Undoubtedly, this is one of the best US doom releases of the year and sits alongside The Skull and Apostle of Solitude as one of the best albums in the genre for 2018.
“Pale Divine” CD//CS//DD//LP track listing:
1. Spinning Wheel 2. Bleeding Soul 3. Chemical Decline 4. So Low 5. Curse the Shadows 6. Shades of Blue 7. Silver tongue 8. Ship of Fools
The Review
Pale Divine have been playing this music for two and a half decades and it shows- in terms of quality and experience. This record is doom/stoner doom in the traditional sense. Think The Obsessed, Pentagram, Troubleand throw in a heavy dose of Sabbath and The Sword and that gives you a fair idea of what is on offer here. The band also have some trad metal in their veins too (some Maiden-esque passages here and there) and that melting pot makes for a very satisfying listening experience.
The vibe is pure doom and comparable to the dark and powerful atmosphere that Iron Manconjured up on their “South of the Earth” album. “Spinning Wheel” and “So Low” both have heavy doses of Maryland Doom within their structures and the sound is pleasingly raw and live. It's melodramatic, downcast and features superb riffing with twists and turns that Sabbathcirca “Vol. 4” would be proud of.
The bass work is fantastic- very Geezer. The drums are rock solid and tastefully done; nice fills here and there, good groove and good dynamic use of the kit. The guitar work is very Griffin/Iommi esque and therefore superb. The vocals are of course actual singing- rough edged and smoky and thus another huge plus for the record. In fact... there is nothing about this that I don't like.
With songs like “Ship of Fools” and the closing doom blues of “Shades of Blue”extending to the seven and eight minute territory, there is the possibility for the record to drag, but the playing time of around 45 minutes (or so, I am looking at the MP3 song lengths here and adding up) means that the record clips by at quite a rate and feels solid front to back. There are riffs and substances to die for in “Chemical Decline” as well as archetypal Sabbathian “fast bits”. “Bleeding Soul” manages an epic feel with a sub five minute running time- quite a feat.
If anything, the record builds up a head of steam as it goes; the back stretch providing some of the most satisfying music of the album. “Silver Tongues” is a grooving delight that fits alongside the best of US doom/stoner material. Conversely, “Curse the Shadows” strays a lot closer to proto doom/70's rock territory and is a nice change for the record.
The aforementioned “Shades of Blue” is a bassy and bluesy beast and closes the record in some style; large in sound and scope with a laid back feel to the grooves and delivery. Undoubtedly, this is one of the best US doom releases of the year and sits alongside The Skulland Apostle of Solitude as one of the best albums in the genre for 2018. It may well be that the Europeans have ruled the doom roost this year with superlative records from Dawn of Winter, Witchsorrow, Iron Void (cough!), Conanand Barbarian Hermit but this record is truly excellent and I have enjoyed reviewing it almost as much as I have enjoyed listening to it. Doom on, gentlemen, doom on.
As a follow up to their 2017 EP "Out Of Reach", Static Tensionwill re-emerged with their first full-length album "Ashes To Animation", which is set for release in January of 2019.The Southern Ohio based quartet delves into new musical territories with this new release, offering a full pallet of sounds ranging from soft acoustics to intricate, progressive metal riffs.
Drawing upon influences from classic rock, grunge, and progressive metal, Static Tensioncreates a sound unique to their own, self described as "Progressive Grunge".The band's influences are vast and diverse, at times resembling classic sounds of Led Zeppelin and Black Sabbath, while also channelling a grungy, sombre atmosphere similar to Alice In Chainsand Soundgardenwith hints of modern, heavy tones of Mastodon and Gojira.
“Bury My Body” is a song that touches on the final breaking point in a person - the moment that makes their end seem appealing to them. Nobody really wants to die unless their life is more painful than they can imagine their death being. The song also has undertones of wanting to disappear completely - to be buried alone and not remembered at all, just erased from all memory. Life is not always butterflies and roses, and this song is a reflection of those aspects.
Despite the tracks heavy subject matter, mental health is something that everyone needs to talk about, because conversation can be therapy in itself.So what better way to deal with dark feelings of one’s own thought that to channel that into music, which can act as catharsis for the composes but as also be used a therapy for the listener.“Bury My Body” is streaming in full below, so crank it up and allow this music to be your catharsis
The world has many things to thank Denmark for over the years, not least its incomparable sense of style and Copenhagenis home to some of the world’s most sought-after designer brands and classic products. My kids would say the piece de resistance is Lego, however they probably haven't stepped on it with no socks on, if they had I am sure they’d change their tune haha.Have you done it?Hurts like fuck doesn’t it
When I was a kid the most famous Dane I was aware of other than Lurpak butter was Jan Molby, then when I got into metal, Lars Ulrich was obviously a name associated with Denmark and is arguably one of the countries most recognisable faces, reviled and loved in equal measure, when you trace the roots of Danish heavy metal he is probably top of the tree.
Hailing from Denmark, you’d be mad(s)(Mikkelson) to overlook the band DISRULE., because they are a diamond (King), a doom/stoner heads wet dream, because these guys can groove and rock out with the best of 'em. Clutch, Down, Fu Manchuand the mighty Black Sabbath all come to mind upon listening to their second record “Sleep In Your Honour”and in keeping with the spirit of legendary bands such as Sabbath, it was recorded live at Dead Rat Studio in just two days.
Streaming in full today exclusively, ensure you turn this one up loud(drup) with a bier (Susanne) in hand.“Sleep In Your Honour”is released this FridayviaSeeing Red Recordsand is available HERE
Since their emergence in 2017, APF Records have set out to support the very best bands from the UK’s thriving underground doom scene.Home to the likes of Ba'al, Battalions, Blind Haze, BongCauldron, Desert Storm, Diesel King, Mastiff, Nomad, Pist, RedEye Revival, The Hyena Kill, The Wizards Of Delight, Tronald, Under and Trevor's Head, label head Andrew Field exudes a sense of family within his ranks and is supporting bands that he himself enjoys.In essence APF Records is about a love of music and is a platform for them to help nurture bands they enjoy.
With around 16 releases to their name in an 18 month period, that is no small achievement, what’s more the standard of music has been extraordinarily high and that is set to continue on 16th November and the release of “Solitude and Savagery” the debut album by Barbarian Hermit, a Manchester sludge five piece known for giving it some bastard and bringing the thick, Northern gravy. Today we have been tasked by wonderful people at Hold Tight PR and APF Records to present the brand new video for the track “Black Mass” which you check out below.But first check out what the band had to say about the track.
Introducing ‘Black Mass’, the second single from our forthcoming album, “Solitude and Savagery”. The track is a twisting, turning sonic assault that meanders through passages of tripped out psychedelia, pure Sabbath worship, thrash and trademark Hermitheavy groove, so it’s fitting that the video that goes along with the song is just as disorienting.
It was actually our old singer Si Prato-Scarlett that approached us to do the video, as since he parted ways with the band he’s been dabbling in film production, whilst also remaining a friend and supporter of Barbarian Hermit. He'd already done the video for “Widowmaker” back in the day so we knew he'd do a fantastic job, but he really knocked it out of the park with this one.
We filmed it over a few days at our practice studio at BrunswickMill in Manchester, which is full of eerie corridors and weird and wonderful trinkets, which lent themselves perfectly for the dreamlike atmosphere that Si wanted to create.
Ed’s lyrics for the song were inspired by a dream/nightmare/vision he had of a dark figure, a black mass that hovered before him, filling him with fear. The song is about facing those fears head on and letting hope guide your way, though much like the imagery that Si has thrown into the video, the lyrics are very much open to the listener’s own interpretation.
"Solitude & Savagery" is set for release on 16/11/2018 via APF Records and orders are being taken link: HERE and you check out the video to “Black Mass”exclusively below
Live Rituals
November 10th – Cvltfest, Café Independent, Scunthorpe
November 16th – Album Lunch, Kosmopolitan, Manchester November 17th – Ale Fest, Northern Monk Brewery, Leeds December 22nd – Rebellion Christmas Party, Rebellion, Manchester
There is always demand for heritage and that retro rock and roll sound and 1968 are more than capable purveyors.
“Ballads of the Godless” DD//LP track listing:
1). Devilswine
2). Screaming Sun
3). Temple of the Acidwolf
4). S.J.D.
5). Chemtrail Blues
6). McQueen
7). The Hunted
8). Mother of God
The Review:
Formed in 2013 out of a chance meeting between Sam (Orr, guitars) and James (Coppack, vocals) 1968was created out of their love for many legendary albums created in the year that signalled the beginning of a darker, heavier movement in music and popular culture; a period in time characterized by an evolving socio-political environment, the end of the colourful ‘Summer of Love’ era and the dawn of a more cynical cultural landscape defined by the Manson murders and the Altamont tragedy.
1968’s previous EP’s may have been well received and they’re not shy of throwing their influences in the spotlight. The big difference between “Fortuna Havana” and their debut album is that the band have added a heavy level of grunge to their sound. So whilst Black Sabbath, Thin Lizzy and Jimi Hendrix are all prevalent, there is also more than a heavy smattering of Alice In Chains and Soundgarden.
“Devilswine” opens up the album in scintillating fashion and pulls many styles into its glorious mix. Towering riffs blow you away more than once as you voyage through the track. Dan Amati’s drumming is brilliant throughout and it’s his range of tempos and styles that set off this exciting opener. Its abrupt ending gives way to the chug of “Screaming Sun” which sees strained vocals play off against more melodic backing vocals.
“Temple of the Acidwolf” is pure Alice In Chainsworship in the harmonic vocal delivery. The lead guitar work is tripped out as the vocals get gradually more psychedelic. The whole trip, literally and metaphorically, is quite sublime. The same can be said of one of the albums highlights, “McQueen”. Building gradually throughout its near 7 minute duration, the peak of the track is excellent and begs your attention.
As the title suggests, “Chemtrail Blues”is a bluesier affair – this is not tender though. Distorted guitars, rolling bass and more crashing drum work help elevate the track away from the standard blues fair. “The Hunted” plays with a more upbeat tempo and traditional feel akin to the more trad feel of “Fortuna Havana”. “Mother of God” closes out the album as a more jam laden instrumental. It fades out in the same way the album fades in; a swarming maelstrom of feedback.
1968 aren’t reinventing the wheel, but they’re playing with the motion of that wheel. Some of the production on the album dips here and there, maybe due to split responsibility but with that being said, “Ballads of the Godless”is a solid step in the right direction after some excellent EP’s. There is always demand for heritage and that retro rock and roll sound and 1968are more than capable purveyors.
Six tracks, all uniformly of a high standard and with a production that suits the record perfectly. This is a fine modern American doom album and will feature on many year end lists. This is doom for the doomed!
“Desolation” CD//DD//LP
1). Bloodletting
2). Isolation
3). Flesh to Nothing
4). The Seer
5). Maw of Time
6). From Ruin
The Review
Colorado's Khemmisreturn with this, their third full length and follow up to the very well received “Hunted” from 2016. This is doom metal, for sure- proper doom; with real singing, melodies, dark sounds and tempo changes in the vein of Sabbath.
It is not a million miles away from Sabbath or Dawn of Winter but perhaps closer to Apostle of Solitudein that it is modern in sound and scope but with a firm grip on the genre's past. It is also distinctly American in approach- no way would you mistake this for Witchsorrowor Serpent Venom. With “Bloodletting”sslow slog to open, the listener is in no doubt that this is traditional doom. “Isolation” may be a few steps quicker, but these Denver cowboys know how to ride a groove: not too quick and they are able to make these songs swing a little rather than just plod. There is dark fare on offer here- “Flesh To Nothing”, for instance is as black as the title suggests.
The rumbling of “The Seer” is impressive and the band plays wonderfully through the changes. My personal favourite, “Maw of Time” (for obvious reasons) is a monolithic slab of sorrow and dark doom with death growls. The nine and a half minute closer “From Ruin” finishes the album off before it outstays its welcome. Six tracks, all uniformly of a high standard and with a production that suits the record perfectly. This is a fine modern American doom album and will feature on many year end lists. This is doom for the doomed! “Desolation” is available here
The record can most certainly be filed amongst Witch Mountain's best and will slot right into the collections of doom heads alongside The Wounded Kings, Electric Wizard, Cathedral, Castle and so on. This is slow and bluesy doom of the finest vintage with a vocalist who is fantastic.
“WitchMountain” CD//DD//LP track listing:
1). Midnight
2). Mechanical World
3). Burn You Down
4). Hellfire
5). Nighthawk
The Review:
A doom institution of the last twenty years, WitchMountain are back with their first full length post Uta Plotkin's departure. Kayla Dixon has stepped up to the mic and she absolutely delivers a vocal tour de force on this low, slow record. The bass is as deep as a mine shaft (supplied by another new addition to the line up- Justin Brown) and the whole sound consists of self assured performances alongside a very big sound.
Whether you will like this album depends entirely on your liking of doom; if you like Sabbath, you will probably like this. Likewise, if you like Sleep... ditto. Hell, even those at the more sludge end of the doom spectrum will find much to enjoy here. Dixon employs a ferocious growl at times to go with her crystal clear soulful vocals (double tracked for effect at times) which should appeal to all sides of the doom coin.
It's not perfect- the pace is uniformly slow and the fact that there are only five tracks here might irk some listeners- even if track five edges towards the fifteen minute mark! Opener “Midnight”tells you much of what youneed to know about the new record; it's weighty and atmospheric in equal measure, while utilising a lot of what is best about the genre in terms of sound and themes. From there, “Mechanical World”successfully captures the right mood and the record is starting to take firm form.
The sound is darker for “Burn You Down”and the pace is no quicker. “Hellfire”offers up a two and a half minute interlude of acoustic and folksy melancholy which acts as the perfect bridge to what is the grand finale.
Clearly, the closing “Nighthawk” is the heavy artillery here; a sprawling epic of huge proportions- but the rest of the album fits together perfectly and the five tracks absolutely work as a whole piece. The record can most certainly be filed amongst Witch Mountain's best and will slot right into the collections of doom heads alongside The Wounded Kings, Electric Wizard, Cathedral, Castleand so on. This is slow and bluesy doom of the finest vintage with a vocalist who is fantastic.
Hashteroid’s self titled album is truly one of the most enjoyable experiences one can have from heavy music in 2018.
“Hashteroid” DD track listing:
1). Freak Power
2). Black Tide
3). Stan the Wolfman
4). Green Caramel
5). Godspeed Below
6). Cool Ghost
7). ...Return to Hash Planet
The Review:
From the outset, Hashteroid’s self titled record seems like an average stoner metal experience. From the album’s artwork aesthetic, to the band’s implied interests in psychedelics, the listener gears themselves for another exercise in Sleep worship. Once the music starts however, all of these pre-conceived notions are gone. From the sheer speed, guitar solos, and focus on song melody, “Hashteroid” is an experience impossible to pin down to one genre. “Hashteroid” is an album that is forward thinking, but packs enough nostalgia to speak to die hard Mötorhead fans. If you’re looking for a truly unique experience in heavy music, look no further than “Hashteroid”, itis abundantly filled with riffs of all kinds. From the thundering rock and roll of “Freak Power” and “Godspeed Below”, to the doomier “Stan the Wolfman” and “Cool Ghost”, there is something for everyone. Each track transitions between multiple riffs, constantly keeping the listener on its toes.
None of this would be work, however, if it weren’t for great song writing by the band as a whole. The band has a great understanding of how to utilize pace, and how to properly incorporate guitar effects. Songs like “Godspeed Below” are elevated with the bands ability to incorporate small subtleties throughout. Hashteroid’s debut record breathes new life into heavy music, while at the same time striking the right amount of nostalgia listeners love from retro metal. Hashteroid’s self titled albumis truly one of the most enjoyable experiences one can have from heavy music in 2018.
Formed in 2016, HIGH REEPER and originally started as a studio band, it rapidly became apparent that these songs were meant to be heard live and loud. The band made their debut in the Philly stoner rock scene in early 2017 with success, which was followed up by the recording of their self-titled debut in May. With a sound deeply rooted in modern stoner rock, while still giving a nod to the earliest Sabbath records, HIGH REEPER'sfirst offering is driven by pounding rhythms, thick guitars and soaring, screeching vocals. Running from uptempo straightforward rock to slowed-down, heavy, early doom, with a rhythm section throwing down grooves that are deeper than the darkest abyss and guitars big enough to put a hole in your chest, HIGH REEPER is meant to be played loud and on repeat!. With the album set for release on vinyl for the first time via Heavy Psych Sounds on Friday 16th March, it gives us great pleasure to be able to debut this album in full below for your listening pleasure. Preorder/buy this joint here
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.
“Grimmest Hits” is a Sabbath-esque listen with bluesy inflections and is chock full of riffs and solos.
“Grimmest Hits” CD//DD track listing:
01. Trampled Down Below 02. Seasons Of Falter 03. The Betrayal 04. All That Once Shined 05. The Only Words 06. Room Of Nightmares 07. A Love Unreal 08. Disbelief 09. The Day That Heaven Had Gone Away 10. Illusions Of Peace 11. Bury Your Sorrow 12. Nothing Left To Say
The Revew:
After 2014's “Catacombs of the Black Vatican”, I was interested to see what Zakk and BLS would do next. The short answer was that they would tour and then... disappear for a while. BLS are now back with “Grimmest Hits” and my first impressions are that this is a step back towards riffs and more exciting writing. “COTBV” lacked memorable tunes and was rather too laid back for my tastes- although it was a polished and melodic album. Bearing in mind that I absolutely love “Sonic Brew”, “1919 Eternal”and “Order of The Black”, it is pleasing to hear something more akin to those albums rather than the lacklustre “Shot to Hell” or “Mafia”.
Opener “Trampled Below” is a foot stamper- very Sabbathy- and sets out the record's stall via big grooves and riffs and melodic vocals while “Seasons of Falter” is much mellower, but is a finely crafted song with apretty great central riff (think Sabbath again). Wylde has toned down his Ozzy-isms, vocally, and is back further towards how he sounded on earlier albums, but the riffs on the album really are very much in the vein of classic Ozzy-era Sabbath; as might be expected considering Wylde's recent foray in the live arena with his very own tribute, Zakk Sabbath. There is plenty of bluesy feel to the riffage of “The Betrayal”- it would have fit right in on Pride and Glory- so the album starts to take shape: bluesy, hard rocking stylings with a heavy Sabbath influence- this is not the full on metal fest of “Order of The Black”, but is much weightier than “Catacombs...”
Wylde delivers a fine vocal on “All That Once Shined”, and more melodic hard rock as the track progresses. As ever, the guitar work is fantastic (if you like pinch harmonics and blazing leads- not so much of the former on this offering, mind, but plenty of the latter). There is a lovely bluesy break in the middle of the song, too- fantastic! The first ballad is “The Only Words”, but it is a good one and light years away from the sombre (and dull) offerings of mid period albums. Again, it is closer to “Pride and Glory” than “Hangover Music”, by way of comparison.
The head gets nodding again for “Room of Nightmares”- still not warp speed or all out aggression, but good solid heavy riffs abound with a solid groove and a focused playing time. “A Love Unreal” starts acoustic and elegant, but mutates quickly after that brief intro into a swaggering riff and then melodic chorus- shades of “Sonic Brew” in the middle section spring to mind, too. The opening to “Disbelief” is pure Iommi and the main riff is too! A cracking track, not without some light and dynamics, this possibly represents where Wylde is at these days; hard rocking, but not frantically so.“The Day That Heaven Had Gone Away” employs a similarly one paced approach but is much less interesting as the second of the album's ballads- great solo, of course.
“Illusions of Peace” puts the pedal to the metal effectively and uses a stop start motif which becomes a swaggering groove- prime BLS- with a Led Zep influence: the track is a corker. “Bury Your Sorrow” has a swinging feel and an off kilter riff, offering something different again. There are strong hooks on this one and it is weighty as well. Again, things switch down a gear for “Nothing Left To Say”, a conventional piece of soft rock, essentially, but a likeable one and closer to Wylde's “Book Of Shadows” releases than his usual BLS output. It makes for a question mark of a closing statement instead of an exclamation point and is a well crafted track. Not the incendiary pyrotechnics I was expecting the record to close with, but so be it. Wylde is now over 50 years old- the changes make sense, I think.
At 55 minutes, the album is perhaps a little over long- the easiest solution for me would be to cut a couple of ballads, of course! This is much stronger than “...Vatican”, which although I reviewed it fairly positively at the time just lacked staying power and memorable tunes. “Grimmest Hits” is a much more focused effort and rocks hard enough to keep fans like me happy and has enough melody to entice fans of less extreme metal fare. It is a Sabbath-esque listen with bluesy inflections and is chock full of riffs and solos. Zakk's back!
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