ALBUM REVIEW: Witchcryer - "Cry Witch"

By: Ben Fitts

Album Type: Full Length

Date Released: 19/01/2018

Label: Ripple Music

The riffs are infectious, the grooves hit you right in the gut and their well written songs are accentuated by climatic dynamics and impassioned performances by all members of the band.  Witchcryer have created something really quite special on “Cry Witch”, a debut surely worthy of addition to the doom metal cannon.

“Cry Witch” CD//DD//LP track listing:

1). Cry Witch

2). Ricochet

3). The Preying Kind

4). Ma Kali

5). Embryo (Instructions)

6). Great Divide

7). For The Slaves

8). Witchfinder General (Witchfinder General Cover)

9). Lapis Philosophorum

The Review:

Do you like fat, fuzz soaked guitar tones? What about heavy, blues based riffs with a gloomy, vintage vibe? A singer who belts raspy, darkly melodic vocals about witches, vengeance and fighting systematic oppression? Well if you are reading THE SLUDGELORD, there is a pretty decent chance that you are here largely to find more bands that do exactly what was just described above. If that’s you, then “Cry Witch”, the debut album by Austin based doom quarter Witchcryer, does not disappoint.

Witchcryer play a form of classic doom metal revival that owes its biggest musical debt to the bands that played doom before there was a name for it (Witchfinder General, Black Sabbath, Pentagram). Their chosen musical territory is far from uncharted by its very definition, but Witchcryerplay it with so much fire that it feels fresh regardless. The riffs are infectious, the grooves hit you right in the gut and their well written songs are accentuated by climatic dynamics and impassioned performances by all members of the band. Some highlights include brooding, psychedelic track “The Preying Kind” and the vicious, gravely stomper “For The Slaves”, but the album’s finest moment is unquestioningly its the thunderous title track. Somewhat reminiscent of early The Obsessed, “Cry Witch” is a hard-hitting doom metal track at its finest, with just enough punk rock muscle to give it its needed edge. Its main riff is also an earlier contender for the best metal riff of 2018.

“Cry Witch” is the band’s first and only release following a three-track demo titled “The Preying Kind — Demo MMXVI” from 2016. While those familiar with their demo will recognize Witchcryer’s ear for great riffs and knack for organic dynamic changes (as well new recordings of all three tracks), overall “Cry Witch” demonstrates significant growth for the band. They have grown much tighter and more confident as a unit (some of which may be due to the recent inclusion of their bassist, Marilyn) and have created something really quite special on “Cry Witch”, a debut surely worthy of addition to the doom metal cannon.

“Cry Witch” is available here

Band info: facebook|| bandcamp

ALBUM REVIEW: Viscera/// - “3: Release Yourself Through Desperate Rituals”

By: Ben Fitts

Album Type: Full Length

Date Released: 05/05/2017

Label: Unquiet Records |

Drown Within Records |

Wooaaargh

"If one were forced to classify the band’s current sound, post-metal might be the safest category, but even that vaguely defined subgenre does not quite do the band justice, as it fails to mention the strains of psychedelia, black metal, hardcore, death metal and the band’s grind roots to are still very present in VISCERA///

“3: Release Yourself Through Desperate Rituals” CD//DD track listing:

1). Uber-Massive Melancholia

2). Martyrdom for the Finest People

3). Titan (Or The Day We Called It Quits

4). In The Cut

5). Anxiety Prevails

The Review:

Italian trio Viscera/// is hard to describe. Although the band has its roots in goregrind (as exemplified on their 2003 demo “Entrails Defecation”), Viscera///’s sound has since evolved into a stylistically fluid assault that makes to strike an evocative range of emotions, often within the same song. If one were forced to classify the band’s current sound, post-metal might be the safest category, but even that vaguely defined subgenre does not quite do the band justice, as it fails to mention the strains of psychedelia, black metal, hardcore, death metal and the band’s grind roots to are still very present in Viscera///. While their previous few releases also evidenced this growth, nowhere in their discography does their varied sound come together as well as on their fourth full-length album, “3: Release Yourself Through Desperate Rituals”.

The album opens on the sinister sounding and melodramatically titled “Uber-Massive Melancholia”. Over the nearly eleven and half minutes of  the opening track (making it only the second longest song on the album), Viscera/// display the nastiest, dirtiest sounds in their cannon, as well as the most overt black and death metal influences to be found on the “3: Release Yourself Through Desperate Rituals”. The following track, “Martyrdom for the Finest People” sees the album continue with the blackened elements of “Uber-Massive Melancholia”, but it strips away the death metal aspects in favour of ambient and drone influenced sounds. The result is a blackened post-metal track whose ten and half minutes manage to be tranquil while being propulsive, a combination in line with many of the cutting edge metal acts of today.

“Release Yourself Through Desperate Rituals” continues in a similar vein over the course of its next track, “Titan (Or The Day We Called It Quits)”. At just shy of four minutes, it is by the shortest track on the album (by over four minutes) and it feels like a blur when compared to the sprawling length of the other four tracks on the album. But despite its short length, “Titan (Or The Day We Called It Quits)” manages to make as much of an impact as any other track on the album, due largely to its hazy post-rock inspired tones and thunderous, tremolo-picked guitar riffs.  

It is followed by “In The Cut”, which, at over twelve and a half minutes, is the longest track on “Release Yourself Through Desperate Rituals”. Viscera/// utilize the track’s length to touch upon every mood in album’s arsenal. “In The Cut” opens with a passage of dark, guitar driven psychedelic rock before morphing (rather naturally) into blood curtling black metal and diminishing into an ethereal, chiming clean section, all within the track’s first five minutes. Over its remaining seven a half minutes, “In The Cut” rebuilds its intensity, heaviness and energy, often dipping back down and becoming more impactful when it rises again. The album closes with the track “Anxiety Prevails”, the bitterest, evilest, and heaviest track anywhere on the album. While the other tracks on the album flit through sounds and emotions, “Anxiety Prevails” stays consistently nasty throughout its eight minutes, making it perhaps less adventurous and challenging than the album’s other tracks, but quite possibly its most enjoyable. 

“3: Release Yourself Through Desperate Rituals” is available here

Band info: bandcamp|| facebook

ALBUM REVIEW: Melvins - "A Walk With Love & Death"

By: Ben Fitts

Album Type: Full Length (Double)

Date Released: 07/07/2017

Label: Ipecac Recordings

 

On “A Walk with Love and Death”, the Melvins do both things that their cultish fans love about them, and do them both damn well.

“A Walk With Love & Death” CD//DD//LP track listing:

“Love”

1. Aim High
2. Queen Powder Party
3. Street Level St. Paul
4. The Hidden Joice
5. Give It to Me
6. Chicken Butt
7. Eat Yourself Out
8. Scooba
9. Halfway to the Bakersfield Mall
10. Pacoima Normal
11. Park Head
12. T-Burg
13. Track Star
14. The Asshole Bastard

“Death”

1. Black Hearth
2. Sober-delic (acid only)
3. Euthanasia
4. What’s Wrong with You
5. Edgar the Elephant
6. Christ Hammer
7. Flaming Creature
8. Cactus Party
9. Cardboro Negro

The Review:

Thirty-four years into their career, the Washington trio Melvins have established themselves as one of the most important groups of weirdos in the history of recorded music. They pioneered the very foundations of both sludge and grunge, were the first to fully utilize the uses of drop tunings and were a major influence on seemingly every metal band at least bordering doom on this side of 1990. It is impossible to view a new work of theirs without the context of their back catalogue. And that back catalogue is vast, but amazingly contains scarcely a forgettable record. Each new Melvins release finds a new personality and/or territory and their newest full-length, “A Walk With Love & Death” does both. Twice.

At twenty-three songs (with a total runtime of eighty-nine minutes), “A Walk With Love & Death” is the Melvins’ first double-album, and they embrace the concept. While many albums spread themselves between two disc because there was simply too much material to be contained on just one, on “A Walk With Love &  Death”, the Melvins create two distinct, separate albums (the first titled “Death”, the second titled “Love”) and package them together as one cohesive unit.

“Death”, the first disc, is by far the more accessible of the two discs and is rank with breezy, blues based grooves. “Death” opens the swampy “Black Health”, which, while still clearly the Melvins, is oddly reminiscent of Creedence Clearwater Revival or Tony Joe White. Intensity builds over the darker, grungier track “Sober-Deli (Acid Only)” before the arrival of “Euthanasia”, a rumbling, groove based sludge metal song (the kind of sound that many think of first when they think of the Melvins).

These moods represented by these first three tracks, bluesy and breezy, grungy and sulky and classic Melvins sludge, more or less define the remaining six songs on the “Death” side of “A Walk with Love and Death”. They are mixed differently and to different proportions, from the stomping bluesy rock and roll of “What’s Wrong With You” and “Cactus Party” to the menacing, propulsive sludge of “Flaming Creature”, the latter of which possibly takes the cake for the best track to be found anywhere on the “Death” side of the album and incorporates some of the funnest, most rifftastic and straightforward music that the Melvins have ever recorded. However, this is balanced out by the following disc, “Love”. That is where things get weird.    

After the buzzing, white instrument noise that ends “Cardboa Negro”, the track that closes “Death”, “Love” introduces itself with ambient street noise on the track “Aim High”. Snippets of casual conversation, the clacks of high-heeled feet and the drone of wind striking a mic set up to introduce the second disc of “A Walk With Love & Death”. “Love”is not all tape collage, and at nearly thirty seconds into “Aim High”, a synthesizer, playing actual tonal notes, can be heard struggling over the din of human background noise, a battle that it eventually loses. “Aim High” sets the precedent for the rest of the second disc.

 “Love” is a constant back and forth between tonal music, made by instruments, and ambient, collected sounds. Both ingredients get chances to shine, in varying amounts, throughout “Love”. The tracks on “Love” to feature the most music (as it is traditionally understood) are punk-infused, avant-garde jazz piece “Scooba”, which even features singing vocals (albeit sampled, and somewhat comical ones) and “Give It To Me”, which sounds like a Chicago blues band caught in the midst of interdimensional travel, and sounds less and less like Chicago and more like that other dimension as the song progresses. Conversely, tracks such as “The Hidden Joice” and “Chicken Butt” are built around studio altered spoken samples, with only a backdrop of dissonant synthesizers (with some sparse guitar playing on “The Hidden Joice”). The other ten tracks on “Love” explore seemingly every midpoint one can imagine, from the white noise feedback and out of focus guitar shredding of “Street Level St. Paul” to the casual street noise set to an electronic background of “T-Burg”.

It wasn’t enough for the Melvins to just make a double album. If they were going to do it, they were going to do it in a way that displayed the duality of their nature, taking both ends to their extreme. “Death”is upbeat, groove-based, energetic, punk derived rock and roll that teeters into metal, grunge and blues as they see fit. It is quite possibly the most conventional, accessible collection of music that the band was ever released, even more so than classic major label efforts such as “Houdini” or “Stoner Witch”. And it’s wonderfully enjoyable. The second disc, “Love”, is some of the band’s most obtusely difficult music, on par with 1994’s infamous display of weirdness, “Prick”. And it’s wonderfully challenging. On “A Walk With Love & Death”, the Melvins do both things that their cultish fans love about them, and do them both damn well.   

 “A Walk with Love and Death” is available here

Band info:  bandcamp|| facebook

ALBUM REVIEW: Venomous Maximus - "No Warning"

By: Ben Fitts

Album Type: Full Length

Date Released: 28/07/2017

Label: Shadow Kingdom Records

In some places on the album, those qualities are phrased in the same ways that fans have come to expect, and so admirably, but in other spots on “No Warning”, Venomous Maximus explore new ways to do that which they’ve always done: create infectiously and wonderfully diabolical music.

“No Warning” CD//DD//LP track  listing:

01. I
02. Spellbound
03. Pray For Me
04. Return Of The Witch
05. All Of My Dreams
06. II
07. No Warning
08. Blood For Blood
09. Endless
10. Sea Of Sleep

The Review:

Venomous Maximus have never been about pushing their musical envelope, expanding upon or diverging from what they do, but that is fine, because what they do is simply wonderful. “No Warning” is the third full-length album from the Houston-based doom metal quartet, and will not disappoint. “No Warning” is loaded with all the thick, vintage fuzz guitar tones, epic riffing, hazy atmosphere and awesomely vampy vocals that made Venomous Maximus’ last two albums so great, and what fans of the band have come to expect.

Just popping in the album and pressing play might throw a listener at first, due to the forty-eight seconds of buzzy, devilish synthesizer that opens “No Warning” on the instrumental track “I”, but any trepidation is instantly dispelled once the thudding guitar riff on the next track, “Spellbound”, kicks in. “Spellbound” is classic Venomous Maximus, with their natural, psychedelically occult vibe (and lyrics), and driving doom riffs, inflected with classic heavy metal. While these qualities are also present on other tracks throughout the album including, “Blood For Blood”, the album’s jammy nearly ten-minute long closer (although to be fair, the track contains almost 3 minutes of complete silence) “Sea Of Sleep” and perhaps best manifested in “Return Of The Witch”, one of the best songs the band has ever recorded, “No Warning” does demonstrate that Venomous Maximus have more than one trick up their collective sleeves.

While “No Warning” is still true to the sound and identity the band established on their past two albums, some tracks do find new ground, previously unwalked by the band, that still manages to exist safely within the confines of their musical territory. Tracks “Pray For Me” and the album’s title track see the band wander old school metal terrain, with muted, propulsive power chords and operatic, melodramatic melodies. Conversely, the tracks “All of My Dreams” and “Endless” see Venomous Maximus unplug for bleak, folk-influenced music, with “All of My Dreams” nearing the grim sounds of modern day gothic rock acts like King Dude.

“No Warning” shows Venomous Maximus continue to deliver material bursting with the qualities that makes their music so appealing. In some places on the album, those qualities are phrased in the same ways that fans have come to expect (and there is nothing wrong with that), and so admirably, but in other spots on “No Warning”, Venomous Maximusexplore new ways to do that which they’ve always done: create infectiously and wonderfully diabolical music. 

“No Warning”is available to buy/preorder here

FFO: Grand Magus, Castle, Sahg, The Sword

Band info: Facebook || Instagram || Bandcamp

ALBUM REVIEW: Woodhawk - "Beyond The Sun"

By: Ben Fitts

Album Type: Full Length

Date Released: 07/04/2017

Label: Independent

“Beyond The Sun, is overflowing with everything one could want from a great stoner rock record, thick, rumbling bass tones, sizzling guitar fuzz and infectious, mid tempo riffage, making this the kind of album that is very hard to stop listening to

“Beyond The Sun” DD//LP track listing:

1.Beyond The Sun

2.The High Priest

3.Living In The Sand

4.Magnetic North

5.Lawless

6.Quest For Clarity

7.A New Hope

8.Foresee The Future

9.Chrononaut

The Review

“Beyond The Sun”, the second album from Canadian trio Woodhawk, is overflowing with everything one could want from a great stoner rock record, it is bursting with thick, rumbling bass tones, sizzling guitar fuzz and infectious, mid tempo riffage. Woodhawk may be a stoner rock band before they are a metal band: guitarist/vocalist Turner Midzain soulfully bellows strictly clean vocals, the band doesn’t use subterranean tunings and tempos, as laid back as they are, are still brisk enough to outpace the Electric Wizards and Weedeaters of the world. That being said, “Beyond The Sun” still delves deep enough into metal territory to stand on its own as an admirable stoner metal album, as well as an exceptional rock album.

The album opens with its title track, a haunting, ambient track that instantly conjures images of strange, alien deserts, like the one depicted on the album’s cover. Dynamically, the track builds with a wonderful and meticulous patience, creating an enveloping aura of sound for listeners to lose themselves in. The spacey atmosphere of the album’s title track is echoed in the tracks “Magnetic North”, “Forsee The Future” and the Star Wars themed “A New Hope”, but “Beyond The Sun” is certainly not a repetitive record. Each one of those tracks tackles their galactic aesthetic in a unique and original way and the rest of the album pursues entirely new musical avenues. Tracks like “Living In The Sand” and the album’s closer, “Chrononaut”, feature riffs crushing enough for any metal head’s standards and the entire album is brimming with tight hooks effective enough to lodge into your skull for days.   

The standout track on “Beyond The Sun” is perhaps its sixth track, “Quest For Clarity”. Beginning with a deliciously chunky bass line, “Quest For Clarity” roars through absolutely irresistible riffs and effectively dark vocal harmonies. The result is the doomiest, most memorable track on “Beyond The Sun” and the best soundtrack to wandering an ancient desert to be found anywhere.

“Beyond The Sun” is the kind of album that is very hard to stop listening to. The songs are diverse enough to maintain interest but just similar enough to make for a very cohesive listen and gives the album an instantly recognizable sound. The riffs are so catchy you’ll be humming them long after you remove headphones and the songs are so good you will be craving the next chance you get to sit down and listen to them again.   

“Beyond The Sun” is available here

Band info: bandcamp || Facebook

ALBUM REVIEW: Oceanwake - "Earthen"

By: Ben Fitts

Album Type: Full Length

Date Released: 10/03/2017

Label: ViciSolum Productions

The result is forty-five minutes of meticulous songcraft and dramatically contrasting passages. “Earthen” is a journey through the duality of nature itself; it builds from a calm wind to a devastating hurricane, from a tranquil beach to a tsunami. Three albums into their career, Oceanwake is a band that has finally realized and executed the full expanse of their vision, and the result in breathtaking.

“Earthen” CD//DD track listing:  

1). A Storm Serpent

2). In Amidst the Silent Thrones

The Review:

The usage of classical element imagery in Oceanwake’s LP “Earthen” is appropriate; “Earthen” brews like a storm, rumbles like an earthquake and eventually crashes into you like a tidal wave. “Earthen” is the third full-length album from Oceanwake, a Finnish quartet who defy any sort of neat categorization (progressive post-death doom might the closest label one can invent for them, but even that fails to capture everything they encompass). While Oceanwake have always favored extreme song-lengths, they outdo themselves on “Earthen”, which consist of only two tracks: the twenty-one minute long “A Storm Sermon”, and the twenty-four minute long “In Amidst the Silent Thrones”.

As its name implies, “A Storm Sermon” is where “Earthen”’s most celestial energy lives. After a breezy, two and half minute build up, the album’s first crack of thunder is heard as Eero’s Haula’s growling vocals enter. When Haula arrives, so does the titular storm. The mood turns bleak and the patch of sunlight that shone through the track’s beginning struggles through thick, dissonant guitars and a voltaic sense of anxiety. The anxiety builds, even as the tracks tones soften, and cryptic clean vocals hijack  the melody. The celestial energy continues throughout the twenty-one minutes of “A Storm Sermon”, manifesting itself as gentle breezes in a chiming clean section, as brewing, distant thunder builds ups and finally as the very eye of the storm itself in the track’s unrelenting climax. But if “A Storm Sermon” is air, then “In Amidst the Silent Thrones” is water.

Everything about “In Amidst the Silent Thrones” is as massive as the ocean, from its quiet, beckoning moments to its most intense, pulverising riffs. The heavier of “Earthen”’s two tracks, “In Amidst the Silent Thrones” also begins with a sweet, somewhat understated passage. But while “A Storm Sermon” steadily builds until its full force is upon you, “In Amidst the Silent Thrones” gets there suddenly and mercilessly. And, just as quickly as the full-weight of the track’s heaviest moment is upon you, it fades back away, giving you time to  recuperate before it strikes again.

This coming-and-going of intensity has long been a calling card of Oceanwake’s music, but on “Earthen”, and particularly on “In Amidst the Silent Thrones”, the band perfects this trick. The result is forty-five minutes of meticulous songcraft and dramatically contrasting passages. “Earthen” is a journey through the duality of nature itself; it builds from a calm wind to a devastating hurricane, from a tranquil beach to a tsunami. Three albums into their career, Oceanwake is a band that has finally realized and executed the full expanse of their vision, and the result in breathtaking. 

“Earthen” is available here

Band info: facebook || official

ALBUM REVIEW: Radiant Knife - "Radiant Knife"

By: Ben Fitts

Album Type:  Full Length

Date Released: 13/01/2017

Label: Independent

Radiant Knife plays the sort of sludge-infused progressive metal popularized by fellow southerners Mastodon, but play the style very much in their own way.  Their self-titled debut is packed with inventive song structures and trampling riffs that are underscored by a strong sense of melody. It is an exciting debut from a band with a lot of promise. 

“Radiant Knife” CS//DD track listing:

1). Choose your necrodestination

2). Vacant faces

3). Haze

4). Emotional Wastelands

5). Shedding Black

6). The Lude

The Review:

While guitar and drum duos with scrappy production have managed to stay in style since The White Stripes released their debut album almost twenty years ago, very few of them have wandered into the musical territory of Louisiana-based band Radiant Knife. The band plays the sort of sludge-infused progressive metal popularized by fellow southerners Mastodon, but Radiant Knife play the style very much in their own way. The grimy production of their self-titled debut brings out a coarseness in the songs that is absent from the sleekly produced albums by the Mastodons and the Baronesses of the world. 

The track “Choose Your Necrodestination”, a synth laden instrumental full of thumping guitar riffs and alien atmosphere, opens the album. The track is followed by the significantly more somber “Vacant Spaces”, which features an understated, morose melody and culminates with a slow, grinding riff that is one of the most memorable moments on the album. Radiant Knife increase their tempos and their onslaught with rapid fire riffing and thunderous vocals on “Haze”. This burst of hostility is nicely contrasted by the album’s following track, “Emotional Wastelands”, which rings with joyous grooving, falsetto vocals and is certainly the most fun track anywhere on the album.

Radiant Knifeclearly enjoy orchestrating sudden departures, again leaning into contrasting feelings with their next track, the nine minute and thirty-four second long “Shedding Black”. The darkest, most despairing track on the debut, “Shedding Black” is loaded with chiming dissonances, washy guitar tones, harsh riffs and dramatic dynamic contrast. The album ends on the track “The Lude”, which is similar in mood to the earlier track “Vacant Faces”. Calm and solemn, “The Lude” roars and rumbles its way to the album’s end. Radiant Knife’s self-titled debut is packed with inventive song structures and trampling riffs that are underscored by a strong sense of melody. It is an exciting debut from a band with a lot of promise.  

“Radiant Knife” is available here

Band info:  bandcamp|| facebook

6 NEW BANDS: Nikos Mixas' 666 Pack Review for March 2017

The 666 Pack Review

It’s the March edition of The Sludgelord’s 666 Pack Review and it’s time to clean out the chasm of demos sent to us this month. If you’re new to this, each and every month we handpick 6 review submissions and critique them by only using 6words, then we rate them on a scale from 1 to 666!  In addition, this month we have included a bonus review, so be sure to check out that review as well as our awesome rating scale below: 

1 – Somehow you were missed when we were spring cleaning.  Goodbye.     
2 – Iron Maiden’s“Ides of March” is still too much for you to handle.
3 – You’re average, just like corned beef and cabbage. 
4 – Just like spring, you warm our soul…
5 – You make other bands green with envy.
666 – March was named after Mars, the Roman God of war, and after listening to you, The Sludgelordwant to go to battle!

March is when winter’s end is just around the corner and things start to bloom, including a new batch of bands.  The Sludgelordwill listen to several dozen bands throughout the year but only some will be of his liking.  The Sludgelord is a picky listener…and doesn’t care what you think of his opinions….
 

1). Stonerror - “Stonerror” – (Krakow, Poland)    Rating: 3

Kyuss and Queensworship…not bad…

bandcamp || facebook

2). Starmonger- “Revelation II” – (Paris, France)   Rating: 4

Hook laden, stoner rock.  Oui, oui!

bandcamp || facebook

3). Dwaal - “Demo” – (Oslo, Norway)   Rating: 4

Doom on while you exit winter.

bandcamp || facebook

4). Floods - “Floods” – (Brooklyn, NY)   Rating: 2

Super messy conglometion of several genres.

bandcamp || facebook

5). Cacus - “Dirty filthy godless” – (Copenhagen, Denmark)   Rating: 666

Unruly energized sludge ala Iron Monkey.

bandcamp || facebook

6). Montezuma’s Revenge - “Them” – (Moscow, Russia)   Rating: 666

Even more unruly sludge ala Eyehategod!

bandcamp || facebook

OroborO – “Baked Acid” By: Ben Fitts

Sometimes a title can perfectly encapsulate the essence of the work that it monikers. “Baked Acid”, the title of the newest demo from the Amherst, Massachusetts based experimental/heavy noise quartet OroborO, is a perfect example of such. “Baked Acid” is seven minutes of fizzy guitar fuzz, stomping grooves, potently jagged production and frantic, crazed, often shrieking vocals. The greatest strength of the lengthy track is the presence of numerous organically executed changes of pace, mood and dynamics. These stark contrasts exaggerate the characteristics of each new section, causing each one to be that much more distinctive. “Baked Acid” will swarm over your eardrums like a hive of mutant killer wasp and trap you in a toxic fog of sludgy riffs, grinding rhythms and top notch noise mongering.      

 bandcamp