HALLOWEEN PREMIERE: Alastor offer mind reaping fuzz worship on new EP "Blood on Satan's Claw"

Today on the morning of Hallows Eve, the beast that is Swedish doom band Alastor, meaning in Greek mythology, as the avenger of evil deeds, return with a new EP on cassette, 20 minutes of mind reaping fuzz worship entitled "Blood on Satan’s Claw" and guaranteed to make you blood run cold.  

Set for release through Swedish label Ljudkassett on the 15^thNovember and featuring two tracks, one original and one cover of the Creedence Clear Water track “Bad Moon Rising”, today we are happy to exclusively stream the EP in full as well as a short interview with Alastor guitarist Lucy Ferian both of which you can check out below.    Preorders for the EP are available here

Can you give us an insight into how you started playing music, leading up to the formation of

Alastor?

Lucy Ferian: Music has always been a huge part in the formation of who I am. I remember sneaking into my older sister’s room to look at her Iron Maiden records at an early age. Those album covers fascinated me, especially the cover to”The X Factor”. So it was not unexpected that when the rest of the kids my age played football or drove around on shitty mopeds I started to play guitar. To be honest I sucked pretty hard. 

I played in some hardcore bands and played in a rock band before Alastor, none of which really got anywhere. You can say that when I joined Alastor everything sort of fell into place for me, both musically and aesthetically. 

For followers of the blog unfamiliar with your band, is there any bands on the scene past and present that you would use as a reference point bands to describe your band, and who or what continues to

inspire you and push you to try new things?

Lucy Ferian: With the risk of sounding like a pretentious asshole, for me that is up to the listener to decide. It’s not that I think that Alastoris unique in light of the present doom scene, it’s just that I’m not in the slightest interested in comparing ourselves to other bands who play this kind of music. It’s not constructive to me. We in the band all come from different musical backgrounds and the things that inspire us comes from all kinds of music and art. A few bands that I’ve listened to a lot during the recording and writing of “Blood on Satan’s Claw”are Camel, Pink Floyd and Black Magic SS. 

What can you tell us about your upcoming release “Blood on Satan’s Claw” and where do you

feel it sits within the context of current doom scene?

Lucy Ferian: “Blood on Satan’s Claw” is a step further on our musical journey. We allowed ourselves to experiment a lot more on these two tracks than we did on the “Black Magic” album. To be honest we are kind of out of touch with the present doom scene but in the context on a more personal level this EP is a huge accomplishment for us as musicians. 

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

Lucy Ferian: Probably listening to the final mix of the track “Blood on Satan’s Claw” for the first time. It was such a heavy experience to finally hear the final result on high volume. The journey from the recording to the final result of this EP has been a long and difficult one but now we can finally move forward. We look forward to corrupt more and more minds.

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

Lucy Ferian: When recording the “Bad Moon Rising” cover we stumbled upon a cellist who just happened to be recording in a smaller studio connected to the one we recorded in. I think the part which he played really gave the cover a whole new feel. Sometimes you need luck to write good music. 

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

Lucy Ferian: We are currently working on what will be our first real full length album. When and how that will manifest is yet to be revealed. 

Finally, do you have any last words?

Lucy Ferian: Listen to Pink Floyd. 

The End

Band info: facebook || bandcamp

EP PREMIERE: Brooklyn/Jersey-based sludge noisemakers Thera Roya debut "Masterful Universe"

Since 2011 Brooklyn based Thera Royahave released 7 EP/Splits and 1 full length (Stone & Skin), and continue push their music in different  and creative ways.  A stubborn persistence and fearless confidence to explore different styles in a metal scene too comfortable with black and white, any Thera Roya release can range from depressive to unhinged, ecstatic to contemplative, song by song, album to album.

On September 8th 2017 Thera Roya will release their new EP “Masterful Universe”, a 2 song celestial EP commenting on the hopeless and confused state of the world with an air of nihilistic observation. As the world is figuratively burning, the band decided to hunker down and write an unhinged 7 minute song with one riff “Static Transmission” and a groovy sister track “Confused Population”; complete with samples, other-worldly vocals and sick riffs.  Today ahead of the release, we are streaming “Masterful Universe” in full and you can check it out below

Band info: bandcamp || facebook

EP PREMIERE: Progressive heavy rockers OLD MAN WIZARD return with "Innocent Hands"

Progressive heavy rock band OLD MAN WIZARDreturn with their new single “Innocent Hands”. The 2 track release will be self released by the band on 7" vinyl on the 25 August 2017, following on from their recent tour earlier this month. Acting as a follow up to their 2013 debut “Unfavorable” a remarkably complex, colourful, and genre bending release, OLD MAN WIZARD are a truly unique voice in the underground scene and today you can stream “Innocent Hands” in full below.  

Band info: facebook || bandcamp

EP PREMIERE: Indianapolis progressive sludgers Drude deliver a crushing self titled debut

In German folklore, a drude is a kind of malevolent nocturnal spirit associated with nightmares.  Today’s featured artist at The Sludgelord, Indianapolis progressive sludgers take the name Drudeand play the kind of sludgy metal, that builds and destroys and then rebuilds 7 minutes at a time.  The band's sound is a dense and measured hybrid of doom, hesher and prog that sedates and bludgeons with equal abandon. In a musical environment where attention spans are null, Drudemake music that commands attention and is the stuff of nightmare, creating their own brand of malevolent noise that will undoubtedly cause a stir within in the underground scene. 

 

Formerly known as BURN THE ARMY, Drudereleased their highly anticipated self titled EP today and you can check it out in full below.  You can pick up a copy here

Band info: facebook

EP PREMIERE: "Fortuna Havana" by 1968 & their Top 5 Doom albums of all time

Cheshire based 1968have only been together a short three years. Having released a self-titled EP in 2015, they now return with a second EP before the release of their debut album later in the year. Having been added to the impressive roster at Black Bow Recordings, “Fortuna Havana” is a more than solid addition to the bands discography.

Throughout the four tracks on “Fortuna Havana”,any questions about the name of the band are answered. Homage to Led Zeppelin, Deep Purple, Mountain and Black Sabbathis duly paid, but there are plenty of nods to the more stoner alumni such as Sleep, as well as hard rocking blues legend Rory Gallagher.

“Vorpal” opens up the EP in towering fashion. The band fly out of the traps with mountains of stoner groove and swagger before building towards some superb solo work to finish off the track. “War Dogs” immediately starts as the opener end and the band veer down a doomier path before exploding in a fury of Thin Lizzy like dual guitars.

The second half of the EP uses the already utilised formula, but “Duchess”really sees the band step up their game. A rolling bass introduction leads to a torrential storm of fuzzy riffs that are held together with terrific drumming. The vocals sneer throughout the track before it shifts towards a highly psychedelic cacophony.  This is the absolute high point of the release and one where the band take their influences and really make the sound their own. The psychedelia continues in the opening of title track to close out the EP. If “Duchess” is the undoubted highpoint of the EP, then the title track is undoubtedly the heaviest piece here. Fuzz riffs and pounding drums drive the track, to bring the EP home.

1968 wear their influences on their sleeve. There are plenty of bands that stalk the planet playing classic/hard rock; the trick is to make it your own and not become a cliché. 1968walk the line well and come out with originality whilst using their influences to great effect. There is cause to be excited about their forthcoming album which will be produced by Conan’s Chris Fielding at Sky Hammer Studios. Fielding is also at the controls for this release, and makes the band sound immense and you can check it out yourself below with our exclusive stream of “Fortuna Havana”in full below

As bonus to this exclusive stream we hooked with to discuss their top 5 doom albums of all time and here is what they came up with.  As we take our weekly trip to the extreme, by cranking it to 11.  Why do we go to 11,  because “It’s one louder, isn’t it?”

Writing a list that is titled the Top 5 Doom albums of all time is a bold statement to

make, after all, music is completely contextual and more opinion-heavy than any

other subject. Heavy music especially, is one of the more opinionated genres out there

and the old saying applies that one man’s treasure is in another man’s record box

heading to Oxfam. So, with a bong-full of salt, I present to you, the top 5 Doom albums

of all time...or at least in my opinion.

5. Black Sabbath – “Master of Reality”

This record is the beginning, I mean, out of the first 4 Sabbath records, this one is, to me, the pioneering Doom record; the overall vibe of it is just slightly darker than the other three. The first album; obviously is timeless and hinted at Doom but also had more of a ‘rock’ feel which is understandable as Messrs Iommi, Butler, Ward and Osbourne would have taken off where the late 60’s left off.

“Master of Reality”’s heaviness can potentially be attributed to its overall production. The guitars are tuned to C# standard, which, back then was completely unchartered territory. As many fans know, the slacker the string, the more vibration, the more vibration the longer sustain. When coupled with a late 60’s Laney Supergroup 100w amp, you’re forging the sound for generations to come.

The record itself also flows better to stoned ears too, Iommi’s cough at the beginning of ”Sweet Leaf” is like an air raid siren that there’s a plethora of riffs about to land, with brute force.

The cover needs a mention too, the basic black front with grey and purple couldn’t be more doom if it tried, black and purple being the colours of mourning and grey being a colour that’s grim and often associated with death. Nice.

My favourite Sabbathrecord is “Vol. 4”, yet it doesn’t have anywhere near the same vibe throughout as “Master of Reality”, that in part could be down to FX being nonsense and “Changes” being massacred in the early 2000’s by Kelly Osbourne. “Master of Reality” is the one record that no fan of Doom or any Doom band can speak negatively about.  “Master of Reality” is the beginning; they started Doom, Stoner and many other sub genres of Heavy Metal. This record is like a horrible old man that watches everything released under the bracket of heavy, and laughs at it...then coughs up a lung.

4. Electric Wizard – “Come My Fanatics”

Moving onto the horrible bastard sons (and now daughter) of Sabbath, Electric Wizard from Dorset. Chances are if you’re reading this, you own this. Electric Wizard have been a huge part of doom for the past two and a bit decades, you could literally pick anything from their back catalogue and still have a solid addition to this list. (However it does seem like the Electric Wizard freight train is being overtaken by bands such as YOB and Conan in terms of integrity and excellent releases).

Anyway, “Come My Fanatics” is my choice for this list, mainly based on the eternally crushing “Return Trip”, this nigh on 10 minute slab of excruciatingly brutal wall of fuzz, bleak vocal, lyrics filled with pure hatred and lumbering rhythm make this record for me.  I’ve spent hours of my life walking around places, driving, reading, people watching with this slamming into my ears and feeling the hatred flow into me from the Wizard. It has always been a beautiful noise.

The overall tone of this record is just nothing but pure doom and also features the bands penchant for adding sound clips from B-movies of the 70’s, cover art is also terrifying, it’s a screen shot of Anton Levay in a satanic sermon doctored by Hugh Gilmour. If you’ve not heard/got this, you need to re-assess your doom collection. There are very few slower and heavier in the field that retain a disgusting groove.

3. YOB – “The Unreal Never Lived”

This wasn’t an easy decision to make; it was a tossup between this and Acid King - “III”. I love them both, but this for me, is great example of doom boundaries being pushed.  From start to finish, this record just batters you with relentless doom riffs, like, ones that make you think where did this record even come from.  There aren’t many records out there with 21 minute tracks that don’t get boring like “Mental Tyrant”. Overall this record just slays, its song writing is solid, the rhythms used and phrasing of the guitar parts are second to none.  

The whole record has a great feel to it that can’t actually be bettered. My favourite track is “Quantum Mystic” mainly as it incorporates a somewhat psychedelic trip that has gone completely wrong; swirling guitars, vocals that sound like Dio drowning in a cauldron of bleach and battery acid; just banging.  I’m not saying it’s the future of doom but if more bands followed suit with releases like this, progression within doom would be very well received.

2. Church of Misery-  “Houses of the Unholy”

This record, man, I bought this after hearing their split on Leaf Hound with Acrimony back in 2008, I was floored by both bands on that record but Church of Misery had something that I couldn’t quite get over. I guess the riffs on that release were what gripped me like one of the BostonStrangler’s victims.  When “Houses of the Unholy” came out, I bought it, without hearing, knowing that if that band produced gold on the split, then this was going to be badass. Their back catalogue hadn’t been released at that time so it wasn’t easy to get Church Of Misery records or CD’s.

The record features all of the usual traits, all songs about serial killers, huge riffs, swinging drums and vocals that just slay. I watched them play Manchestershortly after the release of this record with Cathedral and Gates of Slumber and there was no dispute in the entire crowd that Church of Miseryhad levelled the place and should have headlined.

Every track from this record has its own charm, from Black Flag style breakouts to pure Sabbathworship. I did wonder whether or not the inclusion of Tom Sutton on guitar had an impact and by the nature of the rest of their releases since, it definitely did.  I have tried many times to score this on vinyl and have failed every time as the price is always too much for me, if that doesn’t tell you that this album is badass beyond words...I don’t know what does.

1. Slomatics/Agent of the Morai - Split

This one, released on Calculon Recordsis my number one doom release, I bought this on CD after witnessing Agent of the Morai deafen half of the Northwest region many moons ago. They filled the entire stage with Matamp, Orangeand Marshallgear...only to plug in, the least ‘doom’ guitar, A 52’ reissue Fender Telecaster. There was a certain Chris Fielding playing guitar, Andrew Swift on drums and a singer who has a name I always forget.

I stood and watched them or rather felt my blood vibrate in front of them and afterwards bought as much merch as I could, including this.   They shared the release with Slomatics from Belfast who are also number one here for me, the pair of bands both provide throbbing walls of sound that are just relentless, the riffs from both bands almost seamlessly blend into one.

I have heard some seriously heavy bands in my time but none of them tick boxes for cult status, thickness of tone, bludgeoning riffs, solid rhythms and above all else, ridiculous volume. This release literally makes most other doom bands sound like amateurs to me.

The CD of this is long out of print and is only available on the Slomatics bandcamp page, it is well worth checking out and downloading for a fresh fix of (now aging gracefully) doom. Agent of the Morai called it quits a few years back now, Fielding went on to later join Conanand give the world ‘Caveman BattleDoom’.  Slomatics continue to push out killer records whilst retaining their title of Belfast’s heaviest.  You can’t go wrong with anything that Slomaticsput their name to.  Doom. On.

“Fortuna Havana” by 1968 will be available hereand for more information on the band check the links below

Band info: Facebook || bandcamp

EP PREMIERE: "The brutal and the harmonious" Rootwork present "Some Of Us May Never Bloom"

Creating a sound that is as brutal as it is harmonic, Rootworkhave embraced many of the elements of modern metal music perfectly taking the listener on a journey through metal, stoner rock, prog, post-hardcore and doom-pop over five faultlessly comprised songs.

Rootwork immediately set their stall out on opening track ‘Trust’; hefty guitar riffs are intensified by pointed vocals, flawless harmonies and a booming, incessant drum beat. While ‘Ozymandias’ is like being lost in a sonic maze, riffs twisting and turning throughout, as Rootwork pulverise their way through just over six minutes worth of mesmerising melodies, before closing with a gorgeous dream-like outro. Intelligent, challenging, explosive yet intricate, and technically gifted, Rootwork are a band whose resonance should be felt throughout the alternative rock community much like contemporaries such as Baroness and Torche.

Comprised of Max Woodhams (guitar, vocals), Jamie Benzine (bass, backing vocals) and Chris Booth(drums, vocals), the band formed in Farnborough towards the end of 2013 having come together through their mutual love of heavy, melodic and complex rock music. In December 2015 they released their first full length EP picking up support from the likes of Tom Robinson, BBC 6 Music and BBC Introducing. With the wind in their sails the band quickly followed the EP release up with single “Code Talker” with the video premiering on Team Rock.

Now, with a new EP Some Of Us May Never Bloom set for release on 18th November 2016 via Ubiquity Project Records the wait is over and you can stream the EP in full below

EP PREMIERE: "Lend them your ears – they will crush them" Gévaudan debut new EP "Litost" in Full

Gévaudan is a UK Doom band that delivers heavy, crushing riffs. Much like the fearsome historic tale that provides their namesake, the band’s live set creates an atmosphere of dread and gloom. Combining pounding riffs with soaring and at times frenzied vocals, Gévaudan deliver a thunderous live performance that get the most rigid of audiences moving to their heavy groove.

Based in Hertfordshire, UK, the four piece formed in 2013 with a desire to write heavy, crushing music.  Influenced by the likes of Black Sabbath, Goatsnake, Electric Wizardand Candlemass, the band has honed their sound whilst maintaining originality and diversity. This has reflected strongly through the band’s debut EP, “Message for the Damned” which has been received well by press The riffs are stiring, the playing crisp and assured and the vocals are also well worth noting for their quality (something not all doom bands can boast by any means!). It is quality stuff and forged from the very furnace of real metal that gave us Sabbath, Priest, Vitus, Candlemass, TGOS

Gévaudan’s name stems from the French folklore - La Bête du Gévaudan. The band’s live delivery reflects this tale, taking their pound of flesh from their audiences by the time they reach the end of their set.  Having shared stages with the likes of Bossk, Cruachan, Alunah, Samothrace, Sea Bastard, Ohmms, Witchsorrow and Slabdragger, they featured at this year’s Doom Over London festival and are scheduled for the Doom stage at 2017’s Hammerfest. The band is currently gigging throughout the UK. With a growing fan base they are starting to receive label interest and support for their work and are always very well received by the metal fraternity. 

The evolution of the band’s sound continues with the new EP “Litost” which delivers three tracks of heavy doom filled riffs themed around isolation, emotional loss and madness.  “Litost” will available from the 23d November “2016 and you can check out the full album in full below.  "Lend them your ears – they will crush them" You can preorder it here

“Litost” CD//DD track listing:

1. Wastes Eternal
2. The Ninth Circle
3. Lord of Decay

Band info: official || facebook|| bandcamp

EP STREAM & INTERVIEW: "Prepare for sonic detonation" as Wolves Carry My Name usher forth their "Black Earth Tongue"

Thrown into life amongst the nothingness of Siegen/Germany in 2011, Wolves Carry My Name play a bastardised infusion of 90s Sludge-Metal and ruthless Hardcore, making for an undulating sonic onslaught of blackness.

October 14^th will see Wolves Carry My Name release their latest EP in the form of “Black Earth Tongue” and today you can stream it in full below.  This one is guaranteed hyberbolic earworm for fans of Wolves in the Throne Room, Eyehatehod, Thou, Electric Wizard and Ramesses.  So if you like how that sounds, remember the three rules of Sludgelord, “Stop, Look, Listen” and prepare for sonic detonation.   Check out the EP and pre-order/buy it here

If that wasn’t enough, check out my short interview with drummer Moritz about the roots of the band and how the new record came together. 

SL: Can you give us an insight into how you started playing music, leading up to the formation of Wolves Carry My Name

Moritz (Drums) Yeah, sure. Back then in 2011 some of us were on the lookout for people to start a new band/project. At that time we didn't even really know each other. It pretty much was a typical “a friend of a friend knows someone, who might be into it” thing that made us connect with each other and so we somehow ended up jamming out some riffs together. That worked out way better than we'd ever expected and a couple of months later we were a band with an EP.

All of us have been in several bands before. Tobi played in a band blending Alternative Metal/Rock with some Stoner vibes, Adil and Konstantin were into Thrash and Death Metal while Dennis and me were rooted in the Hardcore scene and played in a band together. I think that our different backgrounds helped us a lot with getting this band started. You know, all the basics like 'how to write a song', having connections to the scene, bookers and so on.

SL:Although you are set to release “Black Earth Tongue” which will serve as your 2nd official release, For folks unfamiliar with your band, is 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?

Moritz: This is a tough one. Some of our influences are pretty obvious, I guess. You know, like Eyehategod, Weedeater, Iron Monkey, The Abominable Iron Sloth... the whole Sludge Metal starter pack. This might be the common sense we have. Of course, each of us has his own favorites. Some are into the classic Nola bands or prefer a more stoneresque sound, you know, like Elderfor example, some are into Post Metal, some like Crust, Hardcore, Black & Death Metal, Punk-Rock, Indie, Rap, 80s synth wave, whatever.

Not all of this is a real influence, but a lot of it inspires us in one way or another, maybe not even the style itself but the way some bands write songs, perform live, their artworks and attitude whatever. In the end each of us contributes his part. For me personally, Hang the Bastard were a huge influence, both their old and new stuff. I love that rough and angry hardcore energy mixed up with the Nola and Sabbath-riffing.

SL: What can you tell us about your upcoming record and where do you feel it sits within the context of current metal scene?

Moritz: After our first EP and the “Bone Carver” single we had trouble writing new stuff. We jammed out a shit load of riffs and had like up to twenty songs half finished. But it didn't even sound close to what we wanted it to sound. We also had some struggle because of the typical work issues. Some of us moved to other cities and it wasn't easy to manage the whole rehearsal and song writing process. It took us about two years and a serious period of laziness and bad mood to know where we wanted to go. We developed a more consistent sound. The songs are shorter and to the point, the riffs are bigger. It's pretty straight, pissed off and heavy. We skipped most of the atmospheric Post Metal influences and added a certain hardcore appeal. At least that's what it feels and sounds like to me. So long story short.. If you're into heavy riffs and pissed off vibes you should check out "Black Earth Tongue”.

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

Moritz:As I said before it was a long hard road with plenty of obstacles. We did a DIY pre-production in my apartment and the shitty drum machine sounds I used for the demo recordings (because I'm not a real technique freak or know much about programming drums) still haunt me. We've all put a lot of work and time into the production but it was worth it. We are really happy with the new songs. I think it really is a step up compared to the “Amongst Ruins And Ashes”-EP. After all the struggle with getting our shit together we now rehearse frequently and can't wait to play live again. Seems like the vibes in this band are way too positive for a nihilistic Sludge Metal band. Well, we'll be working on that, for now it feels really good.

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

Moritz:I remember the first day of recording very well. We hooked up with Manu (Parabol Audio), a really cool guy I know from a recording session in the past. He told us he wanted to try something different with the drums. So when we arrived in Viersen it turned out that I would record drums in a huge hall that was built for orchestras. The setting was really impressive and the sound was really BIG. I felt pretty important, too, more like I was recording takes for a new Pink Floyd album. I think the whole recording session was a cool experience for each of us. Working with Manu was really chilled and he did a damn good job.

SL:With a solid new album in the bag, how is your schedule shaping up over the next 12 months?

Moritz: We will play a couple of shows this year and we plan to do waaaaay more shows next year! So to each and every promoter/booker who likes the new songs: just drop us a line, we seriously want to play your favourite club, church, living room, whatever! We will continue writing new songs in the meantime. Next step is a full length album. We'll see!

SL: Finally, do you have any final comments/word of wisdom you’d like to bestow upon us?

Moritz: We just wanna thank you for your support, Aaron! We really appreciate the time you put into supporting small bands like us. Cheers to our UKfriends in Telepathy– check them out, if you're into mind-blowing atmospheric prog/post-metal!

Band info: facebook|| bandcamp