ALBUM REVIEW: Wytch Hazel, "IV: Sacrament"

By: Richard Maw
 
Album Type: Full Length
Date Released: 02/06/2023
Label: Bad Omen Records

 
“IV: Sacrament” CD//DD//LP track listing:
 
1. The Fire's Control
2. Angel of Light
3. Time and Doubt
4. Strong Heart
5. Deliver Us
6. A Thousand Years
7. Gold Light
8. Endless Battle
9. Future Is Gold
10. Digging Deeper
 

The Review:

Wytch Hazel are back to save us from ourselves- and mediocre albums- with this, their fourth full length. Hitherto, the Lancastrian band have been building up quite a head of steam. “Prelude” introduced the band with its Thin Lizzy meets Wishbone Ash meets NWOBHM stylings. “II Sojourn” was a more straightforward rock proposition and then their crowning glory, “III Pentecost” was the best hard rock album of 2020- fairly easily.
 
While “Pentecost” may have borrowed from Argus in terms of its pastoral elements and the overall Englishness of the vibe and the space of the sound, “Sacrament” is different again. Having moved from The Stationhouse studio in Leeds to pastures new at StudiOwz in Wales, the band have retained their spacious and expansive sound, along with the analogue vibe of the production courtesy of Ed Turner who operates here as something like a band-member-once-removed.
 
It’s clear that the band’s Christian themes/element is stronger than ever here; fear of hell and the control that asserts is the theme of “The Fire’s Control” and “Angel of Light” is about, well- you know already. There is Hammond Organ in the mix, multi layered guitars and an excellent bass sound.
 
There are quirks here; the solo of “Time and Doubt” is extremely fiery, even when the vocals and lyrics are maudlin. Main man Colin Hendra clearly put in overtime with this record- he plays drums after the departure of Jack Spencer. His drumming here is perfectly serviceable, but it is missing the flair of Spencer’s fills and the subtleties/style of his approach. Hendra instead supplies a bedrock for the other instruments to build upon, without flash or fuss. It’s competent and direct. I suspect the album could have been lifted by a full-time drummer, but the fact that the band and Colin made it work without one is a minor miracle in itself. The guitars, vocals and other instrumentation is superb. They all sound incredible and are full of life and purpose. The acoustic guitar overdubs, used to expand the sound a la the Stones on their best 70s work, work superbly and the whole sound has the effect of a wall of sound. Majestic.
 
Hendra has kept the songs tight and focused- no sprawling 20min prog epics- but despite the taut running times the record has a completely epic feel; it’s a truly immersive experience. As the listener is exhorted to stay until the battle is won on “Deliver Us”… well, I believed in the quest and I believed every word that was sung. It’s powerful, affecting and effective.
 
Across the record, Wytch Hazel have achieved something in hard rock/metal that is very difficult to do: they have made a heavy album that isn’t aggressive. Too much rock and metal these days (and all days) relies on aggressive chest beating as a trope to confirm heavy credentials. Wytch Hazel instead rely on songs, melodies and sound. Not many bands have been able to do that over the years- Led Zeppelin, Thin Lizzy, Queen, Wishbone Ash and if we extend things a bit, Jethro Tull. It’s a fairly small list (you’ll think of others) and places Wytch Hazel in exalted company indeed. Yes, make no mistake, this album IS heavy. It’s heavy in themes and vibe, even if its airy production belies this. It also rocks hard, but without machismo.
 
As the record reaches its final triumvirate, the guitar riff and sound that opens “Endless Battle” is simply excellent. The band immediately change things up and the verse section is not what you would expect from the opening- again, a little like classic Tull. The guitar work also echoes Iron Maiden a little- the lineage of British rock and metal is clear and Wytch Hazel are claiming their place in it. The reverbed start to “Future is Gold” allows for lovely acoustic sounds and excellent layered vocals from Colin Hendra; it introduces a rather positive outlook missing from previous tracks- but it is still tinged with a little sadness, a little uncertainty, a little wistfulness. As the album’s ballad track, it works well and is expertly placed in the penultimate position.
 
Naturally, the band close the album with the longest track- the aptly named “Digging Deeper”. The Wishbone Ash influence is present and correct again here, but the band are now just sounding like themselves- as they did on “Pentecost”. Their sound is unique and instantly recognisable. In fact, over the last few years, Wytch Hazel have become one of my favourite bands. They are peerless at what they do in the modern age and this record is, front to back, incredibly strong. It’s heavy, but paradoxically has a lightness of touch to everything within it. It’s dark but uplifting. It’s much like a Cathedral; a towering achievement built from the ground up, reaching towards the heavens above.
 
If you haven’t heard Wytch Hazel, you must listen. They are the way, the truth and the light.
 
“IV: Sacrement” is available HERE

Band info: Bandcamp || Facebook

ALBUM REVIEW: Wytch Hazel, "III Pentecost"

By: Richard Maw

Album Type: Full Length
Date Released: 30/10/2020
Label: Bad Omen Records
 

“III Pentecost” CD//DD//LP track listing:
 
1). He is the Fight
2). Spirit and Fire
3). I Am Redeemed
4). Archangel
5). Dry Bones
6). Sonata
7). I Will Not
8). Reap The Harvest
9). The Crown
10). Ancient of Days

The Review:

Wytch Hazel, perhaps the North West of England's premier medieval metal band return with their third full length and it is an interesting and progressive beast. Their debut, “Prelude” was an excellent mix of particularly British hard rock, folk rock and proto-metal, while “Sojourn” went into more straightforward rocking territory.

This time around, the band have expanded their sound further and deliver songs that are thematically even more pro-Christian with a sound that is hard driving and whimsical by turns. “Pentecost”, as one might expect from the title is fairly steeped in Christian theology and comes on with a sound that mixes Wishbone Ash, Jethro Tull, Thin Lizzy and Iron Maiden to quite glorious effect.

The opener “He Is The Fight” lets you know exactly where you stand; approximately in 1975 in a  warm recording studio complete with ornate rugs and wooden floors. The sound and production is excellent; it's warm and vibrant with organic sounds aplenty. James Atkinson (of Gentlemens Pistols fame) has done a superb job of capturing the band's heart and soul. The nifty production trick of adding acoustic guitars to augment and fill out the electric instruments is introduced from the get go and it is repeated throughout the record, making for an expansive and airy sound.

The religious themes and imagery crop up time and again also; “Archangel”, “Reap The Harvest”, “I Am Redeemed...” anyone reading these song titles should not be surprised at all by the lyrical content. It might be hard to swallow for some listeners- but, of course, those same listeners are probably happy to imbibe the cod-satanism of any number of other metal bands. I must confess, this includes me. I find the religious aspects of the record problematic and distracting. However, the quality of material such as “The Crown” shines through, though, so regardless your of your belief system you should be able to enjoy this.

It's my view that this is the best and most developed Wytch Hazel record yet; it conjures up a uniquely English atmosphere (once again the spectre of  Argus!) and is expertly played and delivered by a band of clear capability. All band members do a great job from the vocals (masterfully double tracked in places) to the melodic guitar playing to the rock solid rhythm section it is pretty much flawless. The songs are there, the production is there, the front cover is fantastic. There are so many plus points to the album that they outweigh any gripes one may have with the lyrical themes contained herein. It's an excellent record by a unique band- one that deserves to be given a try and heard by any fans of any of the bands mentioned or alluded to here.

“III Pentacost” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Wytch Hazel, "II: Sojourn"

By: Richard Maw

Album Type: Full Length

Date Released: 13/07/2018

Label: Bad Omen Records

Just how good and revered this album is and will be is not yet known, but there is no doubt that all the elements are there for this to become at the least an underground hit.

“II: Sojourn” CD//DD//LP track listing:

1). The Devil Is Here

2). Save My Life

3). Still We Fight

4). Wait On The Wind

5). See My Demons

6). Barrow Hill

7). Chorale

8). Slaves To Righteousness

9). Victory

10). Angel Take Me

The Review:

Undoubtedly the best medieval inspired hard rock band in the North West of England (!) Wytch Hazel are back with this second full length album. They have retained their vintage sound and peculiarly English sense of style on this excellent return. Much like their debut, “Prelude”, the band play very assuredly and with considerable flair; the guitar work is fleet footed and the rhythm section is very tight indeed.

If the band were going for a classic Wishbone Ash crossed with Thin Lizzy by way of Jethro Tull vibe... they have succeeded admirably. Messrs Downey, Lynott, Gorham and Robertson/Moore/White/Sykes (or Bell) would be hugely pleased if they came up with the fiery work displayed on “Save My Life” or storming opener “The Devil Is Here”. The word here is classic: classic sound, well delivered  songs and timeless in themes and scope.

There are bursts of pace (“Still We Fight”) to go with anthemic choruses. There are mellow and melancholy tracks (“Wait On The Wind”) and not a duff track in sight in the ten on offer here. This is English hard rock of the best vintage (1972-1978) and actually manages to conjure up the wistfulness  that the aforementioned Wishbone Ash did so convincingly on their classic “Argus” full length.

Just how good and revered this album is and will be is not yet known- it needs more time to bed in than the two weeks I have had it for review; but there is no doubt that all the elements are there for this to become at the least an underground hit. From the lush acoustics of “Barrow Hill” to the instrumental bombast of “Chorale”, the ingredients are here.

Wytch Hazel pursue the same path to its logical conclusion via “Slaves To Righteousness”, “Victory” and the closing “Angel Take Me”. The only possible fly in the ointment for some listeners may be the somewhat spiritual/religious aspect to the record- but it was there on the debut too. It doesn't bother me but you may feel differently; your call.

What we have here, then, are ten tracks of finely crafted English hard rock in the classic style. There are no songs about girls, no songs about cars, only loud guitars and a longing for another, simpler time. Fantastic.

“II: Sojourn” is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Age of Taurus, "The Colony Slain"

By: Richard Maw

Album Type: Full Length

Date Released: 18/05/2018

Label: Rise Above Records

Age of Taurus still have the hunger and riffs to compete with the very best of the genre and the very British delivery elevates them far above their American counterparts 

“The Colony Slain” CD//DD//LP track listing:

1. From the Hills to the Halls
2. Taken to the Tower
3. The Trial of Blackwynn Chaise
4. In Dreams We Die
5. The Lost Garrison
6. Beyond the Westward Path
7. For Treason We Rise
8. The Walls Have Ears
9. To Seal a Mountain
10. As Ice Into Blood
11. The Colony Slain

The Review:

Age of Taurus return with their second full length release, some five years after “Desperate Souls of Tortured time”. The Londoner's appetite hasn't dimmed, even if line-up changes have seen metal stalwart Alastair Riddell depart the ranks and the bassist Richard Bruce also leave. The band still deliver doom; no fuss, no branching out- just a very traditional British metal/doom sound.

After a mood setting intro, “Taken to the Tower” brings a surprising turn of speed and the familiarly mournful sounds of Toby W Wright's vocals. The NWOBHM influences are still firmly present here as are the much more downbeat doom stylings- “The Trial of Blackwynn Chaise” being a solid example of the latter.

There is a lot of reverb in the mix this time around, maybe even too much in places, but the quality riffs and arrangements are still easy enough to hear. Amongst the more rocking material, traditional doom can be found (“The Lost Garrison”) and once again, the lyrics and themes are historical, mythical and magical. By the time of “For Treason We Rise”, the album's pattern is fairly firmly established; slow doom intros often abound, faster riffage and galloping rhythms often replace it and the atmosphere is one of melancholy.

Truthfully, there is nothing new here and certainly nothing that you won't have heard, but that is not to say that the delivery is convincing and the performances absolutely committed. Yes, Wytch Hazel are doing this type of stuff with more subtlety- but Age of Taurus are just as effective as on their debut and take on the mantel of bands like Witchfinder General (probably their closest older brother) with deftness and aplomb.

For doom rock in 2018, look no further than this album. “The Walls Have Ears” and “To Seal A Mountain” are solid proof that Age of Taurus still have the hunger and riffs to compete with the very best of the genre and the very British delivery elevates them far above American counterparts trading on occult themes and something to do with biker gang films from the 60's.

The title track closes proceedings with three and a half minutes of convincing NWOBHM flavoured doom- much like the tracks that preceded it. There is much to recommend here and if you like the style of either of the bands mentioned above you cannot go wrong by getting hold of this. Doom on compatriots.

“The Colony Slain” is available here

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

Wytch Hazel - "Prelude" (Album Review)

By: Richard Maw

Album Type: Full Length
Date Released: 22/04/2016
Label: Bad Omen Records

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.

“Prelude” CD//DD//LP track listing:

1). Freedom Battle
2). Fight
3). Mighty King
4). More Than Conquerors
5). Psalm
6). Prelude
7). He Shall Reign
8). Dark Ages
9). Wytch Hazel
10). We Will Be Strong

The Review:

This Lancaster troupe of minstrels release this full length via Bad Omen Records (home of the recently reviewed Wretch!). Musically, this is somewhere between Jethro Tull (folk rock period up to 1980) and Black Sabbath/Thin Lizzy. It certainly has the folk-ish elements and the complexity of the former, but it also brandishes the power of the latter as well- this is not folk rock; it's too heavy for that.

“Freedom Battle” starts off at a fine clip and brings elements of Maiden (and thus their beloved influences) to the fray. “Fight” continues the combative theme of resistance and has many changes which are deftly handled by the band. “Mighty King” has no shortage of whimsical guitar work or vocal hooks. The sound is pleasingly warm and, yes, 70's. “More Than Conquerors” comes on like a revved up Wishbone Ash, while “Psalm” also echoes this; particularly with it’s rather pretty acoustic guitars and lyrics themed around nature, solitude and so on. Nice keyboard work, too.

The title track has a lot of the aforementioned elements and influences and hearing the ambient hiss (if you listen carefully on headphones) at the start of the track adds to the sense that this album is a trip back in time. “He Shall Reign” is a rather triumphant track in tone and boasts some excellent dynamics and vocals, along with a heavy turn in the middle. “Dark Ages” is a lament about an age of apathy and deceit. Prescient.

The band's theme song (if that is not too crass a term) follows with a rather muscular and Lizzy-esque four and a half minutes, interspersed with an acoustic passage and a superb harmony guitar section. The closing six minutes of “We Will Be Strong” is another powerful song with plenty of guitar interplay and soaring vocals. There is a tight rhythm section at work (as there is throughout the album) and plenty of singable lead work.

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.

“Prelude” is available here

Band info: facebook