Showing posts with label The Wounded Kings. Show all posts
Showing posts with label The Wounded Kings. Show all posts

Tuesday, 5 June 2018

ALBUM REVIEW: Witch Mountain, "Witch Mountain"

By: Richard Maw

Album Type: Full Length
Date Released: 25/05/2018
Label: Svart Records



The record can most certainly be filed amongst Witch Mountain's best and will slot right into the collections of doom heads alongside The Wounded Kings, Electric Wizard, Cathedral, Castle and so on. This is slow and bluesy doom of the finest vintage with a vocalist who is fantastic.




Witch Mountain” CD//DD//LP track listing:

1). Midnight
2). Mechanical World
3). Burn You Down
4). Hellfire
5). Nighthawk

The Review:

A doom institution of the last twenty years, Witch Mountain are back with their first full length post Uta Plotkin's departure. Kayla Dixon has stepped up to the mic and she absolutely delivers a vocal tour de force on this low, slow record. The bass is as deep as a mine shaft (supplied by another new addition to the line up- Justin Brown) and the whole sound consists of self assured performances alongside a very big sound.

Whether you will like this album depends entirely on your liking of doom; if you like Sabbath, you will probably like this. Likewise, if you like Sleep... ditto. Hell, even those at the more sludge end of the doom spectrum will find much to enjoy here. Dixon employs a ferocious growl at times to go with her crystal clear soulful vocals (double tracked for effect at times) which should appeal to all sides of the doom coin.

It's not perfect- the pace is uniformly slow and the fact that there are only five tracks here might irk some listeners- even if track five edges towards the fifteen minute mark! Opener “Midnight” tells you much of what you  need to know about the new record; it's weighty and atmospheric in equal measure, while utilising a lot of what is best about the genre in terms of sound and themes. From there, “Mechanical World” successfully captures the right mood and the record is starting to take firm form.

The sound is darker for “Burn You Down” and the pace is no quicker. “Hellfire” offers up a two and a half minute interlude of acoustic and folksy melancholy which acts as the perfect bridge to what is the grand finale.

Clearly, the closing “Nighthawk” is the heavy artillery here; a sprawling epic of huge proportions- but the rest of the album fits together perfectly and the five tracks absolutely work as a whole piece. The record can most certainly be filed amongst Witch Mountain's best and will slot right into the collections of doom heads alongside The Wounded Kings, Electric Wizard, Cathedral, Castle and so on. This is slow and bluesy doom of the finest vintage with a vocalist who is fantastic.

“Witch Mountain” is available here



Band info: bandcamp || facebook

Saturday, 5 March 2016

“Big Riffs, Heavy Tones” - NOIZ All-Dayer Preview April 2nd 2016 @ Rebellion, Manchester, UK

By: Phil Weller

In Manchester, UK you will struggle to find a bigger champion of big riffs and heavy tones, of tidal sludge and dead-mongering doom as NOIZ promotion’s founder Eytan. And on April 2nd NOIZ Promotions takeover Rebellion to do just that; a venue that both physically and metaphorically stands up against the bullshit of the mainstream to wrap low down and dirty music under its ever-expanding wings. Situated on Deansgate, it stares across the road at a fleet of trendy cocktail bars, where egos, tracksuit bottoms, Nike Airs, fake tans and plastic drumbeats have full sway. It snarls at those places; a warm and welcome abode for the ‘outsiders’ who like their music a little more abrasive, a little less fabricated.
The bill is littered with names lauded frivolously on the hallowed pages of The Sludgelord – (Admiral Sir Cloudesley Shovell, Steak, Witchsorrow, Boss Keloid and more) – just looking at the poster is enough for any self-respecting Sludgelordian to pitch a gazebo in their trousers. 
Eytan’s battle plan then, is a simple one: “I enjoy putting bands on that don't come to the city often and putting my favourite local bands with them. I started NOIZ just under a year ago and hosted a few different kinds of event. So far booked around 50 bands.”
The inclusion of the rough, raw and ready old school rock n’ roll of the Admiral Sir Cloudesley Shovell, is the cherry on the top for him, he reveals: “I've managed to miss them each and every time I've wanted/attempted to see them, so as per with NOIZ, it was a selfish booking and one that I knew would enhance the lineup I was fleshing out. I think they'll bring a definite close to the event, no doubt it'll be messy down at the front and I think their raw vibe will be a perfect finale.
With the festival pulling in some shiny names from across the country, with Eytan saying desert rock fans would “be foolish to miss Steak”, it creates a foundation to flaunt the local talent: “All I can say about the locals is that you should go check them out right now, and a shout out to all of my mates who make up those bands.”
But who are those local acts?
Boss Keloid
Keloid are extremely difficult to define. At some points there's a meditative Om/Tool kind of quality, and then it goes... BROWN. The vocal performance on the new record is probably my joint-first favourite of any record I know from this area.”
Says Keloid bassist/brown bringer Adam Swarbrick: “It'll be our first show in quite a while, or at least what seems quite a while. It's been a very busy time for us, and we've had a few things to deal with in the time since our last show. So you can imagine, we're extremely hungry to launch a full scale herbal assault at NOIZ. I'm confident in speaking for all of us when I say we absolutely live for the live show. So having had more time away from the stage than we'd ideally have liked, NOIZ is a big event for us.”
Barbarian Hermit
“T'Hermit are an outstanding band that just seems to improve with every performance. I had them on at the MMC Weekender a month ago and they were many people's band of the weekend.”
PIST
PIST probably need no introduction from your readership. A warning would be polite if they do. In short, PIST don't party, they are party. Sonically, that is exactly what you get, but don't mistake that for 'silly', or 'novelty' - they are a pure, balls-to-wall metal band with a stoned groove and a drunken swagger.”
A band that usually top bills of this nature, this time around they’ll be treating us to a bright and early set, helping opening the event: “They do usually top the bills at larger events at Rebellion, they headlined the MMC Weekender to a packed house and it went crazy in there with stage diving and crowd-surfing. They're on early simply because they were added late on, but it does give me a very strong (and contrasting) opening pair.”
Almost definitely in the depths of some whirling drug binge, Admiral Sir Cloudesley Shovell sticksman Johnny Gorillar adds: “The Shovell love playin’ Manc; lovely people, good pubs and great audiences. Always a chore, never a pleasure - hold on - scratch that and reverse it!” A band who live and breath what rock n’ roll used to be – and refuse to accept and act like owt has changed, such is their charm – he continues: “we're going onto the studio the week before this gig, there's a few new 'uns in the set already, and at Roadburn we'll be previewing most if not ALL the new LP live. That way punters can record it and that will save Rise Above having to actually release the furker!” 
And with that, we anxiously cross the passing days of on our calendars and continue to prepare our livers for a heavy one and say our final goodbyes to our dignity. This event highlights the natural evolution of a promotions company with bigger plans yet still peaking over the horizon, as Eytan flirts with hints during our conversation.
“No doubt it's bigger [than previous NOIZ events], just look at the line-up! Also, we've had a great run of successful events in a short time, with mostly the same crew doing each event, a familiarity of sorts is setting in, and in a place with such a healthy and active community. That translates into word spreading like wildfire,” he explains.
“Like I said, I've so far booked around 50 bands as NOIZ and have three bands on the bookings roster: Boss Keloid, Dukatalon (UK only) and one TBA very soon. Also look out for the new label out of NOIZ Towers coming this year!
“Shout out to all the bands who are playing, all the bands who have played, all our crew, the supporters, everyone at Rebellion and Adam Swarbrick/Swarbuckle/SwarBROWN of Boss Keloid, and organiser of Riff Fest - look out for a VERY exciting NOIZ/Riff Fest collaboration early summer!”

Info:  facebook

Friday, 21 November 2014

Goya / Wounded Giant - Split 12" Vinyl (Review) & Exclusive Artwork Revealed


Album Type: Split 12”
Date Released: 3/1/2015
Label: STB Records

Press Release:

You've been smoking the finest stash and drinking the meanest brew. The sweat has soaked through your beard and your shirt has been torn to shreds. Half cocked and fully loaded, you want to rail at the Gods for their malevolent ways...

There is no place in the sky for you. It's time to descend to the room of the torch and conjure ancient beasts. The Dystheist desires vengeance...

STB Records is proud to present the thickest, loudest, meanest split this side of the river Styx. Pairing two of the heaviest hitters the American underground has to offer and fresh from their assault on the West Coast, Goya and Wounded Giant are two different bands with a common objective.

It's time we put them together so they can shake the pillars of heaven until the universe collapses and implodes into nothingness... the end is now. 

‘Goya / Wounded Giant’ Split 12” Vinyl track listing:

1). Goya – No Place in the Sky (14:03)
2). Wounded Giant – The Room of the Torch (07:07)
3). Wounded Giant – Dystheist (06:09)  

Review:

In January 2015, STB Records are set to unleash two of the biggest hitters from the American underground doom scene upon the world. The split 12”, which features exclusive artwork from David Paul Seymour, is an enthralling documentation of these bands continuous growth. It is a growth which has consequently seduced STB Records into penning deals with the two acts and here we can hear that seduction loud and clear. Limited to a 12” vinyl pressing of a mere 430, you’ll have to act quick if you want a physical copy of what is arguably the best material released from both bands to date.    

Channelling the unyielding, earth-shattering explosions of Electric Wizard, ‘No Place in the Sky’ from Goya is an extremely arresting piece of music. From the crackling fuzz that oozes out of your speakers from the off, as thick as oil and as nasty as the school bully, to the last wounded chords, Goya leave you in total rapture. Tony Iommi inspired lead work is scattered throughout, respectful in its bluesy core and without over-emphasising their admiration for the Godfather of metal, its indifferent enough for this band to carve out their own path, Hachette in hand. Sure, Goya may worship at the altar of Black Sabbath and Electric Wizard – and who can blame them – but they’ve formed their own, original branch of the religion of doom to call their own. The fundamental principles and beliefs are drawn from the same teachings, but the minor details, of which there are many, are where their true personalities beckon. Their sound is as characteristic and as impossible to ignore as the Bat-Signal blaring into a cold, dead night sky. 



From sudden dynamic drops, where the drums, carrying a seismic groove take charge momentarily, to the vast and sepulchral, bellowed vocals and the snarling riffs – this is doom at its most ambitious and most instantaneously powerful. For the majority of the song’s sprawling length droning chords, almost the antithesis to the lulling hums of serene, monk prayer, the track obliterate your speakers. The real magic however, is what happens in between these delectably devilish movements. The transitions and fills, the intricate details that weld these passages together are mesmeric. There are so many, each minutely complex in their own indignant way, and they do their job with little fuss, giving the song as a whole a tremendous ebb and flow.

As such, they leave a colossal pair of muddy boots to fill on the second side of this split. Wounded Giant needed a response of the highest order and what they do is deliver the same guttural sound, the same smoky aesthetics but package them together in a shorter, punchier and more melodiously focussed coffin. ‘The Room Of The Torch’ doesn’t so much go for your throat as it does for your head and heart. The guitar-work is truly excellent, expelling frenzied riffs that will stay with you for a long while afterwards, while their passion is seething. Gothic undertones haunt their sound, the kind of which In Solitude has found success with and, somewhat ironically, it gives the songs more colour. The chomping riff which sees the song rumble and rattle into life is of great contrast to the slower, more dramatic poundings of Goya on the opposite side, but damn, when those drums kick in you become a mere slave to the music.

‘Dysthiest’ meanwhile is as evil as they come. A delicate blend of light and shade, using the same riff and groove to take you to different places in your lucid dreaming, all the while, delivered with a fist wrapped in barbed wire – not quite so delicate. Again they manage to pertain the same booming power as Goya but in a more condensed and, dare I say it, accessible package.

Now, the nature of a split 12” such as this is to pitch two bands against each other. As a competition it’s hard to say exactly who wins as both employ entirely contrasting tactics in a bid to reach the same result. Where Goya’s flame burns slowly, with a gruesome, more melancholic sound, Wounded Giant charge in with two upbeat, catchier, snappier tracks.


It’s easier to devour the Wounded Giant songs, but the patience taken to truly appreciate the denseness of ‘No Place In The Sky’ is extremely rewarding. One boxer darts about the ring, launching punches left, right and centre, while the other stands his ground and takes the punches before, at long lost unravelling a wrecking ball of an uppercut. It’s a marathon runner going the distance against a sprinter running in short, rapid bursts.

While I would say that the Wounded Giant tracks are the ones I will most likely revisit more often over time, due in part to their length and heightened melodicism, you cannot underestimate the heavy hitting sound of Goya. In all, it is the variety of this record, its contrasting flavours and mentalities that makes it as special as it is. Both bands deserve a towering notoriety within the confines of the genre but for two very different reasons.        

Words: Phil Weller  

You will be able to pick up a copy via STB Records in the new year.  Until then soak up the awesome artwork from David Paul Seymour and take comfort that STB Records is likely to produce their finest package to date.  This record is stunning, make no mistake. 

Release info:

Limited Vinyl Pressing of 430

Die Hard Edition - 80 pieces
Band Only - 100 pieces
OBI Series - 100 pieces
Not So Standard Edition - 150 pieces

Mastered specifically for vinyl

Exclusive artwork done by David Paul Seymour.

"To me these are the best songs either band has released to date. The amount of passion and effort both bands put forth for this release is astonishing. It’s impossible to chose which side I like better. The depth of the songs lyrically and through sound are utter perfection in my mind. Prepare to have your mind blow as well as your speakers!!!" - STB

Album credits

released 03 January 2015

Goya (Phoenix, AZ) 

marijuana.bandcamp.com

Wounded Giant (Seattle, WA) 

Monday, 3 February 2014

The Sludgelord News : THE WOUNDED KINGS: Revolver Magazine Premieres "The Silence"


UK doom conjurers, THE WOUNDED KINGS, in association with Revolver Magazine, offer up another taste of bottom-heavy brilliance with "The Silence."

The latest canticle comes courtesy of the band's forthcoming new long player, Consolamentum.Dubbed "unspeakably dark" and the "richest listening experience the band has concocted to date from any of its lineups," by popular riff portal The Obelisk, who listed Consolamentum among their most anticipated albums of the year, the record was produced by sound sorcerer Chris Fielding (Electric Wizard, Primordial, Winterfylleth et al). Recorded and mixed in just six days completely live during one of the most scalding weeks of the year in a studio miles away from civilization, the seven expansive tracks that comprise Consolamentum capture a true sentiment of isolation, gloom and looming misfortune. Led by the consuming vocals of front woman Sharie Neyland, who seemingly casts spells with her dark, prophetic words, THE WOUNDED KINGS dispel a singular heaviness that's difficult to dismiss. In a poignant review of the record The Sleeping Shaman fittingly relays, "A dense cloud of ominous riffs floats across the void with subtle, sad melodies slithering through the thick fog. Droning dirges soaked in occult vibrations, guided by the enchanting clear voice of the high priestess of doom, emerge from this cloud. Enraptured and hypnotized I stand, my mouth opened in awe of this colossal monster that is coming to devour me. Yet I refuse to turn and run. I want to be swallowed up in this hungry, monstrous mist and be torn to shreds by the siren in its center."

Get down with your sinister self with "The Silence," now playing at Revolver at THIS LOCATION.

And if you missed it, you can still check out the the title track, currently streaming at Vice/Noisey HERE.

Overcoming numerous lineup shifts since their formation in 2005, THE WOUNDED KINGS - Neyland, guitarist/keyboardist Steve Mills, guitarist Alex Kearney, bassist Al Eliadis, and drummer Myke Heath - have continually stunned audiences with their commanding stage personae. The two-time Roadburn alumni are adored by attendees and popular festival promoters, who call the band, "British doom of staggering power that is made all the more distinct by the unsettling presence of singer Sharie Neyland, who stands on stage almost trance-like, invoking her lyrics in a chanted voice that holds the entire venue in thrall." To date, the Dartmoor-based five piece has released three full-length studio albums and a well-received split album with Richmond, Virginia's Cough. The band has been finding a growing American audience since the release of 2011's In The Chapel Of The Black Hand, the first offering to feature Neyland.

Consolamentum will be released in North America via Candlelight Records February 25, 2014. Digital preorders are currently available via iTunes HERE.

For more information : 


Source : EarSplit PR

Monday, 20 January 2014

The Wounded Kings - Consolamentum (Album Review)



Album Type : Full Length
Date Released : 24/2/2014
Label : Candlelight Records

Consolamentum, album track listing :

1. Gnosis
2. Lost Bride
3. Elige Magistrum
4. Consolamentum
5. Space Conqueror
6. The Silence
7. Sacrifice

The Band :  

Steve Mill |Guitars, Piano, Organ
Myke Heath | Drums
Alex Kearney | Guitars
Sharie Neyland | Vocals
Al Eliadis | Bass

Review :

The Wounded Kings return with their fourth full length. Once again, occult themes appear with a very murky vibe throughout. This is doom metal with a sludge vibe in there as well. Very dark, very weighty and very, very good.

The vocals of Sharie Neyland don't appear until several minutes into “Gnosis” and when they do, there is still two songs worth of most bands' playing time remaining in the track! The pacing is excellent and it eases you into the album- which is most definitely to be enjoyed as a total listening experience. I have had it on non-stop over the last week on my daily (lengthy) commute and it has provided a perfect soundtrack of foreboding and darkness (I don't like my job too much).

“The Lost Bride Follows” with a creepy and insistent riff- classic doom in every way, in fact. There is broadness to the instruments used which give the album, breadth and depth. This is due, no doubt, to Steve Mills as he is a multi instrumentalist and driving force behind the band.

“Elige Magistrum” provides a short guitar led piece with soloing aplenty before the epic title piece, “Consolamentum” fades in. Organ backs up tom work and a slow burner of a riff. The track builds, sticking with a slow tempo. A sombre acoustic section takes hold after the five minute mark that serves to take the track into ever doomier passages.

“Space Conquerer” is another bridge track, really, with drum work and acoustic guitars setting a sinister mood and pace.“The Silence” goes for a slab of a riff right from the off and then over its 12 minutes delivers dark grooves, solos and atmospherics that have a distinctly English feel.  “Sacrifice” is as dark as its title suggests.

The guitars are positively funereal in their approach as a fitting coda is played by the band. Overall the record sums up a lot of what is best about English/British doom. Sinister atmosphere, occult/fantasy themes, wistfulness and sorrow all combine to give a very complete record that no enthusiast of the doom genre should be without.

Words by : Richard Maw

You can get it here