ALBUM REVIEW: Lumbar, "The First And Last Days Of Unwelcome" Reissue

By: Matt Fitton

Album Type: Full Length

Originally Released: 12/11/2013 
Resissue: 11/01/2019

Label: Southern Lord Recordings | 
Argonauta Records | Anima Recordings

 

“The First and Last Days of Unwelcome” is just a big ol' stick of Doom. If you cut it in half it would not only thank you, but it would actually say 'D-O-O-M' in giant letters down the middle. Killer riffs slower than the expansion of the sun, soaking wet with amp fuzz down tuned to -11. Harrowing and perfect in every single way”

“The First and Last Days of Unwelcome” CD//CS//DD//LP track listing:

1. Day One (05:04)

2. Day Two (02:58)

3. Day Three (02:24)

4. Day Four (02:26)

5. Day Five (02:07)

6. Day Six (05:02)

7. Day Seven (04:45)

The Review:

Lumbar is a Doom expression by three friends from the US Northwest, all of them fairly revered within their sonic circles. A project that consists of Yob's Mike Scheidt, Tad Doyle from Brothers of the Sonic Cloth and Aaron Edge (of one time Himsa). 'The First and Last Days of Unwelcome' is not only a cosmic event of grand proportions (i.e. VERY good), it also serves as a one-off snap shot of a place and time.

Lumbar has unfortunately been sidelined to just a studio project, due to the fact that Edge (who played all the music on the recording) has been diagnosed with Multiple Sclerosis and would be unable to play a musical instrument live as a consequence. Sad as this may be, it appears that you cannot keep a good man down and Edge is already formulating a new heavy endeavour in Portland for which he will be providing the vocals. We do, of course, wish him the absolute best. A good way to do this is to convey just how great this album truly is.

'The First and Last Days of Unwelcome' is seven tracks long, and numbered as days. I wish this album actually did last a week, but bucking recent Doom and Sludge trends the 7 tracks amount to 24 minutes of bite-size gold. As much as this noise fiend loves a marathon, I also like more done with less. And there is so much on offer here.

'Day One' is instant satisfaction. Scheidt's classic holler is pure Doom delight, and the music keeps up too. Beautifully morose waves of fuzz wash over you, and you realise that you're in riff country, where the real flavour lives. The bass wobbles, and the drums crash, both of them in a death grip. As if anything else was expected at all.

'Day Two' is another sullen delight. The atmospherics in the background are faint yet intricate, and when the heavy rolls in it does not disappoint. Pretty much void of any hope or light, and you would not want it any other way.

'Day Four' is just rolling crush to begin, like a rolling pin from the left hand of death. And then it becomes all wistful and echoing at the mid-point, which is tremendous. You constantly forget about the relative brevity of these tracks, due to the sheer variation that is on display at times.

Best in show goes to 'Day Six', for just being a big ol' stick of Doom. If you cut it in half it would not only thank you, but it would actually say 'D-O-O-M' in giant letters down the middle. Killer riffs slower than the expansion of the sun, soaking wet with amp fuzz down tuned to -11. Harrowing and perfect in every single way. Edge really outdid himself throughout this thing, and it serves as a fitting testament to his playing if he never manages to commit another Lumbarrecording to tape.

This is real Album of the Year contender stuff  and 'The First and Last Days of Unwelcome' could not be more of a welcome spectacle.

“The First and Last Days of Unwelcome” is available digitally & on cassette  here. LP & CD is available here

Band info: Facebook

ALBUM REVIEW: Iron Monkey, "9-13"

By: Ernesto Aguilar

Album Type: Full length

Date Released: 20/10/2017

Label: Relapse Records

"9-13" offers a shredding sludge attack and is a violent rejoinder of why Iron Monkey got its reputation as a doom/sludge vanguard. All these years later, Iron Monkey remains gritty and uncompromising. Predictions for a return were invariably high. "9-13" does not blow those expectations out of the water. Nor does Iron Monkey disappoint. For that, there's much to smile about.

“9-13” CD//DD//LP track listing

1. Crown of Electrodes

2. OmegaMangler           

3. 9-13

4. Toadcrucifier - R.I.P.PER

5. Destroyer

6. Mortarhex

7. The Rope

8. Doomsday Impulse Multiplier

9. Moreland St. Hammervortex

The Review:

Sterling though it is, Iron Monkey has a name circulated mostly through lore. Its 1996 EP and 1998 full-length, honestly, came out when a fair number of metal fans were children. Of those consciously watching sludge metal at the time, scores of acts have since surpassed Iron Monkey and its sparse output. Yet the notoriety of the band has lingered. Its brash and unfiltered metal through the lungs of vocalist Johnny Morrow was, for many, that blending of punk and metal that ensembles like Crassor 45 Gravewere for fans in respective decades previous. Not that the UK crew gained those levels of recognition, or are anywhere the same, but you get the idea: something with an appeal that set it apart from others. After Iron Monkeyfaded with the untimely death of Morrowin 2002, you could assume the boys from Nottinghamwould be little more than a faded memory or trivia at a punk club's quiz night.

Not so fast.

Following a nearly 20-year break hastened by the death of its lead singer, Iron Monkeyreturn to take up the accolades the group never received in its heyday. Implausible though that comeback might be its new release, "9-13," rolls up to make a claim for the throne.

Returns like this can be a controversial business at times. Here, founding members Jim Rushby, on guitars and vocal duties, and bassist Steve Watson are back in place, but original drummer Justin Greaves has bowed out. The new Iron Monkey has opted to go it as a trio, replacing Greaves with Scott Briggs, one of the former drummers of Bristol hardcore legends Chaos UK.No Greaves and no original singer may prompt some gnashing of teeth from the outset. Yet having Bushby and Watson, who were nevertheless architects of the band's grimy sludge metal clatter, may keep you curious enough to give "9-13" your full attention.

With the opener, "Crown of Electrodes," you are left with the clear impression that Iron Monkey is rejoining us largely as a punk act. No bones about it that there's plenty of sludge and grind in this corybantic gruel. Still, in what could be Briggs' influence or a new direction decades on, there is irrefutably a hardcore tension in the All Pigs Must Die vein here. Some might criticize Iron Monkey for this or the vocals, which tend to be an echo of Morrow. However, all things change and, to tell the truth, this may be the first real introduction to Iron Monkeya lot of people have had. You can judge this on the strength of "9-13" alone and step away gratified.

There are a few near missteps. "Toadcrucifier - R.I.P.PER" opens with 30 seconds of pointless guitar feedback – although feedback starting "The Rope"is equally unlistenable. Fortunately enough, Iron Monkey makes up for it by delivering a crushing cut that pours on the aggression. The title selection before it uses the same feedback affectation, but similarly the trio redeems itself by serving up a whip tight track of metal-infused punk. In fact, the guitar feedback bit is used on several more songs; it can be cute for the new high school metal band, but gives "9-13" an 'out of ideas' vibe that is unnecessary. In fact, Iron Monkey's layoff has not left members bereft of passion or ideas. The group feels potent and ready to meet both new fans and skeptics. You just wish these small things did not detract from such a dexterous and forceful performance.

"9-13" offers plenty for veteran fans, such as "Doomsday Impulse Multiplier," a shredding sludge attack and the closing, "Moreland St. Hammervortex," which is a violent rejoinder of why Iron Monkey got its reputation as a doom/sludge vanguard. All these years later, Iron Monkey remains gritty and uncompromising. Predictions for a return were invariably high. "9-13" does not blow those expectations out of the water. Nor does Iron Monkey disappoint. For that, there's much to smile about.

"9-13" is available here:

Band info: bandcamp || facebook

TRACK PREMIERE: Succumb to the beautiful devastation that is Catapult The Dead

Catapult The Dead is a sextet from Oakland, they have been together for around 5 years, playing the style of music which could be broadly described as atmospheric doom.  Thematically their debut full length, ‘All is Sorrow’ released in 2014, felt very cinematic and is very layered production wise, driven as you’d expect from a massive sounding guitar tone, but what felt quite unique is the use of keyboard.  Indeed it is the use of keys which made the band feel truly unique, giving their music a dynamic appeal. Much like the movie The Matrix, no one can really be told what is, you have to see it for yourself. In fact if you substituted Catapult the Dead for the Matrix in that quote, it quite accurately summarized their debut album

What Catapult the Dead have managed to do in their short tenure, is to produce progressive sounding doom, oppressively heavy but never idle, in the sense that it never seems to repeat singular repetitious phrases of music.  Their music is stylistically cinematic because it feels typical of how films are made, like there is one continuous story to be told, and it is always moving forward, evoking a sense that their music is a narrative to some macabre Lovercraftian tale. I feel Catapult the Deadare innovators and perhaps one of the best bands no one seems to know about, but that is about to change with the release of their  spectacular  new album “A Universal Emptiness”  released on 15 November 2017 via Doom Stew Records, and we’re stoked to be able to premiere a brand new track from the album which you stream in full below.  Preorders of the album are available here

Band info: bandcamp || facebook

ALBUM STREAM & REVIEW: Twingiant - "Blood Feud"

By: Ernesto Aguilar

Album Type:Full length

Date Released:13/10/2017

Label:Argonauta Records

"Twingiant seems like it is out to represent an immortal hard rock sound that will always be loved. It's a great sound, and one that has floated Twingiant from underground favorite to emerging powerhouse."

“Blood Feud” CD//DD Track listing

1). Throttled

2). Poison Control Party Line

3). Ride The Gun

4). Re-fossilized

5). Shadow of Southern Mountain

6). Formerly Known As

7). Last Man Standing

8). Kaishakunin

TheReview:

These moments, every band is a something-something-something. Is this a marketing thing, or entirely accurate? There's blackgaze-sludge, symphonic-death-doom, hardcore-atmospheric-drone, something-but-wait-something-else. You get the picture. Three out of ten times, there's some truth to it. The rest? Well, it's often left up to interpretation. Very charitable interpretation.

The beautiful thing, if you're Phoenix's Twingiant, is that when you have a fun and a refreshing sound you do not need a shit ton of hyphens

Since the band formed in 2010, Twingiant has seemed to pick a lane and stayed in it. Their stoner rock is cut from that classic 1970s cloth you may know well. The big sound of Mountain, the multilayered compositions of Black Sabbath, and down the line. More than a few have noticed bits of sludge metal here, but to categorize them as a sludge metal act feels inadequate. Twingiant seems like it is out to represent an immortal hard rock sound that will always be loved. It's a great sound, and one that has floated Twingiant from underground favorite to emerging powerhouse.

Their new release, "Blood Feud," comes after a string of critically hailed recordings. 2014's "Devil Down" (whose artwork was a not-so-subtle nod to Van Halen's “Diver Down”) and 2013's "Sin Nombre" both made Twingiant's reputation. There was a bit of grumbling that the last album wasn't as strong as its debut, or perhaps a tad too refined. If you were in that crowd, "Blood Feud" may be just the red meat you wanted.

There are many things to like on Twingiant's newest. "Poison Control Party Line" sees the double guitar assault of Tony Gallegos and Nikos Mixas that figures prominently throughout the album. It tends to be most resonant on this cut, but you hear its maturation on a song like "Re-fossilized." There's a subtle rhythm guitar element to it that quickly clears the way for the raucous almost full instrumental jam (vocals kick in more than four minutes in). You might be able to close your eyes and think this is what it sounded like as everyone lit up in the middle of Foghat show around 1974. Yeah, that sort of thing.

A few listens in and you come to value Jeff Ramon on drums. His playing on "Shadow of South Mountain" is without compare. Clean, rapid-fire and meets the challenge of Jarrod Le Blanc's hearty vocals across "Blood Feud." Ramon also takes on the steady build of "Last Man Standing" with aplomb. A good drummer can really make the other instruments blend together, and Ramon bridges guitars and bass into a seductive package in an all-around sharp performance.

As with any heavy rock group, though, Twingiant prospers with LeBlanc up front. Although it can't be said that LeBlanc has the greatest range as a singer, he is skilled at using what he has to the fullest extent. A song like "Ride the Gun" comes at you with a familiar sounding chord progression and chorus, but LeBlanc draws it out to something more unique with his signature snarl. He's also smart about stepping back and letting the music set the mood, as he does in "Throttled," where vocals don't go until a full minute in. And the pace Twingiant go for with "Blood Feud" is faster and more aggressive than even before. Thus, LeBlanc demonstrates a good intuition about what he's doing in a muscular appearance.

"Blood Feud" may not please all metal fans. However, there is a lot to like about what Twingiant are doing, especially for lovers of the classic power chords and wall of sound.

“Blood Feud” is available to preorder/buy here

Band info: bandcamp|| facebook

ALBUM REVIEW: Firebreather - "Firebreather"

By: David Jupp

Album Type: Full Length

Date Released: 13/10/2017

Label: Suicide Records

Firebreather switch between galloped bludgeon, half-time bang and once Mattias Nööjd detonates the riff bombs, unsurprisingly, big ol’ horns occur

“Firebreather” CD//CS//DD//LP track listing:

1). Fire Foretold

2). Emerald Eyes

3). The Ice Lord

4). Release The Lava

The Review:

The manner in which you discover music is important, especially in this era of faceless Spotify playlists and algorithmic recommendations. Through these new channels the romance of discovering a killer band has sadly, to an extent been lost. Be it via a friend lending you his copy of a debut record or perhaps stumbling across a hungry support act at a show, the process of your introduction to music can often amplify your attachment to it.

For me, with Swedish sludge duo Galvano, it was the later. To be specific it was Desertfest 2015 and I was in the Black Heart killing time before Orange Goblin. I noticed a steady stream of beards heading upstairs to the small stage and figured I would see what all the fuss was about. What I was met with at the top of those stairs, was 40 minutes of the best sludge metal I had heard in years. It was brutal of course, but more importantly it was considered, intricate and progressive.

Galvano were a few weeks’ shy of releasing their sophomore triumph ‘Trail of the Serpent.’ So accidentally seeing a band perform, at their zenith, with such a juggernaut of sound was not only exciting but something special. After the show, I legged it to the merch-desk and parted ways with fifteen quid for a distinctly underwhelming and wonkily printed band-tee. This is a testament to how good that show was.

Fast forward almost year and I’ve devoured both ‘Two Titans’ and ‘Trail of the Serpent.’ Galvano are now firmly one of my favourite bands, but there is a deafening silence coming from their camp. Suddenly singer/guitarist Mattias Nööjd announces his new band ‘Firebreather’ and I’m not going to lie, I was gutted. I know it sounds adolescent, but because I had spontaneously followed that beard-highway to the dark, Galvano were my band, they were gone and I couldn’t believe it. I had only seen them once. So, over a year on, it is with trepidation and a hint of sadness that I approach Firebreather’s self-titled debut.

‘Fire Fortold’stirs with blowing winds and a full-fat bass stagger. Seconds later Mattias Nööjd detonates the riff bomb and unsurprisingly, big ol’ horns occur. After another weighty tease from Kyle Pitcher’s bass, Tommy Hanning sets drums to flay and Nööjd’s guttural yell pounds into view. For the next seven minutes Firebreatherproceed to switch between galloped bludgeon, half-time bang and most encouragingly, for any fellow Galvano fans still in mourning, interesting guitar interludes. Track one is an absolute rager.

‘Emerald Eyes’opens with Pitcher and Hanning marinating in a low-end batter. Nööjd rapidly storms in with a descending riff that ominously misses the mark, luckily the verse makes a driving entrance and horns are restored. As the song reaches its peak Nööjd deploys one of his trademark guitar-runs and again the Galvano grief subsides. It’s this ear for melody in the fray that made ‘Trail of the Serpent’such a brilliant record and Nööjd such an impressive guitarist. Whilst it seems like the proggier arrangements from his previous band have been replaced with a more direct approach, it is Nööjd’s ability to inject emotion as well as epicness into a song that set Galvano, and now seemingly Firebreather, apart. As ‘Emerald Eyes’ hits its sixth minute a flicker of musical familiarity kindles in the ear which I will come to later.

Lead single ‘The Ice Lord’ opens with Nööjd’s guitar hammer-on pulling at the reigns. Moments later Pitcher and Hanning’s rhythm-centaur breaks free and the albums stand-out beast hurtles forward. In a genre where tales of war and mythology are so often told, it requires a certain standard of song to not induce eye-rolls. Fortunately, the pace and pummel across ‘The Ice Lord’s six minutes is just outstanding. At minute four as the song flanks left, a slower interlude sees Nööjd roar ‘the oldest vision from this mountain, the eyes fill up the sky, a reign of blood.’ Just as Galvanoknew how to accentuate their heft with the contrast of slow builds so do Firebreather and this ancient imagery sits perfectly in such a titanic outro.

Until now Firebreather have taken a more even and direct approach to arrangement so album closer ‘Release the Lava’s sprawling lurch and climb is a welcome about face. In the songs final third Nööjd’s melodic runs rear their head again, only this time they’re accompanied by Hanning’s nomadic slag-bass. The song forges home on a thunder of half-time riffs, like a fatally wounded warrior desperate to outlast the beast. Adam Burke’s stellar artwork is particularly apt here.

Perhaps it is the romance of not knowing what awaited me atop those stairs back in 2015, or maybe it’s the marauding arrangements Galvano affixed to their riffs. But for whatever reason I had never noticed the striking similarity between Mattias Nööjd and Matt Pikes’ vocal. Much like Matt Bellamy of Muse’s breathing, it is something that once heard, is impossible to forget, and it’s only accentuated by Nööjd’s narrowing of the space between Firebreather and High on Fire’s sound. The question is if it matters?

For me that aspect of familiarity glimmers throughout the record but at no point does it feel like pale imitation. I can imagine that this is an issue that will be ignored or emphasised by previous exposure to Galvano. Firstly, any comparisons to High on Fireare always a compliment but more importantly for the Galvano fans amongst us, it is their ghost that flickers in the heart of this record. Luckily, it just a flicker as Firebreather’s debut bludgeons to its own beat.

I am sure that somewhere soon, a riff-nerd will look up from his beer and instinctively follow the beards. Up the stairs, into the darkness and on, to a killer new band: Firebreather.

“Firebreather” is available here

Band info: facebook

ALBUM REVIEW: 71TONMAN - "Earthwreck"

By: Chris Bull

Album Type: Full length

Date Released: 08/09/2017

Label: Black Bow Records

 71TONMAN  absolutely bludgeon the listener with hammer blows of relentless doom

“Earthwreck” CD//DD track listing

1. Lifeless

2. Negative

3. Phobia

4). Zero

5). Torment

6). Spiral

The Review:

Subtlety isn't something usually associated with sludge/doom, realistically, why should it? Poland's 71TONMAN, the latest to signing for Jon Davis' Black Bow Records, show no sign of straying from the well trodden path with 'Earthwreck'.

'Lifeless' sees 71TONMANlet you take a deep breath before absolutely bludgeoning with hammer blows of relentless doom. The death growl vocals make the songs reminiscent of Winter but have more in common with the likes of Dismember and Entombed with the way they echo into the psyche. 'Negative'has more to offer melodically than most doom bands do on entire albums, without losing the malicious, pummeling heaviness. 'Phobia'toys with the sensibilities of the traditional doom fan; this is extreme metal chump, save your talk of pentatonic scales for the millions of Kyuss/Church Of Misery rip offs! The sheer weight of the track makes you hyper aware of gravity and just when you think you can nod your head to the groove, they mangle the formula and have you gurning with glee.

'Zero'offers brief respite as the industrial noise is penetrated by clean guitars and syncopated drums before going whole hog with devastating riffs. 'Torment' makes great use of atmosphere to season the heaviness and 'Spiral'chops at your ear drums with its tremelo picking before smashing the weighty yet wonderfully catchy, riffs. Excellent stuff.

I don't like to write negative points about bands, and I'm not going to here, my only mild criticism would be that with 6 songs lasting 9 minutes each, the slog can be difficult to manage. Luckily there are plenty of intricacies throughout to keep your attention. I had the fortune of playing with these guys in Warsaw a few weeks back and I can confirm that they absolutely slay. A gem of a release.

“Earthwreck”is available here

Band info: bandcamp || facebook

REVIEW: Merchant - "Beneath" (EP)

By: Andre Almaraz

Album Type: EP

Date Released: 12/05/2017

Label: Independent |

Black Bow Records

If you’re a fan of heavy sludge, doom, and death/doom, I don’t see how you could possibly not dig this album. The production is amazing and the tone is ultra-heavy. The drums pound mercilessly, the bass hits like a 50 pound maul, and the vocals pull it all together perfectly. Give this a listen now.

“Beneath” CD//DD//LP track listing:

1). Guile As A Vice

2). Succumbing

The Review:

Up for review here is “Beneath,” the new 2017 album by Melbourne, Australia’s Merchant, which is brought to us by in part (digitally) by the mighty Black Bow Records. The album consists of only two tracks, but each one is almost fifteen minutes in length so rest assured that there is no skimping on the sludge soaked riffage that lies within the recording.

The album opens with the appropriately titled “Guile As A Vice,” which begins with some chattering feedback and then quickly gives way to a solitary guitar strumming some somber yet powerful chords. Before long, the drums and bass kick in and all is well with the world as the syrupy groove grabs a hold of your soul and moves your bones in agreeable unison to the soothing sounds….

But then suddenly, after we’ve grooved out for about 5 minutes, the mood changes, the vocals chime in, and just like that, things aren’t so smooth and syrupy any longer. Now is the time when the vicious vocals spew forth their venom all over our speakers like a sludge bomb going off in our faces and coating our remains in a cryptic slurry. The track surges and then slows until we are taken by force into a lumbering, crawling  pace. Drums pound and vocals wail away as duress and despair are the feelings evoked from here on out by the rhythmic repetition and droning guitars which set the tone for this ungodly apocalypse. As the song comes to an abrupt end, we are left feeling as if a great burden has been lifted from our chests.

Enter track two; “Succumbing,” which indeed, I feel as if we already have. Havoc, hatred, and hopelessness pound us into the ground from the opening blast. This song does not care to spend any time easing us into the assault as was the modus operandi of the first one. Again, tempos ebb and flow while never losing sight of their groove; an admirable feat of musical dynamics. Billowing clouds of guitars waft over us like we’re drowning in a sea of sanguine serenity. We have no choice but the let the waves wash over us and pull us under the swirling tide. After almost ten minutes, the barrage gradually slows to the bitter end as amplifier hum and whirling feedback drift us out into the eerie unknown.

If you’re a fan of heavy sludge, doom, and death/doom, I don’t see how you could possibly not dig this album. The production is amazing and the tone is ultra-heavy. The drums pound mercilessly, the bass hits like a 50 pound maul, and the vocals pull it all together perfectly. Give this a listen now.

“Beneath”is available on CD/LP hereand digitally here

Band info: bandcamp|| facebook  

ALBUM REVIEW & TRACK PREMIERE: Stonebirds - "Time"

By: Ernesto Aguilar

Album Type: Full Length

Date Released: 20/10/2017

Label: Independent

The group merges many influences into a package that still sounds true to the subgenre. Stonebirds is adept at exploring concepts in their music that make it even more intriguing. To put it simply, the trio is one of the Europe's more intriguing stoner/doom performers today. "Time," far exceeds expectations and situates Stonebirds as a band to keep an eye on.

“Time” CD//DD track listing

1. I

2. Sacrifice

3. Blackened Sky

4. Only time

5. Shutter part I

6. Shutter part II

7. Animals

8. II

The Review:

Rostrenen, France's Stonebirds received much acclaim for its 2015 release "Into the Fog… And the Flithy Air." The stoner/doom crew was noted in particular for its originality. If you scan that record again, you will hear why it was so appreciated. The group merges many influences into a package that still sounds true to the subgenre. Stonebirds is adept at exploring concepts in their music that make it even more intriguing. To put it simply, the trio is one of the Europe's more intriguing stoner/doom performers today.

It was easy then to catch elements of inspirations like the Melvinsor a style like Cult of Luna before. Its previous works seemed more sprawling, in part due to a five-piece lineup. The group returns smaller and with an edgier vibe. On the band's 2017 return, "Time," Stonebirdsfeels intent on forging its own road, to some of its best results yet.

"Time"opens with "I" – and yes, it is bookended with closer "II"– which harkens to the impeccably ethereal rhythm you know of Stonebirds. When it rolls into "Sacrifice," however, the comparisons halt. The ten-minute track is still atmospheric and multi-layered, but in the end the overtures are devastating. Rough guitars, rattling bass and jarring vocals make this a nice profile of a band that has renewed focus. Later, the cut, "Animals," offers a similar kind of heft. The rumbling end of "Sacrifice"segues well into "Blackened Sky," which takes its fallow beginnings into sinister territory as the music arcs, then shambles into the darkness.

Contemporary social commentary is a perennial part of extreme music, and "Time" does not disappoint. The centerpiece of "Time"is undoubtedly "Shutter Part I & II," a narrative on climate change. Given the catastrophism that accompanies what was formerly called global warming – skyrocketing hunger, mass extinction and an upsurge in natural disasters are among the issues scientists cite the world will see more of – it remains a marvel as to why more acts have not examined climate issues further. In this instance, Stonebirdsdoes it in a non-preachy, understated way. What is ostensibly “…Part I” mostly set the mood. It is “…Part II” with the lyrical attack. Again, it is no 350.org manifesto. Rather, the sound comes across as the crest of a storm, with lyrics that inject fear ("time has come/for you to die" comes at you again and again) into this story. By song's crashing end, you are struck by how good it is, maybe the best track of "Time."

If there are any quibbles with the latest Stonebirds release, it may be that the mood changes can be a little abrupt. Songs bounce from sludge to much heavier and perhaps the composition could be a little different. However, overall, "Time,"with a smaller group and focused sound, far exceeds expectations and situates Stonebirds as a band to keep an eye on.

"Time" is available to preorder/buy here and you can check out an exclusive stream of the track “Shutter Part II” below

Band info: bandcamp || Facebook

TRACK PREMIERE: Hundred Year Old Man release crushingly dense debut single "Black Fire"

Hundred Year Old Man a six-piece collective based in Leeds, UK are set to release their debut single “Black Fire” via Gizeh Records this forthcoming Friday August 25^th2017.

Hundred Year Old Man's sound can be distinguished within the parameters of post-metal, doom and crushingly dense heavy music. Formed in 2015, the band have spent the last 12 months touring and playing shows with the likes of Deafheaven, Ohhms, Moloken, Employed To Serve, Conjurer, Fen, Opium Lord, Canvas and Wren as well as a recent performance at the UK’s premiere underground metal festival Bloodstock

“Black Fire” is the perfect introduction to Hundred Year Old Man, indeed this track encompasses everything this crushing conglomerate  is about, 10 minutes of heavy, atmospheric riffs build and descend through the sonic ether and  the listener is ultimately  rewarded in spades. We’ve heard it all before, but this band seems intent on doing things differently.  The abrasive and the aggressive offset by  a kaleidoscope of divine light.  Today “Black Fire “can be stream in its entirety below (order here) and precedes a 12” EP due in January with their debut album to follow later in 2018.

Band info: facebook || bandcamp

ALBUM REVIEW: Low Flying Hawks - "Genkaku"

By: Ernesto Aguilar

Album Type: Full Length

Date Released: 25/08/2017

Label: Magnetic Eye Records

Low Flying Hawks come at you with a chugging, thick mélange of sound you will not soon forget, there's an aesthetic through this release that makes their  second foray sound quite breathtaking.

"Genkaku" CD//DD//LP track listing:

1.) Smile

2.) Uncool

3.) Virgin Witch

4.) Space Wizard

5.) Hallucination

6.) Twilight

7.) Sinister Waves

The Review:

Sporting a bond to sludge metal icons the Melvins is never a bad thing. And such a relationship is all the more noteworthy when your bag is self described as ambient metal, known otherwise depending on who you ask as drone metal. In the case of Low Flying Hawks, they're even closer to the Washington Statelegends than throwaway words in a press kit. As Low Flying Hawks features Crover's peerless stylings as well as Melvins'producer Toshi Kasai and guest vocals from King Buzzo himself.

Do not come to the recording expecting the Melvins' crunch, though. On its successor to the 2016 debut “Kōfuku”, Low Flying Hawks instead come at you with a chugging, thick mélange of sound you will not soon forget.

"Genkaku" (Japanese for “hallucination” or illusion”) is a mind-bending journey. The swirling guitars and indecipherable words in "Uncool"are indicative of that trip – dreamlike, or nightmarish, paths lain bare with Crover's pensive drum duties. A song such as "Hallucination"has almost a shoegaze feel to it, even though it is most decidedly doom in nature. The discerning listener will find a bit of a psychedelic rock influence in several tracks. Although you may hear such especially in our sludge metal friends, prototypical notions of 'Melvins side project' this is not. Rather, there's an aesthetic through this release that makes Low Flying Hawks' second foray sound quite breathtaking.

At the same time, the release is punishing when it needs to be. As in “Kōfuku”, the sophomore recording takes plenty of toilsome turns. The big sound is present and accounted for, complete with multilayered instrumentation and riffs that build to impressive arcs throughout. You have to appreciate the King Buzzo-fronted track "Space Wizard" for its pacing in this regard, as well as that of "Virgin Witch," which is one of the most Melvinssounding songs, in all of the best ways, on this recording. All in all, Low Flying Hawks exceeds the anticipation one might have about its members' histories. The band also gets you thinking about how they can expand past that.

"Genkaku"is available to preorder/buy here

Band info: bandcamp|| facebook