TOP 16 ALBUMS: The Sour 16 for April 2017

Telekinetic Yeti

Yes, it is that time again O ye lover of riffs, “The Sour 16” returneth.  You know the drill by now, each month, you the reader are unwittingly compiling a list of the top 16 records of the month, covering all genres of metal.  Is it not a chart, in which reviewers or contributors extol their opinion about their favourite music.  To put it simply, “The Sour 16” are the records that have been trending the most at The Sludgelord Headquarters.

The results are compiled based on page views alone and calibrated into the list below.  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). Necrowretch – “Satanic Slavery” (438)

For something so embedded with crust, rust and cadaverous unmentionables, it is an incredibly refreshing, riff-dense monster of an album, almost ebullient in its putrid malevolence.

15). Witchapter – “Spellcaster” (521)

14). Hawkbill – “Self Titled” (578)

Track by track these rusted broke-down tractor boys weave a landscape that is reminiscent of the groovier parts of Grief or perhaps an even more slowed down and swampy take on some Weedeater.   With a natural emphasis on groove and natural timing and feel, this album moves like a sloth with a spliff in its mouth.

13). War Brides – “Regrets” (585)

Chicago bruisers War Brides raid the vaults of the noise rock greats to create a compellingly ugly debut LP in the shape of “Regrets”. It is a quick and dirty shot of addictive mayhem, channelling the nastiness of its influences to fine effect and offers hints of evolution into a stranger beast over the course of future releases.

12). Cowardice – “With Condolence (599)

the sound is relatable and as tender as a fingernail wrenched from its bed. It drifts between aching sadness and violent bouts of self-disgust. This stratum of emotional, chemical and physical self-destruction is the calling card of genuine, heartfelt sludge, and “Without Condolence” is definite rap on the door.

11). Ohhms – “The Fool” (600) 

 

10). Kenoma – “The Tides will Prevail” (611)

Kenoma are firmly focused on the metal side of the post-metal equation for the most part of “The Tides Will Prevail” and manage to create huge, enveloping sound constructions reliant on intricate interlocking guitar parts rather than a phalanx of effects pedals.  The albums extended gestation period has produced an absorbing set of finely honed post-metal behemoths.

9). Aathma – “Avesta” (634) 

Wonderfully straddling the line between a live and studio sound, thanks to the efforts of producer Carlos Santos and the unfailingly excellent mastering work of the ever-prolific James Plotkin, ‘Avesta’ sounds absolutely mighty.  A must-listen for fans of Yob, Baroness, Mastodon and anyone interested in ambitious stoner-sludge metal.

8). Earth Witch – “Out of the Shadow” (661) 

Every track is a winner. Every riff is massive. The production is raw and warm. Everything sounds big. Everything sounds heavy. This is surely exactly the record that Earth Witch set out to create and I applaud them highly for it. Fantastic and heavy stuff and one of the best albums I have heard so far this year.

7). Moloch/Disrotted & Cloud Rat/Moloch  - “Splits” (675)

6). Mage – “Green” (702)

No fuss, no messing about, just good quality stoner/doom of the finest order. Check this album out and check the band out live: I guarantee that you won't be disappointed.

5). Mastodon – “Emperor of the Sand” (794)

this is the best album in a long while from the band, it is accessible without straying that far from the band's template and still finds the band in a modern class of one. Time will reveal just how good this record is, but my feeling is that this one will stand the test of time.”

4). The Obsessed – “Sacred” (959)

Quite simply, I can't find anything on this album I don't like. The best comeback of the year, without a doubt. This record will be turning up in many year end lists, without a doubt. It could even be the best album by The Obsessed, but only time will tell on that one. I can't recommend this highly enough.

3). Artificial Brain – “Infrared Horizon” (1272)

The artwork depicting a mournful android grieving the loss of another android is absolutely devastating as a visual, and that same feeling permeates the whole musical experience.

2). Spidergawd – “IV” (1462)

“IV” is eight tracks that follow the verse-chorus-verse-chorus formula and does so with licks, vocals, lyrics and melodies that are sharp, fast, and poignant. As far as that’s concerned, there’s absolutely nothing to complain about

1). Telekinetic Yeti – “Abominable” (3755)

All in all, the recording has a huge sound and the production is absolutely amazing. It has everything you could ever want and I would rate it as a perfect 10. The album is truly remarkable and is sure to go down in history as one of rock’s greatest debuts. These guys are definitely heavyweight contenders to find their place at the top of the scene

A big thank you as always to our amazing writers, your dedication knows no boundaries and for that I am truly grateful.  April 2017’s “Sour 16” features reviews by:  Richard Maw, Daniel Jackson, Andre Almaraz, Grim Trashcan, Victor Van Ommen, Richard Maw, Charlie Butler, Jack Taylor, Conor O’Dea & Stephen Murray

ALBUM REVIEW: War Brides - "Regrets" & their Top 5 hardcore records of all time

By: Charlie Butler

Album Type: Full Length

Date Released: 28/04/2017

Label: Triple Eye Industries

Chicago bruisers War Brides raid the vaults of the noise rock greats to create a compellingly ugly debut LP in the shape of “Regrets”. It is a quick and dirty shot of addictive mayhem, channelling the nastiness of its influences to fine effect and offers hints of evolution into a stranger beast over the course of future releases.

“Regrets” DD//LP track listing:

 

1). Clean

2). Day Drinking

3). Designer Life

4). Halitosis

5). Ode to an old man

6). Cubano

7). Human Cow

8). Thyme

9). Marrow

The Review:

Chicago bruisers War Brides raid the vaults of the noise rock greats to create a compellingly ugly debut LP in the shape of “Regrets”.

“Clean” opens proceedings in urgent fashion, ripping straight into restless wiry guitar, filthy bass and threatening, slurred vocals. The band take the sleazy rumble of the Jesus Lizard and beef it up with a complexity and heaviness reminiscent of Harkonen. “Designer Life” throws in some more straightforward, dumb riffage that recalls the queasy attack of Pissed Jeans. The centrepiece of the album is “Cubano” a lurching 6 minute dirge based on a minimal groove that erupts into a punishing climax.

War Brides delivery is a good balance between hard, tight playing with a messy, shambolic edge that adds a sense of immediacy. They demonstrate a little more restraint on the musical front on “Ode To An Old Man” but the lyrics maintain an impressive level of bile, with the sign off “You’re a piece of shit, someone’s bound to murder you” leaving an indelible impression on the listener.  Parting shot “Marrow” sees the band take a slight left turn. The guitar parts are more spidery and border on the mathematical mania of Botch and the addition of backing vocals add a weird eerie feel to the track.

“Regrets” is a quick and dirty shot of addictive mayhem from War Brides. It channels the nastiness of its influences to fine effect and offers hints of evolution into a stranger beast over the course of future releases.   

“Regrets” is available here

In addition to the review, we have a double helping of Bride love, as we welcome War Brides to take us through their top 5 hardcore records.  So prepare to worship at the altar of volume, 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 “It’s one louder, isn’t it?”

Deadguy – “Fixation on a Coworker” (1995) chosen by Justin

I bought this album randomly at Crow’s Nest record store in Joliet when I was 14 years old.  I had no idea who Deadguy was or what they sounded like but something compelled me to buy “Fixation On a Coworker”.  When I got home and put it on I couldn’t handle it.  I never heard something so aggressive and earnestly angry in my life and, at the time, it made me so uncomfortable that I shelved it for several years.  It wasn’t until I was in my early twenties, working as an office clerk at an insurance agency, that I finally “got” this album.  The irony was I was working the typical nine-to-five that Tim Singer irreverently remonstrates and detests on songs like “Pins and Needles”.  To this very day, “Fixation On a Coworker holds” up in every facet possible. It transcends the myriad hardcore sub-genres that Deadguy helped inspire and will always be a “desert island” record for me. 

These Arms Are Snakes – “Tail Swallower and Dove” (2008) chosen by Ritchie

Seattle based bands are commonly found on our list of influences and TAAS is near the top of that list for me. “Tail Swallower and Dove” shows that the band is much more than Brian Cook’s bass or Steve Snere’s vocals, it is a beautiful melange, an ideal cohesiveness where each member adds equally to the musical intensity without overshadowing the rest of the band.  At points I find myself focused on the drums and Chris Common’s syncopated verses and bombastic choruses, but when I step back I realize that the sum is much larger than the parts. While each member is a great musician in his own right, there isn’t a single member that stands out as the focal point; not even Snere who always seems possessed while on stage. A great song allows each member’s talents to be showcased but more for their ability to play as a collective than as a solo performer. A band should be more than individuals that can play a song, they should feed off each other until the music becomes something beyond measure.

Daughters – “Daughters” (2010) chosen by Tristan

2010s self-titled “Daughters” is nothing short of perfection. The lads from Providence carved out a sound that is distinctly their own. The opening floor tom hits that lead into the hammer-ons and tremolo guitars in “The Hit” are badass.  And if you can find me a better song from start to finish than “The Unattractive”, “Portable Head”, I’ll cut you into my will. The transition that occurs around 2:17, marked by what sounds like keys with an organ effect, followed shortly thereafter by the vocal line “I want to cast off the wings of desire. I want be buried in a field of fire. I want to stand up and be twenty feet tall. I want to reach out and feel nothing at all” with the last line repeated over and over again. That line coupled with Alexis’ distinct eerie delivery and the intermingled gang vocal “whoa, yeah” does it for me every time. Fucking amazing. If you don’t know of this band or own this album, right that ship as soon as humanly possible.

Retox – “Beneath California” (2015) chosen by Grant

I’m a Justin Pearson superfan. I’ve been really into most of his other projects, but the “Beneath California” record stands out as Retox’s best. The record is the perfect blend of hardcore, noise and surf with 12 songs clocking in around 23 minutes, never allowing for anything to become stale. 

The standout track is “Let’s Not Keep in Touch”, the longest track on the record at 3:14. The drums, bass and raspy vocals drive the beat into your skull while the guitar squeals above it to create the most amazing tension. That tension proceeds to lock in tighter when the guitar joins the syncopated hard-hitting beat and then releases when breaking into one of their signature surf rock riffs. It’s that kind of furious emotion that I latch onto.

Botch – “We are the Romans” (2000) chosen by Grant

 

I’m doing two bands for the list, but truth is, Botch is one of the bands we all completely agree on. The obvious choice for their Botch’s best album would be “We are the Romans”. Brutal and mathematical most of the time, and when a song goes full caveman, it goes 110% into a huge hook. Every bit intense and gripping. 

The last song I saw them perform was “Transitions from Persona to Object On “(what turned out to be) their final tour alongside Murder City Devils. “Transitions…” is pretty close to a perfect song. Riffs slowly mutate into the next riff, yet the song only feels to me like there’s 2 real riffs — absolute economical song writing, and it mostly revolves around the riff you hear from the beginning.