ALBUM REVIEW: Babarian Hermit, "Solitude and Savagery"

By: Richard Maw


Album Type: Full Length

Date Released: 31/10/2018

Label: APF Records

“Solitude and Savagery” deserves serious attention and is undoubtedly one of the breakout releases of this year

 

“Solitude and Savagery” CD//DD track listing:

1. Enter the Hermitage
2. Black Mass
3. No Sleep
4. Beyond the Wall
5. Lifebreather
6. Reawaken
7. Laniakea

The Review:

Barbarian Hermithail from Manchesterand play crushing stoner/sludge/doom. This is a band that is not afraid to play aggressively- like High on Fire- but also slow; like any doom band worth their salt you can name. The opener, “Enter The Hermitage,” sets it out for you. Straight in, no messing about, just some huge and fuzzy riffs with some maniac (Ed Campbell- who showcases serious versatility elsewhere!) shouting over the top.

There is plenty of variety here, too. There are passages of more thoughtful and melancholy music, both in the first and second track and beyond. There is quite some range on display. Suffice it to say, that by track two (“Black Mass”) I was absolutely sold on this album. This is what is needed in the underground and beyond at the moment- a band sounding not like anyone else, but featuring the best elements of quite a few bands. There is something here for fans of many different bands and sub genres. You like Orange Goblin? Try these guys out. You like High on Fire, ditto. In fact, from Sabbath to The Sword and from Conanto Candlemass: Barbarian Hermit may just appeal to fans of all those bands.

There are shades of the likes of Raging Speedhorn and The Rotted in “No Sleep” (and Motorhead, of course) while the epic might of “Beyond The Wall” is crushingly powerful with a fantastic solo. Nothing outstays its welcome here; there are no short songs and most tracks stretch out over six minutes plus (the closing “Laniaka” is eleven epic minutes!) but it all feels like it flies by at a clip. The band's approach makes this happen; each track is different and brings a slightly different approach, while remaining consistent in vibe and feel. It's no small trick to pull off but the band achieve it with ease. This is a proper album and I think one that might become very influential going forward.

This is not simple two chord/two piece sludge and nor is it just Sleepworship or a cheap copy of any other band. The production, courtesy of the effervescent Chris Fielding at Skyhammer studio is immense and as usual Chris has achieved a crushing drum, guitar and bass sound. The clarity of the mix and the sheer weight adds a good deal of muscle to the album and, having worked with Chris myself, I can hear his audio-stamp of authenticity throughout the record.

The album is just as weighty down the stretch- “Reawaken” features a riff that Iommi would be proud of and some guitar work that Mastodon might find a home for on any of their better work. “Life Breather” before it is versatile and deft in its mood swings. The aforementioned “Laniaka” is eleven minutes of schizophrenic and groovesome riffage. It's a tour de force ending to one of the best albums I have heard in 2018.

Barbarian Hermithave it; that intangible factor that makes this album like lightning in a bottle. “Solitude and Savagery” deserves serious attention and is undoubtedly one of the breakout releases of this year. These guys could really fly the flag for the UKunderground and reach the heights of Conan; as a singular band operating in a field of one. They'll spawn imitators, sure, but I know the real deal when I hear it. Superb.

“Solitude and Savagery” is available HERE

Band info: bandcamp|| facebook

ALBUM REVIEW: Un, "Sentiment"

By: Richard Maw


Album Type: Full Length

Date Released: 28/09/2018

Label: Translation Loss

For listeners prepared to take this grim journey, there are impressive rewards to be had. Not for the faint hearted, but certainly this album is one of the best releases this year in doom or any other genre. The whole album is a grim steed, plodding inexorably towards its own fate. Fantastic.

 

“Sentiment” CD//DD//2LP track listing:

1). In Its Absence

2). Pools of Reflection

3). Sentiment

4). A Garden Where Nothing Grows

The Review

Well, there are four tracks here, nothing much under twelve minutes in length and there has been a sizeable buzz surrounding this record for many weeks prior to me sitting down to review. So what is going on with Un's “Sentiment” album- their sophomore release?!

For starters, melancholic clean work opens up and then gives way to a truly huge and crushing passage of music. Obviously, from the song lengths alone, it is reasonable to assume that this is an album that is in the arena of the doom genre- and it is, loosely. This is nothing really like Sabbath, Vitus, Trouble, Candlemass et al- it is not trad doom by any stretch. It does fit into the more modern interpretation of the genre label- think Conan, Yob and so on.

The vocals are of the growled variety (not on every track though, so keep an ear out!), the sound is absolutely enormous and the mix is excellent. This is very, very weighty stuff indeed and by the time opener “In Its Absence” has finished, the tone has been set. There is nothing uplifting here: only the darkest and murkiest riffs and sounds are to be found here. It's a downbeat listen, as song titles such as “Pools of Reflection” suggest. The title track is just as sprawling and epic in approach and utilises the same clean opening (yielding a promise of something sweeter than the bitterest of fruit which is actually then served up).

There are echoes of Paradise Lost at their gloomiest, echoes of Yob at their trippiest and there are hints of death metal, psychedelia and even shoe-gaze here and there. The closing statement of “A Garden Where Nothing Grows” is a dark and bleak vision and it really sums up the whole record very well. Any track here would sum up the release as a whole as it is a very strong whole and is nothing if not consistent.

Yep, “Sentiment”fits into the doom bracket, but there is a great deal going on here. For listeners prepared to take this grim journey, there are impressive rewards to be had. Not for the faint hearted, but certainly this album is one of the best releases this year in doom or any other genre. The whole album is a grim steed, plodding inexorably towards its own fate. Fantastic.

“Sentiment” is available HERE

Band info: bandcamp  || facebook

BAND SPOTLIGHT: High On Fire favourites, as chosen by the UK's finest doom bands

Through six full-lengths and a number of live releases and EPs, HIGH ONFIRE are an unmistakable force in the realm of heavy metal, influencing many and attracting hordes of avid followers, some of which include many of the UK’s fast rising doom scene.  Today we have invited a number of them to choose their favourite tracks from a band that has inspired others and attracted adulation from many more.  Check out their choices below.  HIGH ON FIRE are touring the UK in support of their new album 'Electric Messiah', 

Dates are as follows:

08/10 Academy 2 Manchester UK

09/10 Tivoli Dublin EIRE

10/10 Limelight 2 Belfast UK

12/10 The Mill Birmingham UK

14/10 SWX Bristol UK

15/10 The Dome London UK

Jon Davis, Conan - https://conan-conan.bandcamp.com/

Track name – “Nemesis”

Album – “Surrounded by Thieves”

The art work for this album struck me immediately. Rotoscoped image of a warrior, pure animated Bakshi Lord of The Rings. Matt’s guitar tone, pure Matamp soupiness. Des’s drums like aeons of a mountain forming, compressed into hammer fall precision. This song is High on Fire a top a mountain, slaying hordes of undead, impossible levels of gore and blood streaming down their armour. TOTAL CARNAGE.

Marc Prentice, Ohhms - https://ohhms.bandcamp.com 

Track name – “DII”

Album – “Death Is This Communion”

I was late to the party when discovering High on Fire (from now on to be written HOF) as my first taste of them was when I bought a copy of 2007’s “Death Is This Communion.”  My sole reason for buying was based purely upon finding out that it was Matt Pike from Sleep’s other band. I was lucky enough to get a copy that had a ‘making of’ DVD. Watching the DVD and then listening to the record was enough to sell me. Riffs aside, I find myself attracted to the critical religious, conspiracy and fantastical theme of the song titles and lyrics. Being a fantasy and Sci-Fi fan, I loved the fantastical themed artwork and I’ve always imagined HOF as the Motorheadfor Tolkien fans.

My ‘Favourite’ track is, unsurprisingly, from “Death Is This Communion”. It’s the instrumental track “DII”. There’s a part in the making of DVD where you see HOF in the studio creating this song and I think this is a part of the reason as to why I enjoy it. It also it’s great because it has a great heavy riff, melodic solo and a great synth part that plays over the end of a track creating a great otherworldly sound. The tone, mood and vibe on this whole record is great and I think this song captures the feel of this record perfectly. Great instrumental track and an amazing record.

Tam Ali, Awooga - https://www.facebook.com/Awoogaband/ 

Track name – “Bastard Samurai” 

Album – “Snakes for the Divine”

Love this tune due to its pure brutality and atmosphere it creates.  Plus, epic PHAT bass.  HOF’s use of fast power chord movement has certainly rubbed off on us somewhere. When I saw this band live about 12 years ago I was so high yet they totally destroyed my buzz by being so fucking brutal.   I then got a boner instead, maybe it was because of Matt being topless…  Don’t think I’ve ever had a weed boner before.

Jim Swainston,  Black Moth - https://www.facebook.com/themothpit

Track name – “Snakes for the Divine”

Album – “Snakes for the Divine”

“Snakes for the Divine”is a song that for me is the essence of Matt Pike boiled down into eight and a half minutes of glorious riffery. It has quite possibly one of the best intros to a metal song of all time. When I hear those first chords ring out with that epic lick over the top I can’t help of that brilliant Pike quote from Such Hawks Such Hounds about heavy being about “pissed off and being a warlord.” You know you're about to be punched in the face with the riff to follow. This is warlording at its finest and you can just picture Pike taking his axe into battle. It’s one of those songs that makes you just wanna get loose in the same way that The Stooges’ Search and Destroy does. Raw fuckin power!! 

Wes Leon, Mammoth Weed Wizard Bastard - https://mammothweedwizardbastard.bandcamp.com 

Track name – “Bastard Samurai” 

Album – “Snakes for the Divine”

I bought this album whilst stranded in Europe in 2010 when all flights were cancelled because of the ash cloud from the erupting volcano in Iceland and I ended up playing it on repeat due to it being the only cd I had with me for the hotel's cd player. I like the softness of the verses. Something High on Fire don't do much of is go soft but when they do they nail it, & this makes the heavy riff seem even heavier when it comes in. This track stands out for me because of the slower tempo compared to most of the other tracks on the album. I’d say its a good album to be stranded somewhere with. 

Adam Robertshaw, Barbarian Hermit - https://barbarianhermit.bandcamp.com 

Track Name – “Snakes for the Divine”

Album – “Snakes for the Divine”

The title track of High on Fire's fifth album was the first that really caught my attention and for that reason it will always be a stand out track for me. I was a fan of Sleep and had heard the name HOF but when the album received such critical acclaim in the press I decided to check the album out, and from the off you're greeted by this monster. 

As soon as the epic, Maiden-on-steroids intro kicks in you're hooked in and dragged along for the ride as Pike and co blast through gritty thrash and thunderous groove territories. The guitar riffs and bass lines weave in and out of one another like the eponymous snakes in the title. 

You'll definitely hear the influence of this and other Hire on Firetracks like it on our new album “Solitude and Savagery”, especially on songs like “Reawaken”. 

TOP 16 ALBUMS: THE SLUDGELORD'S SOUR 16 (August / September 2018)

Allow yourself to indulge in a hefty dose of riffs; because it is time to present 16 of the best albums from August & September, it is time for your SOUR 16. 

You know the drill by now, every couple of months you the reader are unwittingly compiling a list of the top16 records, covering all genres of metal.  Is it not a chart, in which reviewers or contributors extol their opinion about their favourite music.  To put it simply, THE SOUR 16 are the records that have been trending the most at SLUDGELORD HQ.

The results are compiled based on the amount of page views the reviews have received and are then calibrated into the list below.  All reviews can be viewed by clicking the artwork and we have included album streams wherever possible. (Total views since their publication are highlighted brackets)

16). Craft, “White Noise and Black Light” (387)

15). Clutch, “Book of Bad Decisions” (399)

14). Satan, “Cruel Magic” (425)

13). 1968, “Ballads of the Godless” (437)

12). Organ Dealer/Nerve Grind/Invertebrate, “Split” (442)

11). Allfather, “And All Will Be Desolation” (481)

10). Chubby Thunderous Bad Kush Masters, “Come & Chutney” (503)

9). Brant Bjork, “Mankind Woman” (549)

8). Forming The Void, “Rift” (550)

7). Sumac, “Love in Shadow” (662)

6). Thou, “Magus” (791)

5). The Secret, “Lux Tenebris” (1100)

4). Kurokuma, “Dope Rider” (1272)

3). Conan, “Existential Void Guardian” (1910)

2). Famye, “Famyne” (2561)

1). KEN mode, “Loved” (2776)

ALBUM REVIEW: Conan, "Existential Void Guardian"

By; Richard Maw

Album Type: Full Length

Date Released: 14/09/2018

Label: Napalm Records

 

“Existential Void Guardian” CD//DD//2LP track listing:

1.Prosper On The Path

2.Eye To Eye To Eye

3.Paincantation

4.Amidst The Infinite

5.Volt Thrower

6.Vexxagon

7.Eternal Silent Legend

The Review:

The foremost disciples of tone are back with this superbly titled fourth full length studio record. Ever since “Horseback Battle Hammer”, Conanhave carved out their own niche and become hugely influential in doing so. Amp and pedal worship was never the same after these guys, but really it is the music that matters here. Conan have done the almost impossible and become a kind of Iron Maiden-esque entity within the doom scene. They don't sound like anyone else, have their own unique artwork, tour endlessly and write about things their audience is interested in. They are unique and whilst being labelled “doom” they operate in a field of one.

Opener “Prosper On The Path” is massive in sound, the contrasted vocals of Jon Davis and Chris Fielding work superbly and the drum sound is absolutely immense- the playing of Johnny King also deserves mention as it has slotted right in with the band and added an extra dimension to their sound. Conanwork their magic by weaving soundscapes and moods rather than catchy tunes. It's riff worship, it's “the sound” but despite all their success (and what is effectively brand identity), they won't be troubling the radio airwaves anytime soon. Provided this is no problem for you, then the likes of “Eye to Eye to Eye” will bludgeon you effectively and introduce no small amount of time changes into the bargain. The throwaway grind of “Paincantation”is a huge departure, but only a brief one. The rest of the album takes things back to low and slow territory- with fast bits, of course- that have been part of the sub-genre since Sabbath.

Interestingly, there is nothing that extends beyond seven minutes here and of the seven tracks, perhaps “Amidst The Infinite” feels epic- but is not necessarily so. Certainly, the tempos are low and the riffs are creeping horrors in places. Chris Fielding has excelled himself with the production; it really is fantastic. It is Conan's best sounding record, which is saying something as they have all been sonic terrors. It is as huge as “Blood Eagle” and “Revengeance” but with more clarity and power.

Advance single “Volt Thrower” is the most immediate track on here, with its off kilter rhythms and head nodding groove, finding the band sounding almost like High on Fire and is a great track. It's vicious as well as huge. “Vexxagon”is similarly insistent and swinging and again shows Conan to be more catchy than you might have expected. Truly, this is headbanging stuff.

Just like that, the beastly bass groove of “Eternal Silent Legend” ushers in the last track on the record. Only seven tracks, but is there any need for more? For me, a little of Conan can go a long way; six tracks proper is about right. The live bonuses are well performed and sound fantastic- but they are superfluous to requirements and are just cool to hear/nice to have as add ons... come to think of it, they are quite literally bonuses!

All fans will have their favourite Conan album. For me, it is “Blood Eagle” and “Existential Void Guardian” has not changed that so far. It is a close second, I'll say that. I prefer this to both “Monnos” and “Revengeance” as it shows the band doing what they do best. If anyone wanted to hear Conan for the first time, I could not argue with directing them to this masterful work. I am enjoying the record hugely; I'm reviewing this after buying the CD. I heard the stream, liked it and wanted to own it. I'm glad I did, as Conan need all our support if heavy music is to press on effectively. We need leaders as well as followers. They have become standard bearers of sorts and even if you don't like them... you know them when you hear them. Such is their power and the source of appeal. They have “something” and have managed to capture that “something” in the studio again. No mean feat.

“Existential Void Guardian” is available here



Band info: Facebook|| Bandcamp

INTERVIEW: "If Carlsberg did dynamic power doom duos, Monte Luna would probably be the best in the world"

By: Aaron Pickford

As I am sure some avid followers of THE SLUDGELORD can attest too, it is our mission to present the very best heavy music the underground scene has to offer and recently I commissioned Andrei Moose from our Russian chapter to painstakingly sift through the very best albums released via bandcamp and compile the best into a chart.   For me and I am sure many of you agree, if you’re not at least attempting to release your music via this musical platform then you’re fucking up and you ain’t in the game.

Now hitting the no 1 spot back in October, were a band previously unknown to me, but holy shit does THE SLUDGELORD most sincerely approve? Hailing from Austin, Texas Monte Luna deliver towering molten riffs, bucketloads of groove and hypnotic vocals, in fact this two piece are so fucking awesome, their self titled debut album  is one of the most captivating and downright fucking monstrous records I have heard this year.  Clocking in a hefty 71 minutes, “Monte Luna” never suffers from lag, never repeats itself and just as Alice peered through the looking glass, you have no idea just what a fantastical journey is ahead of you when you press play.

Now despite releasing the album back in September, “Monte Luna’s”official album release is this Saturday November 18^th, so with the band prepping for this show, I managed to hook with band members James Clarke (Guitar, Bass, Vocal) and Phil Hook (Drums, FX, Synth) to get the low down about the roots of the band, the recording of the new album and amongst other things how they managed to score one Chris Fielding, he of Conan to master their debut record.  So check it out below.  

Guys, welcome to THE SLUDGELORD, the new album rules, but before we get to that. Can you give us an insight into how you started playing music, leading up to the formation of Monte Luna?

James: I started playing music when I was around 18. For years up to then I had always enjoyed singing but playing had intimidated me. I tried drums when I was 11 and it was just too loud for my parent’s house so it deterred me. Eventually I started playing guitar because I really liked singing along with my friends who played music. My first band I was in was this terrible band I made with some friends in the Navy. We played a few shows in Virginia Beach and we sucked. After I got out of the Navy I went back up north and started a band called Chronoscope. That is where I really started to make some cool noise. I was much more serious about playing guitar and singing. I did that for about 3 years until I got a job in Buda Texas building Aquaponics systems and green houses. I really wanted to find an area that is accepting and much more into heavier music than the area I was in. Austin drew me in and I never looked back. Ha ha

I actually met Phil via craigslist. I posted an add asking for a drummer who was into Neurosis, the Melvins, Shrinebuilder and the likes and he was the first to respond! Who would have thought!

Phil: I taught myself to play drums in the early 90’s and was in a bunch of different bands in the Indianapolis metal scene.  Around 2009 I moved to Austin, TX and started doing a lot of drummer for hire work, recording and touring for many bands and artists. A couple years ago I was feeling burnt out and stagnant artistically and knew I had to play heavy music again. So I creeped craigslist looking for some people to jam with, typed “Neurosis” on the search and the rest is history. Haha!

For folks unfamiliar with your band, are there any bands on the scene past and present that you would use as a reference point to describe your band, and who or what continues to inspire you and push you to try new things?

James: For me I have always admired the work ethic of the Melvins. I look to them on how a band should perform and run a business. I have also learned a lot of band business knowledge from our friends in Destroyer of light.Both the Melvins and Destroyer of Lightput on phenomenal shows, and to me, it is all about keeping your audience engaged and hungry. As far as sound I really don’t have a specific point to reference. I like Matt Pikes tone but I didn’t really mold my tone to anyone. I just tried things until I felt it filled enough room. I’m influenced in general by bands like Eyehategod, Neurosis, The Melvins, The Beatles, Funkadelic, Black Sabbath and Rob Crow.

As far as who inspires us to try new things. I would say most of my peers in Austin and San Antonio. I love the bands we are playing with and coming up with and I could not be more thankful! Cursus for sure! And our friends in Spain, Ground.

Phil: My music influences are all over the place… I pull from Godflesh to Howlin Wolf to Sade. The whole creative process is what pushes me to try new things for sure. When I composed the instrumental segways at the end of “6000 Year March” and “Inverted Mountain”, I sampled multiple records on my turntables, added drones and synths.

What can you tell us about your new record “Monte Luna” and where do you feel it sits within the context of current metal scene?

James: The concept of the album revolves around a story I created based on this crazy universe that is loosely inspired by things such as H.P. Lovecraft, Bloodborne/Dark Souls, Kingdom Death Monster, Berserk, The Thing and Dungeons and Dragons (which I love by the way! I dungeon master! I’m a huge nerd).

 Let me just pull an excerpt from my lore here “Long ago in a distant time, unnatural pestilence consumed a world of peace. Father Arbitor has called upon the forces of the old ones to set this tranquil land a flame. After the burning of Elohim, a once great and powerful city, the people of the Nameless City are called upon as the only warriors brave enough to face Father Arbitor’s hellish army. Through their journey the warriors of the Nameless City will face perils the likes they have never seen. A 6000 year march across arid, decaying, plague lands. Climbing the impossible, the Inverted Mountain, reaching the Nightmare Frontier and facing the end. The orb of power glowing green with madness. What will end the cycle? Is the orb the true evil? Or does evil lie within?”. And yes the “Hound” EP does tie into the full length.

It sets in motion the events as the hooded warriors kill father Arbitors faithful dog, thus starting the war leading up to the burning of Elohim. For those wondering, yes we sampled Bloodborne on 6,000 year march! I love that game!! Where does it sit? To be honest I don’t know, we aren’t really trying to be just one genre. We both love so much music we couldn’t say, but it’s certainly heavy meditative music. We want you to turn it up, smoke it up and feel the sound. Like you would live.

Does anything spring to mind when you think about the completion of your new record and how is the mood in the camp at present?

James: I think I’m just glad to be done with it and I am ready to move forward as a band. The concept of the album was a long and difficult process. We tried to capture as much live magic as possible on the recording because we feel that to experience us fully is to see us live. For the mood band wise I know I’m loving it. We just played some awesome shows in Indianapolis and I got to meet some of the guys in Coffinwormand Gates of Slumber so that was an awesome fan boy moment!!

We have received a lot of positive feedback for our album and we beyond humbled at the reception. I think that Austin has a phenomenal group of musicians that I am proud to call my brothers and sisters. We are all doing so much right now and trying to grow this into something for all of us. It just takes time, but it is a wonderful time to be playing heavy music in ATX and the surrounding area. The Lost Well is our home away from home and we are thankful for it.

Phil: We’ve always respected what each of us brings to the table as artists and humans and I don’t see that changing anytime soon….no matter what life shit happens.

What stands out as your overarching memory from the recording sessions?

James: I think what stands out most for me was how amazing the environment was. We recorded at Tommy Munter’s studio in San Antonio (Matador studios). He is a good friend of Phils and an excellent musician. We did 3 days in the studio and crushed it. I think the moment I knew we were doing something right was that within the first day, at like 6 p.m. the cops came and told us we had to turn down. I almost lost my shit! I couldn’t believe it was really happening, and it just happened to be the night of a crazy storm. My mind was racing and I was thinking well that’s that, were screwed. But the next day we woke up early, moved the bass cab into the bathroom and ripped that puppy a new one.

We recorded all the instrumentation in about a day and a half. Also, what really stood out was how receptive Chris Fielding was to mastering the album! And for him to say he loves the vocals made me swoon! Haha! I run a Matamp GT2 into a Worshiper 4x12and ABY it with a GK 1001 RB into a Worshiper 2x15. I was happy to lay that down as we would live. Phil and I were able to be in the same room while recording so it allowed us to capture the energy we have. We did very little overdubbing.

Phil: The album opener, “Burning of Elohim” had a pretty cool moment in the studio. James and I tracked the album in the room together as we would for our live show and I have a pretty big drum configuration…Ludwig maples, 26 inch kick, 14, 16, 18 toms and a 14x8 steel snare. On the opening tom pattern I’m just beating the living shit out of my floor toms and the air pushing off the drums carried into James guitar pick-ups and created this cool guitar part. We didn’t even realize what happened until playback and James was like, “what the hell guitar part is that”? Of course we kept that magic on the album!

With you new record in the bag, how is your schedule shaping up over the next 12 months?

James: We are planning a 2 week, potentially 3 week tour in April/may (East Coast) and a smaller run with some friends overseas (They want to come here though, we will be in EU asap!) We are going to book a week for the studio this time and that should be right after we come off our 2 week tour. We want the album to really crush, keep some elements of what makes us Monte Luna but always evolve the sound forward and have fun with it! If we aren’t having fun we aren’t a band. We played a great show with Omotai and it felt great to be back home! We hadn’t played TX since June. Our album release shows are coming up on Saturday and we are doing a few dates in December with our friends in Forming the Void!

This year is going to wrap up nicely into a hectic but fun new year. Lets get to Europe sooner rather than later shall we?

Finally, do you have any last words?

James: I’d just like to say that we aren’t trying to reinvent the wheel here. More so, trying to invent an interdimensional space ship.

Phil: I’m going to borrow a quote from my friend Karl Simon (Wretch, Gates of Slumber)…the music’s not too slow, you’re listening too fast. 

The End

Band info: bandcamp|| facebook