ALBUM REVIEW: Bathsheba - "Servus"

By: Ben Fitts

Album Type: Full Length

Date Released: 24/02/2017

Label: Svart Records

The biggest strength of the album is its tactful and haunting use of atmosphere. This is achieved through the skilful use of dynamic contrast, organically unfolding transitions and changes in the timbre of the music, particularly in the playing of guitarist Dwight Goossens.  Tracks such as “Manifest” and “Demon” see Goossens change from chilling, ambient clean tones to rich, roaring fuzz tones that could satisfy even the hardest to please doom fans.

“Servus” CD//DD//LP track listing:

1. Conjuration Of Fire
2. Ain Soph
3. Manifest
4. Demon 13
5. The Sleepless Gods
6. I, At The End Of Everything

The Review:

It’s a very difficult feat to create something that is both bleak and immense, sparse yet enveloping. But that is exactly what Belgian doom quartet Bathsheba achieve on their debut full-length, “Servus”. Crawling tempos, smokey guitar tones, airily sinister vocals and thundering atmosphere define this album. One listen conjures images of ancient rituals performed by full moonlight, rotting, dusty tomes and a time when the world was still young, but so much darker.

The album’s opening track, “Of Fire” rumbles like a down-tuned earthquake, with an ominous but assuaging vocal line floating over the roar of the instruments. The most stoner-friendly track on the album, “Of Fire” builds to a climax of occult riffing and evil galore. “Servus” finds itself at its most blackened and fast-paced at the start of the next track, “Ain Soph”. However, at about a minute in, the track slows down to Bathsheba’s familiar tortoise pace as vocals significantly rougher than those found at the start of “Of Fire” join the clamour, and the ensemble is eventually joined by a surprisingly tasteful, spaced out saxophone.

 “Manifest” is the album’s longest number, and it spends over ten and a half minutes alternately wandering the cosmos and grooving on the most head banging, feel-good (relatively speaking) riffs to be found on the entire album. Following this lengthy, psychedelic exploration is what is perhaps the album’s standout track “Demon”. The track is loaded with malicious earworms of guitar riffs. These are the kind of doom riffs that are nothing but pure evil and embed themselves in your mind, the way an infectious pop song would.

The perfect soundtrack to performing Pagan magic appears on the following track, “The Sleepless Gods”. Ominous, surreal and ancient, “The Sleepless Gods” trudges through ringing fuzz and skin-crawling vocals, building to an aggressive groove, before returning to the track’s original mood for its conclusion. The album ends on the aptly named track, “I, At The End Of Everything”. Beginning like a bubbling cauldron, the track opens with bad dream atmospheres that gradually swell in intensity, building to the point of blood-curdling evil.

The biggest strength of the album is its tactful and haunting use of atmosphere. This is achieved through the skilful use of dynamic contrast, organically unfolding transitions and changes in the timbre of the music, particularly in the playing of guitarist Dwight Goossens.  Tracks such as “Manifest” and “Demon” see Goossens change from chilling, ambient clean tones to rich, roaring fuzz tones that could satisfy even the hardest to please doom fans. This diversity is matched in Michelle Nocon’s vocals, as she effortlessly navigates from ominous, witchy earcandy to raspy, hellish snarls, perhaps best exemplified on the album’s nearly eight and a half minute long closing track, “I, At The End Of Everything”.

“Servus” is available to buy/preorder here

Band info: facebook || bandcamp

FFO: Serpentcult, Sardonis, Monarch, Death Penalty

2016 ALBUMS IN BRIEF: Alcest- “Kodama”, Cobalt- “Slow Forever” & Mortichnia- “Heir to Scoria and Ash”

By: TJ Kleibhan

Alcest- “Kodama”

Shoegaze-Metal pioneers Alcest were back this year with “Kodama”, an album that found lead singer and multi-instrumentalist Neige electing to implement more vocal harmony rather than his usual black metal screeches. “Kodama” has frequently been compared to Alcest’s debut, “Souvenirs d'un autre monde” by way of the new album’s fierce guitar riffs drenched beneath swirling delay effects. Also similar to the debut is the way “Kodama” bounces between moods which ranges from uplifting to dark and personal. Neige frequently stated he was inspired by Hayao Miyazaki’s Princess Mononoke during the album’s creation. “Kodama” is every bit as lush and blissful as a Miyazaki film, but also includes the harrowing darkness that Miyazaki’s protagonists typically overcome. This is one of Alcest’s strongest releases and should come especially welcome to fans clamoring for a record closer to black metal than Alcest’s past two efforts.

Band info: bandcamp || facebook

Cobalt- “Slow Forever”

After a seven year hiatus, Colorado black and prog metal act Cobalt returned with “Slow Forever. The album was created during the most tumultuous time in Cobalt’s history. While creating their first double album, lead singer Phil McSorley was replaced with ex-Lord Mantis vocalist Charlie Fell. Multi-Instrumentalist Erik Wunder did not miss a beat during the whole process. “Slow Forever” features twelve tracks, most of which eclipse the 6 minute mark, that showcase massive riffs, creative drum fills, and aggressive melodies that all feature an influence of Cormac McCarthy-like western wilderness blues. Fell’s vocal performances are varied, but every note he screeches and roars works effectively. Rarely does a band replace their lead singer and get better, but “Slow Forever” could be the peak in Cobalt’s oeuvre.

Band info: bandcamp || facebook

Mortichnia- “Heir to Scoria and Ash”

Mortichnia come from Ireland and they’re here to crush all the happiness out of your life. Produced and recorded by Altar of Plagues’ James Kelly, the black/doom metal five-piece’s debut record is perhaps the most punishing release of 2016. The atmosphere of “Heir to Scoria and Ash” is sickening and claustrophobic. Even when the well-crafted riffs are not punishing the listener, there is seemingly no way to escape the droning, the harsh vocals, or the pounding double bass drum kick. Gluttons for punishment in their metal releases look no further.

Band info: bandcamp || facebook

ALBUM REVIEW: If These Trees Could Talk - “The Bones of a Dying World”

By Brandon Green

Album Type: Full Length

Date Released: 03/06/2016

Label: Metal Blade Records

This record is a fluid-flowing masterpiece that builds upon complex, progressive dreamscapes with brilliant artwork reminiscent of the music within. It is clear the band, although instrumental, is thematic in the sense they are making a statement regarding environmental concerns and climate change. The music feels bleak, hopeful, and wonderfully introspective.

“Bones of a Dying World” CD//DD//LP track listing:

1. Solstice
2. Swallowing Teeth
3. Earth Crawler
4. After the Smoke Clears
5. The Here and Hereafter
6. Iron Glacier
7. The Giving Tree
8. Berlin
9. One Sky Above Us

The Review:

Few bands are capable of capturing the icy and frigid atmosphere of the winter months while inspiring hearth-fire warmth in song structures and rhythm. After many listens of 2009’s “Red Forest,” I found myself frequently thinking it was a release that was hard to top, however, “Bones of a Dying World” does just that. Many people may think this release is repeated territory for the band; but this album feels like more. This record is a fluid-flowing masterpiece that builds upon complex, progressive dreamscapes with brilliant artwork reminiscent of the music within. It is clear the band, although instrumental, is thematic in the sense they are making a statement regarding environmental concerns and climate change. The music feels bleak, hopeful, and wonderfully introspective.

“Bones of a Dying World” is an hour long journey full of melody, melancholy, and cinematic post-metal. Hailing from Akron, Ohio, If These Trees Could Talk takes advantage of deep, layered sound full of reverberation and crisp guitar passages weaving in and out of the intense rhythm underneath. Overall, the album has a steady moderate pace with the majority of the songs maintaining catchy, melodic, clean guitar passages. The album also introduces a welcomed amount of distorted and heavy riffs built on top of the clean compositions, something only attainable with their trio of guitars. The group seems to stick to utilizing delay effects with long feedback trails; however, the band delivers a higher understanding of complexity by letting the effects organically enhance the amazing compositions.

The group’s strength relies on intense build up before pummeling the listener with overwhelming and hauntingly powerful riffs. Variation is a strong component of their songwriting, and can be seen throughout the compositions on the album. “Bones of a Dying World” goes by quickly, and I frequently found myself pressing play again for the ominous reverb-soaked journey. The album’s second track, “Swallowing Teeth,” heavily showcases the band’s ability to make the listener lose track of time.  The atmosphere created in their song structures make the listener frequently feel like time passes so much slower as the music sets in, filling the brain full of visions of wandering an icy lake under intense grey skies.

The drums were an interesting touch for me on this record specifically from their simplistic yet huge sound emphasized by the heavy hitting playstyle of Zack Kelly. The massive ambience created by the cymbal work added a ton of character to the guitar textures, and the careful construction of rhythms locked in with the bass really drove home some extremely heavy moments. My only slight criticism of the record is that I wish the bass was not so buried beneath the beautiful guitar work.  There were some extremely inspiring moments between the bass and drums that I wish would have shined through a little more.

The impressiveness of this record really set in during my favorite track, “Iron Glacier.” The song underneath all the ambience and build-up is immensely catchy and extremely heavy. While the performance is deliberate and borderline monstrous at times, the band throughout the album displays just the right amount of aggression. I can only imagine that a live performance from this band would not only be amazing, but could potentially be deeply personal and spiritual for many listeners of post-metal/rock. For a genre somewhat still in the infant stages, If These Trees Could Talk conducts with absolute authority and delivers a potentially timeless record. An album perfectly suited for the winter time; throw on your headphones and check this one out. They absolutely deserve your support.

“Bones of a Dying World” is available here

Band info: bandcamp || facebook

FFO: Pelican, Russian Circles, God is an Astronaut, This Will Destroy You

“11 is one Louder”: Construct of Lethe guitarist Tony Petrocelly chooses his Top 5 Death metal albums

Construct of Lethe's intense form of death metal traces its roots through the old school with songs that also display hints of tech death, thrash and black metal. The band released their punishing debut LP 'Corpsegod' to critical acclaim on New Years Day 2016 and would go on to  release their new EP 'The Grand Machination' EP on October 7th 2016. Once again anchored by the furious riffwork of Tony Petrocelly and raging drums of Kevin Talley (Dying Fetus/Misery Index), “The Grand Machination” marked the debut of lead guitarist Patrick Bonvin (Near Death Condition), whose playing brings an extra dimension of atmosphere and aggression to an already vicious sound.

One of the few extreme metal bands who place equal emphasis on lyrics as well as riff-writing, Construct of Lethe presented “The Grand Machination “EP as a concept album, with lyricist/vocalist Dave Schmidt reinterpreting and perverting Mark Twain's "Letters from the Earth" to tell the tale of Lucifer after the fall as he views the rise and fall of Christ.

Today Contruct of Lethe guitarist Tony Petrocelly gives us an insight into favourite death metal albums, as we turn things up to 11,  in this weeks crushing edition of “11 is one Louder” where our favourite choose their favourite records from the very genre they crafts their own music.  Here is Tony with the lowdown

Hi, Tony Petrocelly, guitarist of Construct of Lethe here. Picking my top five death metal albums is an exercise in hand-wringing to be sure; I've whittled it down to the following, though I really need to include some honorable mentions: “Pierced from Within” by Suffocation, “Turn Loose the Swans” by My Dying Bride, “Sickening Erotic Fanaticism” by Mortal Decay, “Considered Dead” by Gorguts, “None So Vile” by Cryptopsy, “Todessehnsucht” by Atrocity, and Hypocrisy's self-titled album. And all of Hypocrisy's other albums. I need to stop myself there, or I'll be going on all day.

Scarve – “Irradiant”

I'm not sure how to quanitify this album, other than to say it's inimitable. I had picked up their previous album “Luminiferous” on a whim around 2003, and was really struck by how strange and powerful it sounded. When Listenable Records announced “Irradiant”'s release, I could barely wait to get my hands on it; the wait was worth it and then some. The sound is simply massive, yet the songs have an almost ethereal quality to them--they weave perfectly between passages of subtlety and intense aggression, and their ability to build and release tension is second to none. In addition to the overall sound of the record, the songs are structured for maximum impact, feeling epic without overly-long runtimes. Scarve featured two vocalists, and they complimented each other perfectly, providing dynamics when the other instruments were charging hard forward. Check out “Hyperconscience”, a great representation of all the things Scarve brings to bear on “Irradiant”.

Angelcorpse – “The Inexorable”

The riffs...good god, those riffs. Those riffs, and that unadulterated speed. And those vocals. I'm no friend to all this over processed, sound replaced, quantized, perfect production bullshit that's been dominating metal for years now. The less edited and processed an album is, the better the performances captured need to be; “The Inexorable” is pretty much as stripped down as a death metal album can hope to get, and it's pretty much flawless. I'm a sucker for a great riff, and this album is choking with them. Every single song is a violent, guitar driven assault, and it's all catchy and memorable. Tony Laureano's drumming is relentless throughout and really pushes the album into warp speed. Pete Helmkamp's vocals suit the music perfectly, a proto-death metal, almost black metal croak that's just soaking in viciousness. Album opener “Stormgods Unbound” goes straight for the throat, and the album doesn't let up until it's finished. Highly, highly recommended.

Bloodbath – “Nightmares Made Flesh”

Bloodbath started as a side project for Dan Swano, Mikael Akerfeldt and a couple of the guys from Katatonia; the idea was to play dirty, old school death metal as an homage to their countrymates Dismember, Entombed and others. Early on they put out an EP and an LP, both fun, sure...but in 2004 they really came into their own with “Nightmares Made Flesh”, an absolute monster of an album. The most immediate differences are Hypocrisy's Peter Tagtgren taking over on vocals, the more polished (but still dirty) production, and the eschewing of hackneyed Swedish death metal melody. Tagtgren's inclusion gives the album a much more visceral feel, which plays directly into the much darker atmosphere this album has compared to its predecessors. And holy shit, is it heavy. The riffs really take on a life of their own; though Bloodbath was really the impetus for the HM-2 movement/revival we're seeing these days, their musical sense really separates them from everyone else. Check out “Eaten”, quite possibly the heaviest song ever recorded.

Morbid Angel – “Altars of Madness”

There's a lot of contention as to who the first death metal band was, Death? Possessed? Does it matter? “Altars of Madness” might not have invented the genre, but it blazed a trail and made the roadmap for countless bands to follow (including my own). Morbid Angel is one of the first bands to eschew the thrashier aspects that death metal was still clinging to so tightly. This is death metal's “Reign in Blood” to me--an album that in hindsight seems so obvious because of its effective simplicity. All of its parts are perfect. The lyrics, atmosphere, riffs, drumming...everything. Even the parts that aren't perfect are perfect in their imperfection because they're what needed to be done. So hard to pick just one song, but I'll go with “Suffocation”, if only for the riff that starts at 2:06.

Theory in Practice – “Colonizing the Sun”

It might seem hard to imagine nowadays, but there was a point in time where not every death metal band was stuffed full of virtuoso musicians and because of that, Theory in Practice stood out like a sore thumb during their initial run. Their first three albums are all great in their own right, but “Colonizing the Sun” is really where they perfected their approach. I'd hesitate to call this tech death because of the subgenre of the same name; in 2002 it was an adjective, not a genre. Technical death metal bands weren't homogenized and samey like they are now, their sounds were varied, and Theory in Practice (And Quebec's Martyr) were at the top of the heap for me. “Colonizing the Sun” features the impeccable guitar work of Peter Lake; their riffs aren't just riffs, they're spiralling, maddening adventures worthy of Watchtower's finest moments...but better. Jazzier, but not overwrought. The whole affair stands tall on a foundation of semi-melodic Swedish death which acts as glue to keep it from getting away from itself.

Construct of Lethe’s latest record “The Grand Machination” is available via their bandcamp page

Band info: bandcamp || facebook

2016 ALBUMS IN BRIEF: Fleshgod Apocalypse - “King”, Despised Icon - “Beast”, Witchden - “Salt of the Earth” & Surtur - “Descendant of Time”

By Theron Moore, Richard Maw & Eric Crowe

Fleshgod Apocalypse - “King”

So, the other day, I was having a conversation with Sir Aardamoor, a knight of the 3^rd Order in the Court of King Gallbreath, and we were discussing the best bands to pump up the troops in the field right before storming a castle.  Fleshgod was his choice.  No surprise, no shock. 

To say that Fleshgod is epic in a cinematic way is pretty much a no brainer.  Everything they do is big starting off with “March Royale” the instrumental that opens the record and brings forth visions of massive troop movements, Trebuchets hauled in by slaves, and, well, the siege of a castle.  “In Aeturnum” continues the mythical siege replete with soaring, crushing, metallic vocals and background opera as well.  Fleshgod has come to play.

I like what they do.  Fleshgod is good at pulling this off just like Manowar is right on with their chest pounding, bruh-metal.  Both bands are convincing, especially Fleshgod on this, their new record, “King.”   They’ve figured out how to make cinematic metal work, how to construct it, and more importantly, how to execute it to maximum impact.  This is “Ben-Hur,” “Clash of the Titans,” “Timeline,” and lest not we forget, “300” put to music.  Make no mistake about it, Fleshgod isn’t about power ballads or hammers being thrown ala Hammerfall or Hammerfall-lite, Hammer King.  Continuing with the movie theme, those bands would be made for TV movies.  Fleshgod is full on IMAX, 3-D, big budget, franchise stock.

This is heavy music.  Probably some of the heaviest you’ll have heard last year going into this.  This juggernaut will kill posers on sight, so beware.  So, here’s what you do.  Grab a tankard of Grog, watch “300,” and when you get groggy enough, crank up “King” by Fleshgod Apocalypse.  That’s it, that’s your evening.  You’re welcome.

Band info: facebook

Despised Icon - “Beast”

Whoa.  “Beast” is an apt way of describing this record.  Its ten tons of bricks fallin’ on your head, smacked in the face by a wrecking ball, with an iron pipe to the balls.  Although the band hails from Canada I’d describe their sound as US, East Coast hardcore with a slight hint of death metal thrown in for good measure. 

Despised Icon returns from the dead with “Beast” via Nuclear Blast Records, again showcasing the mighty pipes of dual vocalists Alex Erian and Steve Marois who come ‘atcha like a tsunami.  Track four, “Bad Vibes,” is testament to this.  This song’s gonna hurt people in the pit.  I like the recurring death metal break in this song reminiscent of bands like Putrified, Gorevent or Fetal Disgorge.  Nice touch.  Cranks the brutality factor up by 10.

“Beast” kinda swings me over to bands like First Blood or Terror that have that street grittiness, back room, bare knuckles fighting feel.  Reunions often feel like lame money grabs without soul, tryin’ to sell you a brand but not the case with Despised Icon.  “Beast” is this band firing on all cylinders, lookin’ and soundin’ refreshed, stompin’ around the stage, words getting spit out of the mic like bullets out of a gun. 

Undoubtedly what makes Despised Icon stand out is the dual vox.  That’s why songs like “The Aftermath” and “Drapeau Noir” sound as heavy and tough as they do. 

The switch up between hardcore and death metal sounds, adds that extra layer of aggressiveness that puts this band over the top and allows them to change up musically at the drop of a hat and not skip a beat.  The problem you run into with a lot of hardcore bands is the fact that they can only work within set boundaries, often fencing themselves in.  With dual vocalists in Despised Icon, and the bands killer ability to nail a thrash groove, hardcore or death metal, the music is constantly evolving and staying fresh which is exactly what you get with “Beast.”  Buy it and mosh!

Band info: facebook

Witchden - “Salt of the Earth”

Minnesota, Minneapolis sludge mongers Witchden have finally returned this year with “Salt the Earth” and damn it’s a stellar follow-up from the 2012 “Consulting the Bones”. Released October 31 last year, this new album has really blown me away with well crafted songs, solid riffs and a slow mean drive. Guitars are unforgiving with amazing tone, with clarity and crunch and blend perfectly with the thick chest rumbling bass. Drums are crushing and on point the entire album and exactly what it needs.

Most of the album keeps about the same tempo, a good heavy drive, but does break into so aggressively sludgy moments that add such a weight to that album that really sticks with you. But a song like “The Old Blood” breaks away from the dark tone and has a stronger groove to it, good for night driving. “Unholy” tends to be one of my favorites; it recently appeared on Doomsayer Records ‘Volume Two” compilation. It’s just got that previously mentioned slow mean drive with guttural / throaty vocals leaning toward a death metal side of things, which to me is a nice touch. Like I said before, this is a stellar release with tracks like “Negasus”, “Salt The Earth”, The Old Blood” and “Unholy” that really stand out to me for their uncompromising heaviness and being a killer album from start to finish. A must have from 2016.

Band info: bandcamp || facebook

Surtur - “Descendant of Time”

What do we have here? No less than the finest thrash from the intense heat of Bangladesh! With Exalter treading the boards in the same country, the Bangladeshi's are making a name for themselves in this genre; violent thrash. The band photo shows one of the guys wearing a Kreator t-shirt. It's a good reference point.

This is certainly thrash in the Teutonic vein: riotous and evil sounding. After the scene setting intro “Prologue to Chaos”, the title track kicks off with some paint stripping riffing, vocalising and soloing (in that order). Vicious stuff. “Demolisher” follows up with a slower and steadier start, but it soon accelerates to early Sepultura pace.

The EP is shamelessly influenced by the late 80's German thrash squads- and the South American greats, too. This is a more satisfying approach than many modern American bands; who are too clean sounding and too slick. This is music played for the joy of it, played for the violence of it and, despite the violence it is, indeed, fun.

“Maggot Filled Brain” is the charmingly titled closing track which shifts through the thrash gears impressively, with each band member laying down an impressive and forceful sound. Simply put, this is a sharp EP for all those who like their thrash feral and unfriendly.

Band info: bandcamp || facebook

ALBUM REVIEW: Suma - "The Order of Things"

By: Jay Hampshire

Album Type: Full Length

Date Released: 11/10/2016

Label: Argonauta Records |

Tartarus Records

Suma have proved that, over fifteen years on from their formation, they can still challenge listeners, in terms of their expectations and their open-mindedness. This is a sprawling record that impresses, uplifts, and imparts melancholia in equal measure. It’s a feat, and one that makes it sorely apparent that the Malmo crew deserves much more recognition then they are afforded.

“The Order of Things” CD//CS//DD//LP track listing:

1). The Sick Present

2). Bait For Maggots

3). RPA

4). Being and/or Nothingness

5). Education for Death

6). Disorder of Things

7). The Greater Dying

The Review:

Suma are one of those acts who have a clearly defined trajectory in terms of their sound. Over the years they have stepped away from the ‘stoner’ vibes that permeated the likes of second LP “Let the Churches Burn” like a dense weed fug, and moved further towards the depths of the drone/doom spectrum. Latest release, “The Order of Things”, is ten years apart from “Let the Churches Burn”, and if you listened to both piecemeal, you’d be forgiven for thinking they were both conjured by different artists.

‘The Sick Present’ is sparse. Echoing drum hits and slowly swelling chords build tension and no little dread, unhurried and predatory. We get our first taste of Suma’s penchant for using samples (something that has featured throughout their career), but these spoken word clips sit frustratingly low in the mix, at times muddled, perhaps deliberately frustrating and mysterious.

‘Bait For Maggots’ beeps an alarm before rising feedback explodes into a chugging, rolling riff and sampled number-station command strings. Propelled by tom heavy drums, the instruments are joined by distant, bellowed screams. Things expand out, tremolo guitars adding a sense of broad physical scope that could rival Neurosis, before locking into a hypnotic, repetitive riff that’s like Mastodon played at half the speed. ‘RPA’ drives hard, throwing down a tone that is thick and gnarled, but not bludgeoning, allowing each instrument its own breathing space. It’s densely layered, breathless and galloping, and features some gurgling, gruff vocals that sound like Matt Pike in a well (in a good way).

‘Being And/Or Nothingness’ is where things get unsettling – a collage of backmasked howls, wails and ringing layered loops that is actually uncomfortable to listen to. ‘Education for Death’ drags us back in with an immediate stomper of a riff that gradually slows into the doomiest cut on the record. Held notes ring almost infinitely, and it becomes a test of attrition, asking how long you can stare into the bleak void. ‘Disorder Of Things’ is a shorter, sharper affair, bristling with a muscular, chugging riff that whips itself into a thundering frenzy backed by a shuddering, unstoppable drum performance.

‘The Greater Dying’ is absolutely breath taking. Jangling, echoing guitars add a moment of clarity that slowly grows into a cosmic, dramatic post rock rumble that lifts into a cacophonous maelstrom. It’s punctuated by anguished shouts into the swelling void, and moves dynamically, with layers falling away, only to come back stronger, changed, and never diminished.

Suma have proved that, over fifteen years on from their formation, they can still challenge listeners, in terms of their expectations and their open-mindedness. This is a sprawling record that impresses, uplifts, and imparts melancholia in equal measure. It’s a feat, and one that makes it sorely apparent that the Malmo crew deserves much more recognition then they are afforded.

“The Order of Things” is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Book of Wyrms - "Sci-fi/Fantasy"

By: Richard Maw

Album Type: Full Length

Date Released: 01/01/2017

Label: Twin Earth Records

The legendary Hawkwind would be happy with the sounds exhibited on “Nightbong”, while the darkness on “All Hollows Eve” is right in sync with Uncle Acid et al.  This is a good record which combines some of the best of space/stoner/doom in one package. A band to watch in 2017.

“Sci Fi/Fantasy” CD/DD track listing:

1). Leatherwing Bat

2). Infinite Walrus

3). Cosmic Filth

4). Nightbong

5). All Hollows Eve

6). Transcendental Migraine

7). Sourwolf

The Review:

The title says it all here; this is a very adept combination of stoner/spacey rock and doom/trad metal- thus melding the elements of science fiction and sword and sorcery themes to great effect. Richmond. Virginia has given us some big names in metal in the past (Lamb of God) and some real cult favourites (Alabama Thunderpussy). Perhaps Book of Wyrms will be joining one of those camps?

“Leatherwing Bat” is a rollicking and loping groove which languidly rolls out of the speakers. Songs are lengthy and sprawling in the main and the production is pleasingly fuzzy and live sounding (you can hear the snare rattle when only the bass plays- no cutting of tape here).

A track by track is not really necessary here; if you like the vibe, you'll like the album. You get lead guitar, slow and rolling grooves, spacey vibes and some pretty serious doom action along with clean vocals (female- they suit the album very well) and distorted bass. There are some time signatures outside of the 4:4 range (“Cosmic Filth”) and the whole record has a pleasingly lo-fi quality, while never sounding any less than mighty.

The legendary Hawkwind would be happy with the sounds exhibited on “Nightbong”, while the darkness on “All Hollows Eve” is right in sync with Uncle Acid et al. As noted in the opening paragraph, the band manage to meld two of the major thematics of the stoner/doom spectrum to great effect, while even replicating some of the raunch and swing of Monster Magnet in places.

The closing eleven minutes plus of “Sourwolf” is a beastly (pun intended) way to finish the album. For me, though, if you were to want a stand out... give “Transcendental Migraine” a try. This is a good record which combines some of the best of space/stoner/doom in one package. A band to watch in 2017.

“Sci Fi/Fantasy” is available here

Band info: bandcamp || facebook