The Sludgelord Sour 16 for May 2015

Welcome to The Sludgelord’s Sour 16. Each month, you the reader are unwittingly compiling a list of the top 16 records of the month, covering all genres of metal, but predominately the best the doom, sludge, stoner-psychedelic genres have to offer.

Is it chart? Not really.  It is merely the 16 records you guys have been most interested in over the last month and you have been checking out on this very page.

Our idea for this thing was to turn the power over to you guys, yes it would be easy for us to choose our favourite records of the months, however it is you the reader, the fans that support these bands, buy their records and attend their shows.  So here is the The Sludgelord Sour 16 for May 2015, the 16 records you’re most looking forward too or are currently checking out.  Check em out, spread the word and perhaps revisit some records you may have overlooked.  

The results are compiled based on page views alone and calibrated into the list below. So without further ado, this is the Sour 16. So until next month, roll up, kick back, chug a beer and Hail the riff! All review links, are held under the artwork.   

16) =    Space Metal – ‘Space Metal’ (260)

Review: http://thesludgelord.blogspot.com/2015/05/space-metal-st-album-review.html

The Exploding Eyes Orchestra – ‘I’

Review: http://thesludgelord.blogspot.com/2015/05/the-exploding-eyes-orchestra-i-album.html

14).      Ten Foot Wizard – Sleeping ‘Volcano’ (279)

Review: http://thesludgelord.blogspot.com/2015/05/ten-foot-wizard-sleeping-volcanoes.html

13) =    Feral - ‘Where Dead Dreams Dwell’ (280)

Review: http://thesludgelord.blogspot.com/2015/05/feral-where-dead-dreams-dwell-album.html

Weedeater – ‘Goliathan’

Review: http://thesludgelord.blogspot.com/2015/05/weedeater-goliathan-album-review.html

11).      Galvano – ‘Trail of the Serpents’ (318)

Review: http://thesludgelord.blogspot.com/2015/05/galvano-trail-of-serpent-album-review.html

10).      Demon Head – ‘Ride the Wilderness’ (326)

Review: http://thesludgelord.blogspot.com/2015/05/demon-head-ride-wilderness-album-review.html

9).        Obsequiae – ‘Aria of Tombs’ (329)

Review: http://thesludgelord.blogspot.com/2015/05/obsequiae-aria-of-vernal-tombs-album.html

8).        Arcturus – ‘Arcturian’ (378)

Review: http://thesludgelord.blogspot.com/2015/05/arcturus-arcturian-album-review.html

7).        Demon Eye – ‘Tempora Infernalia’ (409)

Review: http://thesludgelord.blogspot.com/2015/05/demon-eye-tempora-infernalia.html

6).        Cult Leader – ‘Useless Animal’ (421)

Review: http://thesludgelord.blogspot.com/2015/05/cult-leader-uselss-animal-ep-review.html

5).        Sun & Sail Club – ‘The Great White Dope’ (454)

Review: http://thesludgelord.blogspot.com/2015/05/sun-and-sail-club-great-white-dope.html

4).        Entrails – ‘Obliteration’ (478)

Review: http://thesludgelord.blogspot.com/2015/05/entrails-obliteraton-album-review.html

3).        Mutoid Man – ‘Bleeder’ (672)

Review: http://thesludgelord.blogspot.com/2015/05/mutoid-man-bleeder-album-review.html

2).        My Sleeping Karma – ‘Muksha’ (758)

Review: http://thesludgelord.blogspot.com/2015/05/my-sleeping-karma-moksha-album-review.html

1).        Paradise Lost – ‘The Plague Within’ (1322)

Review: http://thesludgelord.blogspot.com/2015/05/paradise-lost-plague-within-album-review.html

Secrets of the Sky - 'Pathway' (Album Review)

Album Type: Full-Length

Release Date: 19/5/2015

Label: Metal Blade Records

‘Pathway’ CD//DD//LP track listing :

1). I

2). Three Swords

3). II

4). Angel in Vines

5). Another Light

6). II

7). IV

8). Garden of Prayers

9). V

10). Fosforos

11). VI

12). Eternal Wolves

13). VII

Secrets of the Sky is:

Andrew Green | Guitar / etc
Clayton Bartholomew | Guitar / etc
Garett Gazay | Vocals / Keys
Ryan Healy | Bass
Lance Lea | Percussion

Review:

Cool to get something on my “to review” list I both already bought and liked, Secrets of the Sky returns after their 2013 powerhouse “To Sail Black Waters” which I really loved. Much like their previous work, Secrets of the Sky maintains the layered guitar textures and that “post-black” metal atmosphere that bands like Alcest, Deafheaven, and Ghost Brigade have popularized. That being said, Secrets of the Sky fit into the post-black genre like a square peg into a round hole, they have some elements of that sound but incorporate a grander vision with elements of many other genres. In that way, they remind me of Agalloch a lot, but without the folk influence. They also tend to keep the tempos slower and doomier and have a post-metal aesthetic to the progressive bent of their song writing, which they continue throughout their travels on “Pathway.”

Interestingly there seems to be a touch more clean vocals on “Pathway” than on “To Sail Black Waters.” The cleans are pretty seamlessly integrated and the production makes them sound vast and immerse you in the sound. Speaking of the production, everything is crystal clear in the mix and balanced perfectly. That being said, being on a bigger label that shouldn't really come as much of a surprise but Secrets of the Sky's earlier work also had great production values.

“Pathway” boasts a hefty thirteen tracks during its length and moves through a huge range of sounds. There is also quite a bit of ambiance floating between the songs with instrumental passages and soundscapes galore. The songs are relatively lengthy but have a lot of dynamic movement and don't drag at all. My personal favorite is “Garden of Prayers” which has a really well-constructed bridge section with some nice ambient keys.

An intriguing listen to see where Secrets of the Sky is going on their journey, I'd strongly recommend this for fans of the “artier” side of music and people who like the so-called “post” genres. Remember though, bands like this transcend genre labels and if you are in the mood for something different and groundbreaking, this is a great album to expand your sonic palette and get into some different sounds. Secrets of the Sky has crafted here a worthy follow-up to “To Sail Black Waters” and I'd highly recommend it.

Words by: Chris Tedor

‘Pathway’ is available at major retailers or you can get it here

For more information:

Like: http://www.facebook.com/secretsofthesky | Follow: https://twitter.com/secretsofthesky

Live Review: Earthless + Death Alley | May 21, Tivoli De Helling – Utrecht (NL)

As a music reporter I need to keep my ear to the ground and remain privy to the who’s who of popular culture. So when I was presented with the option to stay home and watch Trijntje Oosterhuis, Holland’s current pride and joy, play the semi-finals of the Eurovision Song Contest or head on out to Utrecht to see a rock show, I had a dilemma. So I flipped a coin; heads was Trijntje because, you know, and tails was the Earthless and Death Alley rockapocolypse. Tails won, here’s my story.

Death Alley was cool. Very cool. Their sense of fashion was spot on from the denim jackets each were wearing, to the blue jeans, and all the way down to the cowboy boots. Up top was long hair and sideburns, almost ironically nailing down that 70s look. They pulled it off, too, and before the first notes were struck they had already presented themselves as a unit. The next hour drove their black magick boogie home, complete with toe tappers and funny time signatures. I’ll be heading out to their release show in two weeks so I’ll elaborate on Death Alley when I spin together a review for that.

Earthless was something else entirely. My familiarity with the band was limited to a passing acquaintance of their last outing, “From the Ages,” and a friend of mine is a pretty big fan of theirs. This friend digs some pretty cool tunes – he’s really into that new Elder album – so when I heard he was heading out to Earthless, I figured I’d join him. The band took the stage fifteen minutes later than planned but it was an early show anyway so no man overboard. What did get thrown overboard, however, were the riffs, leaving this power trio to sail under the flag of a never ending guitar solo. Isaiah Mitchell soloed from the set’s commencement until way past my bed time but I didn’t care, it was incredible. It went from one solo to the next, into the other, and rarely repeating anything. To his immediate left was the drum kit, behind which Ruby Mars showed us that punk rock is not the only thing he’s in to. Next to him was Mike Eginton on the four string, whose stage presence was that of a statue; there was no movement to speak of but the foundation he laid was as solid as reinforced concrete.

What they did was jammed and it was refreshing. Perhaps for the guy in front of me, who was obviously doing his best to meet his girlfriend halfway in their relationship, didn’t get it, but I did and I’m happy about that.  Mitchell played the same Fender through the whole set, accentuating the American sound of the band. Each song’s ebb and flow took our minds away to an all night beach party and the smoke machines scattered throughout the hall tried to recreate an atmosphere that was lost once venues also instigated a smoking ban. The three guys in Earthless may come across as unassuming, but put them in a musical setting and you, too, will see sparks fly.

Words by: Victor Van Ommen



Live Review: A Deafening Dance: Torche @ Sound Control, Manchester, UK. 29 May 2015



Who dances at a metal gig? We metalheads are supposed to be dark, brooding, nocturnal bastards who are both scared by and in rebellion of anything mainstream, boogieing included. Yet Sound Control’s shadowy basement, with its bare brick walls and raw, dilapidated finish – which is oddly homely – is practically bouncing tonight. Hair is flung every which way, hips shake, drinks held above dancing, snaking figures; Torche’s dirgy guitar tones and sugary, sweet vocals have created a fucking party.  

The Miami band have such a unique sound, it’s dirty sludge yet cleanly pop at the same time and their music simply infects everyone in this underground venue. The band’s chemistry and charisma bleeds out from the stage and onto the dance floor before them as, with their set time limited, they smash through as many cuts as possible without so much as taking a breath. From ‘Piraña’s’ hammer blow grooves it’s an all-out unapologetic riff fest which ignites the room.

‘No Servants’, one of new album ‘Restarter’s’ most prolific efforts makes an early appearance. Feedback is utilised mesmerically while sticks man Rick Smith keeps a plodding, hypnotic beat. But then the riff comes in, graceful and supple and it cuts you so damn emotionally.

I mean, there’s just something about their filthy riffs that unite people and tonight everyone is your friend. ‘Believe It’s’ lead weight grandeur and ‘Kicking’s’ almost pop punk aesthetics make a fine one-two as the band rifle through a set list which references a career’s worth of earth shaking and heartstring plucking across a 22 song long set. These are songs which have captured so many; they’re both oppressive in their heaviness and uplifting in their execution, particularly Steve Brook’s bellowed vocals which are in absolutely excellent fettle tonight.

Half of tonight’s songs don’t even clock in at two minutes. These are condensed and superbly penned compositions which cram as much fun, frolics and grumbling riffs that resemble the sound of a giant rudely awoken from its slumber as some bands have across an entire album. ‘Vampyro,’ the frantic head fuck of ‘Sky Trials’ and the weighty ‘Undone’ are fitting examples of that double concentrated blast. Songs like the meandering stoner venture that is ‘Restarter’s’ title track however, a song which has an almost Hawkwind-esque manner to it thanks to its psychedelic edge, inject a punchy variety to proceedings. They’ve managed the peaks and troughs of their set list like the seasoned pros they are; they know when to roll with the punches and, more so, they know when to strike that knockout blow which sends you into a heap on the venue’s booze-soaked stone floor.

They end with the belting ‘Blasted’ and the fuzz explosions of ‘Annihilation Affair,’ leaving you stranded in a crossfire of riffs, tar brushed tonalities and genteel vocals. Yet, as the bullets fly through you, you stand there and immerse yourself within its joyous lethality. You sink into a reverie while the decibels quiver and collapse.

Everything seems so quiet outside. It’s an early finish due to a club night and for 10pm on a Friday night things seem eerie. Then you realise. Then you notice. Things are loud, things are busy and bustling, but you can hear fuck all but reverberating feedback in your punctured ears. By Christ it was so worth it though.

Words: Phil Weller



Kings Destroy - 'Kings Destroy' (Album Review)

Album Type: Full-Length

Date Released: 05/05/2015

Label: War Crime Recordings

‘Kings Destroy’ CD//DD//LP track Listing

1). Smokey Robinson

2). Mr O

3). W2

4). Mythomania

5). Embers

6). Green Diamonds

7). Time for War

Kings Destroy is:

Carl Porcaro | Guitar
Chris Skowronski | Guitar
Steve Murphy | Vocals
Rob Sefcik | Drums
Aaron Bumpus | Bass

Review:

Since their inaugural 2010 release, Kings Destroy have set out to show what they are made of, evident with their 2013 release ‘A Time of Hunting’ which went down a treat amongst fans and critics alike.  With their unique ability to blend an eclectic mix of Kyuss, Queens of the Stone Age and Black Sabbath into an immense wall of sound, they had a monolithic task ahead of them for their 2015 self-titled offering.  Taking the next logical step up, KD produce this 7 song album with an earthy, organic twist alongside stellar production and phenomenal artistry.

‘Smokey Robinson’ is the starting point, opening with a riff so sharp; it carves its way out of the speakers with ease surrounded by Murphy’s clean, piercing vocals matching the musicality with ease. To be blunt, yes it is the work of men who have knelt at the shrine of Black Sabbath on a regular basis but I fail to see this as a bad thing. The grooves and hooks they thrash around are doom laden and majestic; the likes of which don’t come around too often.

‘Mr O’ is next, bringing an unapologetic, emphatic, stoner rock song; ladled out with a huge serving of unashamed honesty.  It finds a friend later in the album with ‘Green Diamonds’ but has no need to, as it stands alone; a beast of a song replete with more frenetic movement and blistering solo work than one could ask for. ‘W2’ is immense, grinding, whining and battering the doors down upon arrival, it pummels the senses revelling in the destruction and chaos it brings. The vocals are flat out haunting imbibed with melodiousness; the tonality- superb. On the back of a gargantuan riff, that deserves its own place in history, it will hammer its way unapologetically into your conscience in twisted and unexpected ways making itself at home in your psyche urging you to press the replay button.

I begin to struggle as I realise there is not one song I don’t like, they all have their own place from ‘Mythomania’ winding down the pace before reaching a massive crescendo of sound and aural pummelling before dropping back down.  It could almost be a ballad and certainly a master class in song writing. ‘Embers’, is just crushing and also the longest track on the album, it is followed by the shortest ‘Green Diamonds’ upbeat in comparison with an early 70’s vibe that just won’t quit.  Again, it crushes and bruises whilst sedating you gently with the audible talent.  These pair of tracks bounce off each other so very well here, a nod to the superb arrangement, is also worth mentioning too. 

‘Time for War’ is the finale here, and what a finale it is.  It builds eerily; imagery of a swirling fog inducing haze abounds, alongside the heavy, simplistic bass lines and doom laden drumming.  It is here, Murphy adopts a disconnected tone to his voice, indeed the track displays a different approach from the band, but make no mistake it is a stoner driven, sludge filled epic.

As previously indicated, whether by accident or design this is less of an album, more of a journey, rewarding with the odd challenge thrown in, but bound together with highest quality production for good measure.  Encircling so many genres, Kings Destroy could have easily tripped up, yet they haven’t, embracing the future of doom in its complexities, quasi prog leanings, KD have performed well here. Refusing to fit into one style; even keeping the length of their album to just 34 minutes, shielding themselves from the stoner rock genre in its entirety. It is a heavy record, of that you should have no doubt, but it is not over-long and contains enough light, shade and subtlety to ensure they make themselves heard but not pigeonholed.

Three albums in, their song writing is diverse yet confident, flowing from fierce hooks to oppressive atmospherics fluidly and with ease.  With such quality and calibre shining through as well as the passion and execution, they are sure to cut their own individual path through the smoked out haze.

Words by: Kat Hilton

‘Kings Destroy’ is available here

For more information:

Listen: https://kingsdestroy.bandcamp.com/ | Like: http://www.facebook.com/KingsDestroy | Official: http://www.kingsdestroy.com/

The Sludgelord Exclusive - New Song From Rising Thrash Metallers - Gomorrah

Gomorrah was started in 2012 by a group of Missouri boys who moved to Ohio in hope's of becoming a part of a larger music scene. Colton, Mitch and Cody all set out to create a sound that encompassed all of their influences. They self released an EP "To the Depths" in the fall of 2013. Since then the band has gained a new bass player Ryan Hamman as well as played out extensively in the Cincinnati area and are currently working our their first as of yet untitled full length album. Gomorrah are a combination of modern metal with elements of old school Bay Area thrash and some more groove and doom aspects sprinkled in.

The band's guitarist/vocalist Colton Deem said the following about the track:

"This song is but a sample of the new refined Gomorrah sound we're trying to encompass with the new record. A lot of these new tracks are a bit more diverse in their flow and construct than our prior work. "Phantom Sun" is one of the first songs we finished writing for the album and it's in the perfect middle ground stylistically and a good representation of what's to come."

Here's an exclusive stream of Phantom Sun. Thanks to Gomorrah and Curtis Dewar for arranging this.

For More Information

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Death Alley - 'Black Magick Boogieland' (Album Review)

Album Type: Full-Length

Date Released: 19/05/2015

Label: Tee Pee Records

‘Black Magick Boogieland’ CD//DD//LP track listing

1. Over Under
2. Black Magick Boogieland
3. Bewildered Eyes
4. The Fever
5. Golden Fields Of Love
6. Stalk Eyed
7. Dead Mans Bones
8. Supernatural Predator

Review:

Once upon a time, it was said that if you couldn’t find a partner you should grab a wooden chair. At the time, the swinging of hips to a beat was a thing of the Devil – not necessarily someone that everybody was down with. A wooden chair was therefore a real substitute. In 2015, however, it seems that more and more people are down with the Devil, so there’s more often a partner around to dance with than a wooden chair. Death Alley plays to that on their debut, an album that is so infectious that people from far and wide will be lining up to get down. This is their gift to you. The chicks will dig their 70’s swagger, the dudes their 80’s punk, and their modern classicism speaks to the masses. So come along and let us take a dive into their Tee Pee debut, “Black Magick Boogieland.”

What springs to mind the most in each of these eight songs – which fit neatly onto Halloween-orange vinyl – is how busy the guitars are. Death Alley riffs, sure, but the moments of restless picking bring to mind our bearded friends in ZZ Top. But rather than raising the temperatures by slowing things down to bring bodies closer together, drummer Ming Boyer sits in the back, shaking out an electric shuffle, sending shock waves through the floor and up through the feet of those who came to boogie. Album opener “Over Under” is a prime example of this, but its showcased best in the title track. Here, Boyer fills out every empty space and challenges guitarist Oeds Beydals to keep up with his fills, rather than the other way around. There’s a sleazy guitar solo that leaves as fast as it came in – after all, Beydals is running behind Boyer – but the roles reverse within the second guitar solo, a moment that shines a light on the band’s lack of pretence.

If you’re more into the riff side of things, there’s plenty of that, too. “Bewildered Eyes,” for example, is in mind, body, and soul a riff-driven gas guzzler that brings to mind some of our SoCal friends. It’s two and a half minute run time is a tip of the hat to Death Alley’s punk rock guilt, which pops up again in the follow up, “The Fever,” which would have played out just as well had it been The Hellacopters’s swan song. “Golden Fields of Love,” despite its tendency to flirt with ballad-territory, will leave your fingers sticky if you touch it, and had the jam at the end of the song been a person, it would be clad in a sleeveless denim jacket covered in Thin Lizzy patches and the like. It may not be the album’s highlight, but it’s certainly a fancy way to close out Side A.

Side B is home to “Black Magick Boogieland’s” longer cuts. “Stalk Eyed” comes by with more of that ZZ Top shuffle coupled with twin guitars. After a tasty interlude, the intensity gets taken down a notch as the band falls into a chant-like mantra. Then “Dead Man’s Bones” flies around the corner, screeching tires and all, and joins in on the festivities. Despite its four minute sprint, it’s more punk than anything – in speed, not sound levels – and again, the guitars wildly battle the drums for a place in the sun.

Perhaps when you read that “Black Magick Boogieland” only had eight songs – of which two have so far been labeled as short – you might have been disappointed. But fear not, the album’s closer, “Supernatural Predator,” does its damnedest to reach the thirteen minute mark and even features a guest vocalist in the form of Farida Lamouchi. This tune’s length straight up makes it the album’s stand-out track, because it provides the band ample opportunity to show off their chops. There are riffs the size of continents flying by; the vocals take full advantage of their role, and the band gels, jams, and jives. “Supernatural Predator” finishes off the album out on a high note and if you were still on the fence about coming out to Death Alley’s album release party at the Paradiso in Amsterdam on June 11, this little ditty just might be the final argument you needed.

Words by: Victor Van Ommen

‘Black Magick Boogieland’ is available here

For more information:

Like: https://www.facebook.com/deathalleyband