Castle remain unique and mix up the sounds and approaches of many of your favourite bands to create a superlative heavy metal record
“Deal Thy Fate” CD//DD//LP track listing:
1). Can’t Escape the Evil 2). Skull in the Woods 3). Prelude 4). Hexenring 5). Wait For Dark 6). Deal Thy Fate 7). Haunted 8). Red Phantom 9). Firewind
The Review:
Castle have been on quite the prolific run since 2011; this is their fourth full length. 2016's “Welcome To The Graveyard” was a great, great album and my favourite of theirs to date. Is “Deal Thy Fate” a step forward, sideways or back? Either read on or go and listen to it to find out...
The band remain with a foot/other body part in several different camps. It's not doom, it's not trad, it's not thrash, it's not rock. In fact, it's all those things mixed together. The band have a spooky vibe and veer towards the doom rock of Pentagramat times, but there are many riffs here which lean towards, or even heavily on, Slayerfor reference. From the opener of “Can't Escape the Evil” and into“Skull in the Woods”, you can only assume that Castlehave summoned Jeff Hanneman's spirit and he has communicated what he would have played from beyond the grave, leading Mat Davis to oblige. That's not to take away from the material, it's a fresh angle for the band and they work it well.
Over the course of the eight tracks and one interlude here, Castle have added to their sound and built solidly on their previous three records. “Hexenring” could have nestled very comfortably into “WTTGY” and the vocals of Liz Blackwell are as stellar as ever. “Wait For Dark”is dramatic and evil in delivery and riffage and shows the band have retained an endearing rawness to their approach. My digitally provided copy has a few glitches here and there- it is hard to ignore at times with a couple of jumps in this track and others.
Digital issues aside, the sound of the album and the title track are reassuringly analogue. The evil and dark vibes continue and work really well with Blackwell's schizophrenic vocals. Once again, Castle are hard to pigeon-hole; the title track could be out of the Angel Witch NWOBHM play book, while “Haunted” goes much further towards hard rock. There may be nothing as immediate as “Flash of the Pentagram” here, but the songs throughout are uniformly strong and the production is perfect for the band.
The melting pot of hard rock and Slayer-esque riffing continues with “Red Phantom” and it delivers a storming and hard rocking penultimate track for this confident album. For the closing “Firewind”, Castle slow things down and offer up a track which starts effectively as a maudlin ballad and then gets heavier. Hey, if it's good enough for 70's era Priest... it's good enough for anybody. Castledeliver a surprisingly emotional final statement and close out the album with strength and purpose. The band have progressed here, no doubt, and they have set themselves up for a broader sound on their next album- should they wish to deliver such a thing. Castle remain unique and mix up the sounds and approaches of many of your favourite bands to create superlative heavy metal and hard rock. Excellent.
Order “Deal Thy Fate”direct from the band HERE and via Ripple Music HERE.
Having been previously unfamiliar with French occult doom quartet The Necromancers , it came as somewhat of surprise that the band are set to release their second full length, a mere 12 months after their debut. No small feat by today’s standards.
Back in the day, when Sabbathwas known to few, but on the cusp of greatness, legendary acts such as Sabbath, would bang out an album a year, tour it, get back in the studio and 12 months later, another record would be released. To be able do this with regularity it one thing, but to consistently produce strong material is perhaps the exception to the rule. What am I trying to say then? Well for one The Necromancersareclearly dedicated hard working band, but perhaps more significantly, having reviewed their previous album, they’re able to produce consistently kick ass albums and when we got the call to premiere a track, I couldn’t have been more stoked.
Although this French quartet's second album still features the lumbering doom and cultish heavy rock they are known for, it is clear on new album “Of Blood And Wine”they appear to have dug deeper within themselves as song writing and in turn they have produced a record of great depth and quality. So without further ado check out the track “Secular Lord” below as well as small quote from the band about the track. Recorded at Nomad Studio, “Of Blood And Wine” must be like the 100th record Ripple Music will have released this year, but all kidding aside, the record will available via this distinguished label on October 5th 2018 on all formats.
“Secular Lord” talks about Vlad 'The Empalor' Tepes. He is the historical character who inspired Bram Stoker for Dracula. We chose to talk about the legend and the myth here. We think it’s another song exploration for us, having that kind of voices and guitars sounds. Feels great for a first single!
For fans of speedrock, "Cheated Death" is a record to get a hold of. It flows from start to finish and makes no issue of being entirely indebted to their peers. The tunes speak for themselves, really, and its Against the Grain's sharp sense of melody and keen songwriting prowess that gives this band that je ne sai qoui
“Cheated Death” CD//DD//LP track listing:
01. Cheated Death 02. Full Of Smoke 03. Sacrifice 04. No Sleep 05. Last Chance 06. Devils And Angels 07. High Heeled Woman 08. Rolling Stone 09. Enoughs Not Enough 10. Going Down Fast 11. Jaded And Faded 12. Into The Light
The Review:
Ok, I've done the math for you. The press release laid so much emphasis on Against The Grain's tenure as a live band, I had to do the math. The answer? Since Against The Grain got started in 2009, the band has averaged one show every 3 and a half days. That's pretty impressive. And if you're curious what this equation has to do with Against The Grain's new album, "Cheated Death," well, let me explain.
Coming out of the MotorCity, Against The Grain plays motor rock. That's kind of a no-brainer. Speed rock, whatever you want to call it. It's what these boys from Michigando. This music calls upon those who play it, to play it fast, hard and most of all tight. Imagine a sloppy speedrock band. It just doesn't work. One show every 3 and a half days has made this band from Michigan become a unit, and the results are finger-licking good.
Against The Grain lay their claim to the genre from the offset. Opener and title track shows exactly how tight they are, and from that point on, the band never lets up. They just keep on going. From the throaty "Rolling Stone" to the punkish highlight of "Jaded and Faded," Against The Grain lives up to their song titles, album title and artwork. They're raw, they're tough and they're going to do this until they die.
So yes, Against The Grain is one tight band. All those days out on the road can be heard on these recordings. Whether its the double guitar soloing in "Last Chance" that reminds me of Thin Lizzyor the vocal harmonies in "Going Down Fast" that brings up KISS at their least annoying, Against The Grain have really stepped up their game here.
For fans of speedrock, "Cheating Death" is a record to get a hold of. It flows from start to finish and makes no issue of being entirely indebted to their peers. The tunes speak for themselves, really, and its Against The Grain's sharp sense of melody and keen songwriting prowess that gives this band that je ne sai qoui
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.
The songs of "Prologue" formulate a humid, thick experience that captures delectably the story of a society in crisis. The vignettes shared in lyrics and the abject weight of the music creep slowly, fearsomely to the collapse you know is coming, but simply cannot halt
“Prologue” CD//DD//LP track listing
1. The Beginning; The End, The Colony
2. Mother Mary; Son of Scorn
3. Chainbreaker
4. Omega
The Review:
The number of weather events before us all is a harsh reminder of the fragility of humans. Structures fall, along with hubris. Furious winds tear down what people hold most precious as well as what they believe makes them superior. Crashing seas are an equalizer, wrecking both mansion and shanty. And driving rains slice through all, no matter religion, creed or allegiance. The cold comes for all of us eventually.
Poseidon's debut is a perfect soundtrack to the raging storms across the U.S. Gulf Coast of late. Its domineering swells and exquisite violence are your best representation of a trip through a sonic hurricane.
"Prologue"is the first of a three-release arc by the London, UK based band, formed out of the ashes of prog rockers Light Bearer. The four song, 44-minute launch of its science fiction themed tale is a halcyon start for Poseidon.
Concept albums can be an acquired taste. In this instance, Poseidon'sambitious vision is coming together here as the start of the Mediums Chronicle. The story aims to reflect the world's collapse as well as what a new world in the ruins of the old will be like. There are flashes of that old world, including the words of Free Speech Movement activist Mario Savio, and glimpses of the new. In such a story, making something original, which supersedes the post-apocalyptic meme of metal music immemorial, is no easy task. The quartet sets itself up for a serious undertaking.
The group offers a doom-rooted landscape to the debut, to set off its engrossing fable. With "The Beginning; The End, The Colony" opening up the record, you feel surrounded again by that distended swarm of echoes. You are startled first by the slow build of this song, until it comes seemingly out of nowhere, roiling with the guitars of Matt Norris and Jamie Starke. Waves of power from drummer Raza Khan anchor the first cut over its 13-plus minutes.
However, it is only the beginning. The songs of "Prologue" formulate a humid, thick experience that captures delectably the story of a society in crisis. The vignettes shared in lyrics and the abject weight of the music creep slowly, fearsomely to the collapse you know is coming, but simply cannot halt. By the time "Chainbreaker"arrives, you have a sense the world in Poseidon's hands is in for dark times. Vocalist Matthew Bunkell's understated yet resonant performance here, climaxing to the massive "Omega,"puts the stakes to what may be a familiar story. Regardless, the quality of Poseidon's work will keep you transfixed until the inevitable and stormy end.
Vokonis Hailing from Borås, Sweden and formed in 2015 out of the ashes of stoner rock band Creedsman Arise, with a well-received EP ‘Temple’under their belts, the band became embroiled in a legal dispute over the name. Well what better way to stick it to the lesser ‘Creedsmen’ than with a new album of six psych-tinged bangers? Rising like a phoenix from the flames Vokonisreleased their brand new album “The Sunken Djinn” on 9thJune via Ripple Music, an album that has been met with almost universal acclaim, topping our own Sour 16 chart just last month.
The Swedish doom trio, consisting of guitarist/vocalist Simon Ohlsson, drummer Emil Larssonand bassist Jonte Johansson, are hewn from the same doomy bedrock as genre titans Sleep, and with Iommi’s influence looming large, their new record is about as strong a rebrand as is possible.
The craft that afforded Vokonis such acclaim on their debut “Olde One Ascending” has been refined and renewed. Whilst being undoubtedly heavy what makes their sophomore effort stand out is the variation employed in the bludgeon. By embracing less traditional doom landscapes ‘The Sunken Djinn’ has allowed Vokonis room to demonstrate the full raft of their audio-weaponry, and in doing so propelled them to the forefront of the heavy underground.
Today, Amped & Doomed is back and it gives us great pleasure to invite Simon Ohlsson to answer our questions.You can check out our interview in full below.
Simon, welcome to The Sludgelord.Could you give us an insight into how you started playing music, leading up to the formation of Vokonis I started playing when I was about 15 because I suddenly had this urge to play the guitar. I had just discovered grunge and alternative rock from the 90’s and was immediately smitten by the sound and feel of it. I’m very certain that to this day I am hugely influenced in my writing by Dinosaur Jr. and Nirvana.
Vokoniscame about when our previous band, Creedsmen Arise, imploded. The three of us all had Sabbath worship as the main goal with the band. But now we’re trying to incorporate a lot more in the mix than that. We never want to stand still in terms of songwriting.
Can you remember who or what inspired you to pick up the guitar and is there any bands, musicians currently on the scene that continue to inspire you and push you to try new things?
The one guitarist that made me pick it up at the first place is probably J Mascis. I was sitting around in my room and just trying to nail every Dino Jr.solo I could find tabs on. That certainly sparked my interest for everything loud and fuzzy.
Shifting attention to the now there’s a lot of bands doing great stuff right now. The new album by Elder (“Reflections of a Floating World”) have really given me a revelation on how to construct songs with different sounds and soundscapes. Nick is doing a wonderful job of always keeping it interesting with textures and dynamics in his playing. So he’s a major influence on me.
Going in a completely opposite direction, Thomas Jäger of Monolordhave been a huge influence for the past years. His no-nonsense sludgehammer approach is something I admire and get inspired by constantly.
Whilst we’re on the subject of inspiration or heroes for example, do you have 5 records that stand out as favourites, what influence did they have upon you and what is it about those record that particular resonates amongst others?
Elder– “Reflections of a Floating World”. This is a new record but it has had such profound effect on me that I have to list it. It’s pushing the genre forward and I think it’s going to be regarded as a classic in a few years.
Monolord– “Vaenir”. They kinda perfected the Wall of sound bludgeoning doom with this record. Playing as a unit it’s always about the song and what the song needs.
Bad Acid – “Revelations of the Third Eye”. One of my favourite records of last year. It’s got a lot of cool things happening, a very psychedelic rock take on stoner and doom. But never losing its footing or direction. I appreciate when psychedelic music keeps a good flow and they managed that perfectly.
Slomatics– “Future Echo Returns”. Don’t know where to start with this. It’s something that just grabs your attention and doesn’t let go. You can’t just listen to separate songs; you have to listen to the record in its entirety to fully understand these guys vision.
Skraeckoedlan– “Sagor”. When Sagor first released I didn’t really understand it. But returning to it a few years later it have turned into one of my favourite records of all time. The way they took their influences and ran with it is outstanding.
Can remember your first electric guitar? I think it was a no-name Jagmastercopy. Not quite a Jazzmaster not quite a Jaguar. Wasn’t very good but I loved the shape and feel of it. As previously stated I had a huge thing for Dinosaur Jr and Nirvana, so that’s why I even got it. Sold it many years ago.
I still have my third guitar though, my trusty Fender Jazzmasterthat I got as a graduation gift from my family. Last time I used it was recording clean parts for our debut album, “Olde One Ascending”. I consider this my first “true” guitar though, given the bond I have to it.
What guitar (s) are you using today and how did you gravitate towards the guitar you currently use?
I use a variety of SGs.
For recording I have an old Gibson SG from 88 or 89. It’s supposedly from one of the first years of the 61 reissue. It’s got a thin neck and a warm sound.
I also have a Japanese Gibson knock-off from the late eighties called Burny. These are quite common in Europe I think due to them being as good as Gibson but without the price tag. I used this all over our new album, “The Sunken Djinn”, and live all the time.
For live use I have a Boult “Troglorite” which I love. It’s made of Zebrawood so it looks totally insane. It’s a very sturdy guitar and always manages to turn some heads so I use it live whenever I can.
Also I don’t want to forget telling everyone about my signature guitar over at Boult, “The Djinn”. It’s got the shape of the YamahaSGbut without the backbreaking weight. So that’s a huge honour for me. Will come in silverburst with Zombie Dust pickups that me and Willie (atZombie Dust) will design together.
What do you like about the guitars you currently use and has there been any specific modifications to it?
I like the way the SGhangs on the body. They’re very light and easy to play. And they always sound a lot bigger than you’d imagine. I tend not to do that big of modifications to them, mostly swap pickups or stuff if I become bored of them. I have a set of Lace Dirty Heshersin the Burny SG that is totally face-melting.
What amps and pedals do you currently use?Do you use a combination of amps, or a full half stack? Talk us through your set up both in the studio and in the live environment?
For guitars I use two Orange OR100 heads. They just have a big and bold sound that go well with pedals in general. I have either an Orange 4x12 with V30s or an Orange 4x12with Celestion G12 100 K speakers. We don’t play on big enough stages to warrant a full stack but we’ll see for the future.. For bass Jonte is using an Orange AD200B MKIII head along with an Orange 1x15 cab and my Orange 4x12 with G12 100 Kspeakers. This is a really menacing combination and gives us a huge low-end but a focused and aggressive mid-range punch.
I have a variety of fuzz-boxes and overdrives but I usually tend to go back to the Pharaohand Black Forest by Black Arts Toneworks. They have been really supportive of us and have been kind enough to grace me with a custom-pedal. So I’m using that for over the top insane sounds. Jonte is actually using a Pharaoh as well on bass, but I know he’s been using a DOD Boneshaker and a BossODB-3 in front just to tighten things up.
Our setup is basically the same for studio and live use. Last time we were in the studio we used an Ampeg 8x10 cab and a Sovtek Mig100for a huge clean sound along with the dirty Orangetone for bass. Turns out they complement each other in a really nice way.
What one pedal could not live without and why?
That would be the Pharaoh. Best fuzz pedal I’ve ever tried, and I’ve tried a few that have come close.The thing I like about it is that it can leave your EQ intact and deals more with the texture and gain of your sound.
What are your amp/ pedal settings?
Amp is set up just to get some break up. Mid heavy, roll off some bass and up with the treble a bit to get a cutting sound. Then blast with the Pharaoh. It’s got the volume all the way up and the gain all the way down. Think of it as the doom metal version of using a Tubescreamer with a 5150 haha..
I would say Jontes bass amp is setup fairly the same gain-wise but with almost a flat EQ. No matter what you do the AD200Bjust sounds great on its own. But it’s a great platform for dirt too. He’s very delicate with the way he tunes his pedals.
What tunings do you use and why, and as a result is there a specific brand / gauge of string you prefer?
We play in C standard and we use D’addariostrings. I use a set with 0.13-0.56 with a wound G-string that I like. Sounds fat but it’s tight and doesn’t get too floppy. Don’t know the gauges Jonte is using though.
Do you have any advice for up and coming guitars players, bands?
Practice your instrument, challenge yourself musically as a group and while writing, always think “what’s the best for the song?”
Do feel there are deeply help misconceptions about being in a band?
I know that when we started out I knew there was going to be a lot of work. But the extent of it, I had no idea. We spend a lot of time rehearsing and writing just to become better as a band. But in the end, with a little luck, people will notice that your hard work pays off.
I mean look at a band such as Conan. Completely D.I.Y approach to everything. They’re a band that has truly forged their own path. I don’t think I know a more hard-working band than them.
Moving on a little then,what can you tell us about any of your current projects, tours, cds, etc you’re currently promoting, completed and anything else band related we should know about?
That would be our newly released album ‘The Sunken Djinn’ that’s out now through Ripple Music We’ve got a few shows lined up, including a Swedish iteration of Ripple Fest that will be a lot of fun.
What springs to mind when you think about the completion of your new record and how is the mood in the camp at present?
Having just released our new record I think we’re in that mode where we can finally breathe after 6 months of holding in a lot of material. For me this record is more of a first record for us than “OOA”. That’s not a knock on our first record in any way; I just view it more of a demo than our first real offering.
And we’re looking forward to bringing this new record to a live setting. There’s some cool parts on there that I want to see how people react to.
What can fans look forward to from you over the next 12 months? How is your schedule shaping up? Other than appearing on a as of now secret double LP compilation we hope that The Planet of Doomhave neared completion. Very anxious to see how it will turn out and how our music will complement the animations. We’re probably going to write another record this fall. But we’ll be a bit more patient with recording it this time. So don’t expect a new LP until around 2019..
Finally, do you have any final comments/word of wisdom you’d like to bestow upon us?
Just something that I try to remind myself of once in a little while, to try and sit back and enjoy the moment when you can. Life moves fast, two years ago I wouldn’t dream of doing the stuff I’m doing with Vokonis.
Thank you for taking the time for us. It’s been a pleasure.
Whilst being undoubtedly heavy what makes this sophomore effort stand out is the variation employed in the bludgeon. By embracing less traditional doom landscapes ‘The Sunken Djinn’ has allowed Vokonis room to demonstrate the full raft of their audio-weaponry, and in doing so propelled them to the forefront of the heavy underground.
“The Sunken Djinn” CD//DD//LP track listing:
1). The Sunken Djinn
2). Calling From The Core
3). The Coldest Night
4). Blood Vortex
5). Architect Of Despair
6). Rapturous
7). Maelstroem
The Review:
Ripple Music is a label in the midst of a purple patch. With both Steak and Mothershipreleasing standout records in recent months, so it begs the question, can Vokonis make it three in a row? As some biblical dude definitely once said: ‘asketh of the sludge gods and you shall receive.’ Well ask I did, and the reply that poured forth was 40 minutes of crafted, brutal and more importantly, interesting sludge-metal.
It has only been one solitary year since Swedish trio Vokonisdropped their debut long-player ‘Olde One Ascending.’ Hewn from the same doomy bedrock as genre titans Sleep, and with Iommi’s influence looming large, the record is about as strong a rebrand as is possible. Having previously released a well-received EP ‘Temple’ under the moniker Creedsmen Arise, the band became embroiled in a legal dispute over the name. Well what better way to stick it to the lesser ‘Creedsmen’ than with six psych-tinged bangers?
Album two ‘The Sunken Djinn’ ignites with its title track. Wasting no time, Vokonis drop the hammer in minute one. A half-time beast of a riff marshals in Simon’s trademark yell and Vokonis are back, the beast has risen. At minute four however, things get a little proggy. The first act gives way to a short meditative interlude, not to fear though the doom soon returns and Simon’s excellent lead-work takes centre-stage. The song closes out in epic fashion with a rousing call: ‘carry on into the sun…’ By the end of only the first cut it becomes clear that Vokonis have refocused their sound. Moving away from Sleep’s more traditional church of doom the band have steered their ship into sludgier, more progressive waters.
Next up is ‘Calling From The Core.’ Along with five of the seven songs on the record, it comes in at over six minutes long. Vokonis make the most of every second of the extended track-length. A slow build of restrained guitars and scattered toms explode into a crushing driven chorus. Similarly to the title track the rage is then whittled down to another contemplative build with hints of Toronto sludge-stalwarts, Pyres. Having caught its breath momentarily the song then hurtles to a close on a platform of vocal harmony and articulate lead-work.
Jonte’s outrageous bass tone initiates the trudging dirge of track three, ‘The Coldest Night.’ The song proceeds to haul itself through 5 minutes of sumptuous down-tempo sludge before delivering the heaviest moment of the record. Up until now the production has been typical of Ripple Music’s recent output, thick, warm and clear. But as the outro veers into earshot the guitar tone should just plain be illegal. The weight on show here would rival even Black Breath’s work and as Simon’s descending riffs collapse into a forceful chug, Jonte’s bass provides a sopping sub-hertz bookend.
‘Blood Vortex’ follows and serves as a quick-paced more traditional precursor to the sprawling masterpiece to come. ‘Architects of Despair’ takes in a chugging battle cry, emotive guitars leads and best of all some kind of cymbal/lead-pipe outro. Again more contemporary influences swim beneath the surface with evocations of “Red” era Baroness and early Galvano.
‘Rapturous’ employs a similar template and again Emil’s monstrous tom-work propels the song to juggernaut status. Like a dying beast wheezing its final breath after the battle, “Maelstrom”’s three minutes of white noise and distant drums are an apt curtain call to an outstanding second record
The craft that afforded Vokonis such acclaim on their debut has been refined and renewed. Whilst being undoubtedly heavy what makes this sophomore effort stand out is the variation employed in the bludgeon. By embracing less traditional doom landscapes ‘The Sunken Djinn’ has allowed Vokonis room to demonstrate the full raft of their audio-weaponry, and in doing so propelled them to the forefront of the heavy underground.
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