." encompasses all of the best song writing elements the desert rockers had been honing in on. While Queens of the Stone Age emerged out of its ashes (and was actually my introduction to the band), they never really could get back that "desert rock" vibe that still puts Kyuss at the top of the fuzzed out stoner rock genre. I love driving across the literal desert and jamming this on tour, specifically "100 degrees" - a short n' sweet banger. Has that loner rebel feel to it, while still most definitely makes you want to head bang right into the van's dashboard. Might be why so many bands try to copy their sound to this day. I reach for this record before QOTSA, Fu Manchu, Hermano, or any of the other killer projects that have come after. This one hits the spot every damn time. - Nathan

The Sword - "Age of Winters"

"Age of Winters" is one of the few albums we as a band can all agree on as an essential influence. Super catchy and always driving 70's inspired heavy rock. I don't think I need to go into great detail on this one as everyone with a slight interest in the genre has probably spun it multiple times over. What I personally dig most about this record is not just the amount of rad tempo changes, but how syncopated the drums and guitars are throughout. Gives it such a huge, yet overall tight sound. -
Nathan

Sleep  - “Holy Mountain” 

Is it a little too on the nose for us to put a Sleep record on this list? We don’t give a shit; everyone cites Sleep because they are the masters of the genre! The rhythms and grooves throughout “Holy Mountain” influenced our style heavily, and Matt Pike and Al Cisneros’ guitar and bass tones were a good point of reference for Ivan and I when we were figuring out our sound. Wave after wave of riffs pummel your brain, yet the overall cohesiveness and flow of the album keeps you interested throughout. Cisneros’s work on the album personally influenced my playing style for Earth Witch, as he adds these crazy bass fills in most the songs that are certainly noticeable, yet not too overbearing where it distracts the listener from the rest of the song. It’s also rad that a three-piece band like Sleep can sound as full as they do, which is another thing we strive to do with our music. The mix of driving rock and heavy doom on the album is a formula Sleep perfected, influencing us and a slew of other bands over the last 20+ years. - Derrin

Danava - "Hemisphere of Shadows"

Our drummer has long been involved in running his own independent label and distributing a variety of tape and vinyl releases. During a period where he was operating his own store front in Illinois he had become quite the authority in turning us all on to the best records and one such day he suggested “Hemisphere of Shadows” by Danava and I promptly purchased it. I got home to give it a listen and could not believe the amount of riffs this band could cram into their songs. Their guitar sound was really unique compared to most heavy bands sporting tones with crushing amounts of distortion and gain, Danava had a more classic slightly driven crunchy tone and derived more of their heavy qualities from the precision and intricacy of their riffs. The record was definitely inspiring to Earth Witch as we moved from our early primarily doom focused sound to a more intricate riff laden heavy rock. The record also set some aspirations for how I wanted to approach recoding. One of my favorite tracks on the record is “I Am The Skull” which has an awesome break where they shift into this sweet keyboard solo. Ever since I heard that track I had to write a song with a keyboard solo, even if it was just for the studio recording I had to do something cool like that. -Ivan

Harvey Milk - “A Small Turn of Human Kindness"

Individually the members of our band sport quite an eclectic range of musical tastes from bands like Converge to Captain Beefheart or Christian Death to Husker Du. I recall about six years ago I was on a kick of listening to exclusively weird avant garde and noise rock type music. Nothing but Naked City, Captain Beefheart, US Maple and Ruins (Japan). I remember I was hanging out with my friend Greg listening to music and he threw on this band Harvey Milk and recall being completely blown away by how heavy and diverse their sound was. Dynamic shifts in volume and mood presented this wholly unique form of heavy music that was as bludgeoning as it was vulnerable. I became a huge fan of the group and they kind of provided a gateway into reinvigorating my interest in heavy music. “A Small Turn of Human Kindnes”s is one of their best albums. It encapsulates the pure raw qualities of the group. Creston Spier’s howling vocals has never been more heart wrenching than on tracks like “I Did Not Call Out”. The spacious quality of the drum sound as demonstrated in the opening of “I Alone Got UP and Left” cultivates such an empty feeling in the pit of your stomach. Few other albums showcase so well the power of sonic and emotional force a three piece band can produce. -Ivan

Earth Witch’s latest record “Out of the Shallow” is available here

Band info: bandcamp || facebook

ALBUM PREMIERE: Calgary, Alberta’s Woodhawk deliver their riffmatronic new album "Beyond the Sun"

Fans of Black Sabbath, The Sword, Clutch, Truckfighters, Priestess, Mastodon,
Red Fang, Thin Lizzy take note, from the foot of the majestic Rocky Mountains comes Calgary, Alberta’s Woodhawk. Masters of straight ahead riff-rock wizardry, the power trio released an EP in 2014 and have continued forging ahead. Made of equal parts 1970s Birmingham and a myriad of 21st century heavy metal royalty, Calgary trio Woodhawk are purveyors of riff-centric rock and roll. Capable and original, the band is able to craft anthemic fist-pumping songs while forgoing tired stoner rock clichés. With time travel tested themes of science fiction, swords and sorcery, the band’s lyrics are born from snowy winters, hot practice spaces and pages of dog-eared paperbacks. While the musicianship reinforces recollections of Black Sabbath, modern influences that have helped you smash air drums or highway speed limits are undeniably present.

In their brief existence, Guitarist Turner Midzain, bassist Mike Badmington and drummer Kevin Nelson have taken the stage at The Commodore Ballroom, as well as landed slots supporting Elder and The Shrine. Expect their upcoming album ‘Beyond the Sun’, recorded with Jesse Gander at Rain City Recordings to official drop on Friday 7^th April, however you can stream this riffgasmic riffmatron only here at your no1 riff station, The Sludgelord.  Check it out below, drool bibs are advised.  You can preorder/buy the album here

Band info: official || Facebook || Bandcamp

Live Rituals

Apr 7 - Edmonton, AB - Sewing Machine Factory (CD Release Show)
April 8 - Calgary, AB - The Palomino (CD Release show)

Vagabonds of The Western Gig Tour:

May 4 - Vancouver, BC - The Cobalt
May 5 - Nanaimo, BC - The Queens
May 6 - Victoria, BC - Logan's Pub
May 7 - Kelowna, BC - Doc Willoughby's
May 8 - Edmonton, AB - Rendezvous Pub
May 9 - Saskatoon, SK - Vangelis Tavern
May 10 - Winnipeg, MB - The Handsome Daughter
May 11 - Regina, SK - The German Club
May 12 - Calgary, AB - Palomino
May 13 - Fernie, BC - Northern Bar

ALBUM REVIEW: Conclave - "Sins of the Elders"

By: Brandon Green

Album Type: Full Length

Date Released: 10/06/2016

Label: Patac Records |

Lost Apparitions

Overall, Conclave are a band you should absolutely pay attention to if you’re a fan of the stoner doom genre and love bands in the riff worship category. They bring a refreshed approach using melodic/harmonized guitars, reverb soaked leads, soaring yet aggressive vocals, and highly energized drumming. Conclave paced this release very well, and I frequently found myself having riffs stuck in my head long after listening

“Sins of the Elders” CD//CS//DD track  listing:

1). (Intro) Descend

2). Funeral Fyre

3). Black Lines

4). Cut it off

5). Mammut

6). Cold Comfort

7). Sins of the Elders

8). Kaltas (Outro)

The Review:

In a world where it seems stoner doom is king; Conclave pull off their best work to date with an anger-soaked massive riff machine. I was lucky enough to see Conclave live in Boston a few times, and they were overwhelming with their stage presence, masterful song crafting, and beastly amp setup. It’s rare that a band captures their live sound on a record, and Conclave have totally nailed with this. With each song clocking in around 7-9 minutes, this is a doom release begging to be cranked. The album invokes visions of punishment, despair, hopelessness as you wander through the tomb-like atmosphere this album creates.

“Sins of the Elders” starts off with “Descend” which sets the mood using rain samples, reverb/delay drenched clean guitars, and spoken word before tossing the listener into a dark well full of pummeling riffs. “Funeral Fyre” is loaded with powerful hits and soaring growled vocals, layered with massive sounding distortion/fuzz. Jerry’s vocals really shine on this release, giving a melodic feel to the angry shouting style seen in stoner doom. His vocals remind me of the style seen from Tom Fischer in Triptykon’s releases. It’s clear the band has a fantastic handle on the genre and introduces their own spin with more variation, catchy riffs, melodies, and killer guitar solos reminiscent of 90s era death metal.

The third track, “Black Lines,” hones in on the more stoner doom sound of the band and builds up with crushing riffs and amazing drumwork. Dan Blomquist is a fantastic drummer, and the highly creative drum riffs follow the guitar work and add an entirely new amazing layer to the song writing on this entire album. “Cut it Off” immediately reminded me of early Crowbar with the slow tempo drums and a darker more progressive approach to the Sabbath riff style. When the chorus comes into the first solo, this song quickly became one of the highlights of the album for me.

“Aethereum” stood out to me with the low spoken word vocals over the crushing doom riffs and syncopated drums. The reverb/delay drenched leads in this song make it sound particularly evil mixed with the spoken vocal style. The alternating solos on the song were a welcome addition, and showcase that Conclave are far more than your run-of-the-mill stoner doom band. I loved this vocal approach so much that I wish it was peppered into some of the other songs. “Cold Comfort” grabs the listener in anticipation with guitar feedback and overdrive bass/drums to build atmosphere before the band crushes the listener with what they do best.

The title track, “Sins of the Elders,” was my favorite of the entire release with a down-tuned melodic Iron Maiden inspired riff which invokes feelings similar to the killer album artwork. The guitar harmonies sound great and really showcase the chemistry of the band. The harsh backing vocals in this song and double bass bring a welcomed dynamic to the band’s sound. The final song, “Kaltas” brings a calming atmosphere similar to how the album started using a reverb-laced acoustic guitar and subtle cymbal hits. An excellent closer giving the listener the feeling they completed a journey back to familiar territory and conquered the welcomed horrors in the depths of “Sins of the Elders”.

Overall, Conclave are a band you should absolutely pay attention to if you’re a fan of the stoner doom genre and love bands in the riff worship category. They bring a refreshed approach using melodic/harmonized guitars, reverb soaked leads, soaring yet aggressive vocals, and highly energized drumming. Conclave paced this release very well, and I frequently found myself having riffs stuck in my head long after listening. For $10 on bandcamp, you get master-crafted doom with a full 6 panel digipak with amazing artwork completely reminiscent of how the record sounds. Throw on some headphones, and descend into the bleak punishing atmosphere of “Sins of the Elders.” I highly recommend it.

“Sins of the Elders” is available here

Band info: bandcamp

FFO: Tryptikon, Crowbar, Electric Wizard, Windhand, (early) The Sword

Bedowyn - "Blood of the Fall" (Album Review) & Exclusive Album Premiere

By: Richard Maw

Album Type: Full Length

Date Released: 27/05/2016

Label: Via Nocturna

While the overall sound is pretty weighty, this is not as aggressive as the likes of the High on Fire; Bedowyn cover more of a middle ground. This is eminently listenable and surprisingly accessible stuff.  “Cotards Blade” is a good example of the overall sound; riffs, elements of traditional metal, some time changes and definitely metal drumming (not rock, as it were) but it won't take your head off.  “Blood Of The Fall” is a fine independent release by Bedowyn and a worthy addition to the stoner doom/heavy metal canon. Support the band and check it out.

“Blood of the Fall” DD track listing:

1). The Horde

2). Rite To Kill

3). Blood of the Fall

4). Cotard’s Blade

5). Leave the living…for Dead

6). For a Fleeting Moment

7). Where Wings will Burn

8). I am the Flood

9). Halfhand

10). Lord of the Suffering

11). The Horde (Exodus)

The Review

So, stoner doom is alive and well in the US with the likes of Bedowyn recording albums like this. After an intro, “Rite To Kill” sets the album up in grand style. The style is similar to early albums by The Sword or a more trad High on Fire, perhaps. There are fine riffs here, double tracked vocals and rolling bass drums aplenty. Heavy, for sure, but not drone or ridiculously slow. There is good lead guitar work and the vocals are clean but with the necessary grit that this style needs. The title track is a fine exercise in tasteful drumming and propulsive riffage.

While the overall sound is pretty weighty, this is not as aggressive as the likes of the aforementioned HOF; Bedowyn cover more of a middle ground. This is eminently listenable and surprisingly accessible stuff. “Cotards Blade” is a good example of the overall sound; riffs, elements of traditional metal, some time changes and definitely metal drumming (not rock, as it were) but it won't take your head off. This is, to draw a comparison, late period Mastodon as opposed to early period Mastodon (not comparing material quality, just approach and placement on the metal spectrum).

You will notice that over the course of the eleven tracks on offer here, none go over the line into the very long/ubiquitous prog track territory so beloved in the genre these days. Instead, the band keeps things pretty tight and focused- there are songs here and a clear effort has been made to produce a streamlined and solid record. It pays off, and allows the band to include a clutch of instrumentals (now that is METAL) including “For A Fleeting Moment” which continues in fine Sabbathian tradition by being acoustic. I am a huge fan of this most metal of album traits as it breaks up the record, allowing the album to shift from one part to another and allow some dynamics to be added. “Where Wings Will Burn” continues the acoustic motif for a time, and then we are into side 2 (in my way of thinking anyway) with vocals only appearing after a couple of minutes.

The appropriately titled (given the end of days type scenes in Northern England at the moment) “I Am The Flood” offers almost spacey riffing combined with a fairly quick tempo. “Halfhand” starts out moody and acoustic (I like the use of acoustic guitar throughout the album) but makes use of the tried and true gentle and forceful dynamic. “Lord Of The Suffering” is the final vocal tracked song of the album and offers up some great passages of doom over its six minutes plus. Finally, the tricks of the intro are reprised for the instrumental closer.

“Blood Of The Fall” is a fine independent release by Bedowyn and a worthy addition to the stoner doom/heavy metal canon. Support the band and check it out.  

You can stream the whole album exclusively in full below.  

“Blood of the fall” is available here

FFO: The Sword, Baroness, Orange Goblin, High on Fire

Band info:  facebook | bandcamp