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: Sumac. "Love In Shadow"

By: Charlie Butler

Album Type: Full Length

Date Released: 21/09/2018

Label: Thrill Jockey Records

With “Love In Shadow” Sumac take further giant steps into the heavy unknown with glorious results. No-one else comes close to achieving the balance of razor-sharp precision and intoxicating chaos on display here which edges the band closer to being the finest project in these incredible musicians’ illustrious careers.

“Love In Shadow” CD//DD//2LP track listing:

1). The Task

2). Attis’ Blade

3). Arcing Silver

4). Ecstasy of Unbecoming

The Review:   

The dust has barely settled from the sensory overload of Sumac’s intense improv blow-out with Keiji Haino earlier in 2018. Now the fearsome trio are back with their third proper full-length “Love In Shadow”. 

This is a dense and initially daunting record. Comprised of four mind-boggling complex tracks, ranging from the relatively brisk twelve minutes of “Arcing Silver” to the massive opening statement of “The Task” which slowly unfurls over twenty-two hypnotic minutes, “Love In Shadow” is not an easy ride but hugely rewarding. Every listen reveals new details of these mammoth compositions and it is easy to imagine more coming to light countless spins down the line.

“The Task” immediately finds Sumacin full flow, negotiating a tumbling noise rock landscape, crushingly heavy with a coarse serrated edge. The track evolves reverse to expectations, beginning with a clanging cacophony then slowly getting quieter and quieter until it reaches its conclusion. This makes for an intriguing journey and finds the band breaking exciting new sonic ground. As the volume and complexity dwindles, the music becomes more captivating as it moves into a sparse one note dirge, led first by Aaron Turner’s crackling guitar then by Brian Cook’s seismic bass. This acts as a backdrop for Turner to take an extended, improvised clean solo that has a disorientating jazz feel reminiscent of the weirder moments of their collaboration with Haino. This is the first instance of Sumacallowing their growing power as an improvisational force come to the fore on “Love In Shadow” to great effect. Just when you think “The Task” has nothing left to give, it moves into a haunting end section comprised of just keyboards and Turner’s lone wounded bark. It is the most affecting moment on the record and brings to mind Harvey Milk at their bleakest.

“Attis’ Blade” kicks off in classic Sumacfashion with Turner clanging out a driving one chord attack that sets the tone for a pummelling rhythm section accompaniment. The band’s focused onslaught is interrupted by a shift into a passage of electrifying free-form molten improvisation. Throughout all of their albums to date, the superhumanly tight musicianship of Sumacas they navigate labyrinthine riff constructions has been almost terrifying to behold. This is still evident throughout “Love In Shadow” but it is the uncanny almost telepathic connection between these three players as they destroy conventional forms that yields the records highlights. Nick Yacyshyn somehow manages to lay down rhythms that work as a solid foundation for Aaron Turner’s wild unhinged guitar outbursts while simultaneously shifting and lurching to their own unpredictable tempo. Brian Cook operates in the middle ground between these two mighty forces, relishing the freedom to lay down a thick layer of restless low-end carnage. The track shifts back into a menacing noise rock grind as it winds its way to its conclusion, all the more effective in contrast to the roiling din from which it was born.

Cook’s relentless one note riff jerks “Arcing Silver” into life, an uneasy, menacing groove that somehow manages to keep building up tension throughout the majority of its duration. When it finally breaks into furious blastbeats and feral roars at its climax, the effect is exhilarating. This demonstrates Sumac’s ability to judge when it is best to take a direct, bludgeoning path rather than opt for the more torturous route. Another example of this is in “Ecstasy of Unbecoming” when Turner’s searing solo fretboard meltdown is mowed down by the band ripping into their approximation of driving dumb punk rock. 

With “Love In Shadow” Sumactake further giant steps into the heavy unknown with glorious results. No-one else comes close to achieving the balance of razor-sharp precision and intoxicating chaos on display here which edges the band closer to being the finest project in these incredible musicians’ illustrious careers. 

“Love In Shadow” is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Keiji Haino & Sumac, “American Dollar Bill - Keep Facing Sideways, You're Too Hideous To Look At Face On”

By: Charlie Butler

Album Type: Full Length

Date Released: 23/02/2018

Label: Thrill Jockey

“American Dollar Bill - Keep Facing Sideways, You're Too Hideous To Look At Face On” demonstrates there is chemistry between Keiji Haino and Sumac that results in dark magic and although the lack of structure and orchestrated riffage is initially disorientating, once immersed in the intense atmosphere of this unpredictable ride there is no turning back. 

“American Dollar Bill...” CD//DD//LP track listing:

1). American Dollar Bill - Keep Facing Sideways, You're Too Hideous To Look At Face On

2). What have I Done? (I Was Reeling In Something White and I Became Able to do Anything I Made a Hole Imprisoned Time Within it Created Friction Stopped Listening to Warnings Ceased Fixing my Errors Made the Impossible Possible? Turned Sadness Into Joy) Pt. 1

3). I'm Over 137% A Love Junkie And Still It's Not Enough Pt. 1

4). I'm Over 137% A Love Junkie And Still It's Not Enough Pt. 2

5). What have I Done? (I Was Reeling In Something White and I Became Able to do Anything I Made a Hole Imprisoned Time Within it Created Friction Stopped Listening to Warnings Ceased Fixing my Errors Made the Impossible Possible? Turned Sadness Into Joy) Pt. 

The Review:

The jagged opening of “Image Of Control”from Sumac’s incredible “What One Becomes” LP hinted at an interest in more chaotic realms of musical expression. It’s no surprise to see they have found a kindred spirit in Keiji Haino, a veteran of free improvisation and explorer of the outer limits of noise. “American Dollar Bill - Keep Facing Sideways, You're Too Hideous To Look At Face On” documents the results of the meeting of these two sonic heavyweights for a session of unrehearsed, improvised mayhem in Tokyo.

While undoubtedly heavy, the five tracks that make up this LP sit more in Haino’s usual domain rather than Sumac’s. Coming at it as a fan of the latter, the lack of structure and orchestrated riffage is initially disorientating but once immersed in the intense atmosphere of this unpredictable ride there is no turning back.

The title track is a 20 minute rollercoaster of shifting moods where both parties bring their own distinct essence to the table. Aaron Turner provides guitar that builds from disembodied ominous chords to pillars of furious noise and back again while Brian Cook rides the shifting waves with rumbling bass. Nick Yacyshyn demonstrates his mastery of the kit continues outside of his usual style, relishing the opportunity to freak out with bursts of octopus-limbed rolls and providing more subtle accompaniment during ambient passages. The most striking element in all of this is Haino’svocal performance. From intense muttering to impassioned barking, Haino covers a startling range of sound that encompasses inhuman squeals and howls that are particularly unsettling against the unexpected calm at the centre of the track.

Parts 1 and 2 of “What have I Done? (I Was Reeling In Something White and I Became Able to do Anything I Made a Hole Imprisoned Time Within it Created Friction Stopped Listening to Warnings Ceased Fixing my Errors Made the Impossible Possible? Turned Sadness Into Joy)” are slabs of full tilt insanity with each player thrashing their instrument to within an inch of its life. Each one breaks down into a stuttering groove that threatens to coerce into a riff but collapses back into noise-ridden uncertainty once more.

Part 1 of “I'm Over 137% A Love Junkie and Still It's Not Enough Pt. I” is the closest this record comes to a standard track. Haino and Sumaccreate a warped lullaby that sits somewhere between a jazzy shuffle and a slowcore lament. The bizarre vocals complete the otherworldly feel, as if the players were providing the music behind the red curtains in the Black Lodge. Part 2 erupts into a pummelling racket that comes across like broken grindcore before falling back into the weird ambience of Part 1.

“American Dollar Bill - Keep Facing Sideways, You're Too Hideous To Look At Face On”demonstrates there is a strange chemistry between Keiji Hainoand Sumac that results in dark magic. Hopefully another meeting is on the cards soon to see how far they can push into the beyond.

“American Dollar Bill - Keep Facing Sideways, You're Too Hideous To Look At Face On”

is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Chelsea Wolfe - "Hiss Spun"

By: Joosep Nilk

Album Type: Full Length

Date Released: 22/09/2017

Label: Sargent House

Whereas “Abyss” and its predecessor were largely paving way for new sounds, the cohesiveness of her latest album is a sure attribute of Wolfe´s singular vision finally realized. More self-aware and self-assured in her vulnerability than ever, with the band in intimate tow, “Hiss Spun” indeed feels much like a logical continuation.

“Hiss Spun“CD/DD/LP Track Listing

1. Spun

2. 16 Psyche

3. Vex

4. Strain

5. The Culling

6. Particle Flux

7. Twin Fawn

8. Offering

9. Static Hum

10. Welt

11. Two Spirit

12. Scrape

The Review:

As if with spill-overs from the amp-heavy “Abyss”, Chelsea Wolfe's latest album makes first bet on immediacy. Having shed light on some of her influences in interviews, the Earth-inspired riffs open up bold and distorted, with brazen guitar strangulations following foot, that come off as an immediately familiar theme from previous works.

Similarly, on the lamenting ’Two Spirit’ she sounds a lot like herself on a developed version of ’Reins’ off “Pain Is Beauty”, losing herself in a ghastly yet enchanting drift of a lull. Elsewhere she reprises herself on a piano-driven -interlude, which along the pensive unravelling of other delicate tracks do well to form together one somber storyline. Even the build on 'Static Hum' that comes off initially radiant soon turns into a reiteration of the song title, like an analogy to repeating the same mistakes, until it all swells and fades into but a faint whisper.

It’s not all dire hopelessness though. A few interludes soften the blows, with the odd electronic track 'The Offering' dribbled in there, rightly deserving of the title given. Even though she doesn’t forego her pop sensiblites entirely, ’Static Hum’ and first single ’16 Psyche’ being the obvious examples, it makes the anguish only slightly easier to digest.  The use of repetition on the prior feels like it might perhaps wear out after a few dozen listens, whereas the latter’s on the contrary returns each time for more addictive effect, highly fitting after all, as the lyrics are spent dissecting promiscuity and codependence. On this track and the following 'Vex' Chelsea Wolfe blends into the reverb-soaked background, as if taking a step back to detach from the situation. Alongside her as if with sword and shield, Troy Van Leeuwen and Aaron Turner (Isis, Sumac) take center stage, (with guitar and voice, respectively) and the harshest blows are struck.

Separated only by the dramatic 'Particle Flux' the definite highlights are the pairing tracks of ’Twin Fawn’ and ’The Culling’. The prior’s blissful melodies just staying long enough to elicit a false sense of security, then take a turn for the nightmarish as Wolfe’svoice looms increasingly ominous, with the reprehension of the latter growing to be near unfathomable. This same approach is used to even greater effect to the sweetness of ’Two Spirit’, which is offset by the screechingly beautiful atmosphere setting in almost immediately after. All of it cements the notion that exposing oneself in such vulnerable manner doesn't happen without bearing teeth in the process. This sentiment is driven home by the severe closer where she finally delivers the callous truth of the matter.

It’s here by the end of the album that one truly acquires another appreciation for Wolfe's whole array of vocal abilities. Still caught in some of the circumstance, she comes across more embracing of the direness. At once bewitching and punishing then straight into wallowing in hallowed misery. Having culminated in a cacophony sounding like the upheaval of quite a few stubborn and crooked roots, she spins the album title around a myriad of near-senseless words at the close of 'The Culling', as if barely scraping herself together to make sense of it all.

Whereas “Abyss”and its predecessor were largely paving way for new sounds, the cohesiveness of her latest album is a sure attribute of Wolfe´s singular vision finally realized. More self-aware and self-assured in her vulnerability than ever, with the band in intimate tow, “Hiss Spun” indeed feels much like a logical continuation. Beginning with “Pains Is Beauty” it could very well be seen as the end of a cycle of albums, with both her power-electronic and riff-minded sides more developed. It comes together as one heart-wrenching journey into the heart of self-acceptance, all the harsh discoveries it entails. As she reminds herself (and the listener) in barely distinguishable whispers on the second track, the way out is through.

“Hiss Spun” is available here

Band info: bandcamp|| facebook

ALBUM REVIEW: Mursa - "Ectopic"

By: Charlie Butler

Album Type: Full Length

Date Released: 17/03/2017

Label: Independent

Imagine a combination of Yob’s epic psychedelic doom and Sumac’s post-metal infused noise rock and you get an idea of the crushing cacophony the band conjure up here.   “Ectopic” is a huge final statement from Mursa that demonstrates they had the power to go toe-to-toe with the worlds doom elite.

“Ectopic” DD track listing:

1). Ectopic

2). Crass Life

3). The Worming, Pt. II

The Review:

Portland heavyweights Mursa have already passed on to riff Valhalla ahead of the release of their new album “Ectopic”. It is fortunate they managed to commit these final tracks to tape before their demise but it is a tragedy they will not be able to capitalise on their impact on the heavy underground.

The bulk of “Ectopic” is taken up by the monstrous twenty minute title track. In between the sweetly ominous opening chords and the squall of white noise that brings proceedings to a close, Mursa embark on a compelling journey through a warped riffscape. Imagine a combination of Yob’s epic psychedelic doom and Sumac’s post-metal infused noise rock and you get an idea of the crushing cacophony the band conjure up here. Vocals are deployed sparingly to great effect but for the most part Mursa let the riffs do the talking, either in the form of sweeping slow-motion doom or relentless, razor-edged locked grooves. As the track reaches its climax, the band hone in on one particularly punishing riff and ride it for all it’s worth, grinding the tempo slower and slower as waves of harsh static engulf everything in their wake.

“Crass Life” is a brief acoustic interlude that allows the dust to settle before Mursa launch into the “The Worming, Pt. II”. The majority of the track finds the band focused on the doomier end of the spectrum to create an atmospheric world of lumbering riffs and dark melody. Events take a left turn when an icy blast of feral black metal shatters the mood and leads into an intense pummelling finale.

“Ectopic” is a huge final statement from Mursa that demonstrates they had the power to go toe-to-toe with the worlds doom elite. This release is currently available as a name your price download on bandcamp so let this slab of otherworldly heaviness into your world right now.

“Ectopic” is available here

Band info: bandcamp || facebook

REVIEW & VIDEO PREMIERE: Close The Hatch - "VI" (EP)

By: Charlie Butler

Album Type: EP

Date Released: 29/09/2017

Label: Red Moth LLC

“VI” is another impressive release from Close The Hatch that explores the boundaries between post rock, noise rock and sludge in distinct and captivating fashion. Hopefully it will gain the band the wider acclaim they truly deserve.

“VI” CD//DD track listing:

1). Purgatory

2). II

3). III

4). The Art of Knowing

5). Little Did He Know

6). VI

The Review:

Close The Hatch continue to develop their intriguing brand of muscular post metal on new EP “VI”. The Ohio quartet’s 2016 EP “Death And Resistance” was a tantalising fusion of post rock atmosphere and super-dense sludge condensed into focused mini epics. Over the course of “VI”, the band refines this sound to perfection and reach new heights of spaced-out heaviness.

“Purgatory” begins with chiming guitars that craft an ambience reminiscent of Russian Circles in their quieter moments. The mood is soon shattered by an avalanche of filthy distortion and a full-throated guttural roar. As the track progresses it shifts between massive angular riffs and swathes of dirty fuzzed-out melody that bring to mind an unbeatable alliance between Sumac and Deftones.

Throughout “VI” Close The Hatchutilise this quiet/loud dynamic to devastating effect. The band manages to negotiate these sonic manoeuvres in an interesting way and avoid obvious slow-building crescendos but still make sure every riff hit home hard. The pummelling noise-rock rumble that erupts from the ominous calm of the central section of “The Black Art Of Knowing” is a particularly fine example of this. Even when the band head into more obvious epic territory on the seven minute title track they maintain their identity helped by the addition of some guest vocals.

“VI” is another impressive release from Close The Hatch that explores the boundaries between post rock, noise rock and sludge in distinct and captivating fashion. Hopefully it will gain the band the wider acclaim they truly deserve.  Check out the brand new and exclusive for their devastating hymn "Purgatory" below

Band info: bandcamp || facebook

Live Review: Oxbow, SUMAC @ Brudenell Social Club. 26/04/2017 Leeds, UK

By: Aaron Pickford & Charlie Butler

Few could argue that Aaron Turner has been one of the strongest advocates for the promotion and composition of heavy music over the last 20 years. Musician, artist and founder of the highly regarded Hydra Head Records, Turner has played a pivotal role in the release of countless classic albums, but it seemed that with the demise of the revered band ISIS (band),perhaps Turner’s appetite for producing suffocating heaviness would end too.

Whilst Tuner was far from inactive in music since ISIS (band), Turner would re-emerge on his own terms alongside drummer Nick Yacyshyn with a new project and they set about creating some of the heaviest music they had ever written, indeed over the course of two albums, their debut “The Deal”and 2016’s “What One Becomes” SUMAC'smusic seamlessly weaves between periods of crushing heaviness, fragile calm, hypnotic repetition and mind-bending mathematical chaos, taking all of their previous achievements as a foundation and building something even bigger in its own right.

SUMAC have indeed found their voice and with their following growing exponentially, they returned to our shores for the second time in 12 months and on April 26^th in Leeds, my appetite to see them was impossible to quantify. 

Now with a career spanning nearly 30 years, it was a view in some quarters that it was somewhat of an injustice that San Francisco exepermentials Oxbowwould act as second fiddle to tonight’s headliner, however the band were consummate pros tonight and their talent was clear to see, showcasing their truly unique sound.  Trying to categorise their music, is the equivalent of putting a square peg through a round hole, it’s like musical algebra, but impossible to quantify by way of rationale mind.  For me the commonalities of their music is indicative of Nick Cave esque post punk circa The Birthday Party, songs laden with staccato guitar and flagrant discordant keys, giving the listener a sense of nausea, whilst front man Eugene Robinson in a typically rambunctious manner spits out his laments, stalking the stage like a prowling cat.  Given that Oxbow was entirely new to me, to my ears their music evokes the quirkiness of The Butthole Surfers, whilst not entirely draped in acid, the songs are of kilter , unconventional and the antithesis of anti pop.  This is a band who don’t play by the rulebook indeed their din of exultant noise leaves you queasy green like a 5 years first boat journey.  With a promise to return next time in under ten years, the final track opens with layers of feedback like the swell of an ocean enveloping your senses, guitars , bass, drums coming at you even more cacophonous than what has come before it and their set is over and my anticipation for SUMAC has literally reached fever pitch. 

It is hard to frame concerts without resorting to the clichéd response of “man it was awesome”, in fact the use of a simple adjectives to describe an experience cannot truly encapsulate that experience and yet here I am attempting to do just that, however truth be told, words fail me for what I witnessed with SUMAC.  Given the dense nature of their recorded material, SUMACbrilliantly translated their music from record to the live arena, shimmering between pummeling heaviness, and more free spirited jam movements.  “Blackout”, “Rigid Man”, “Thorn in Lion’s Paw”, “Image of Control” all were aired tonight, at times the music is as subtle as a brick to the face, with the bass at times overriding the guitar, but SUMAC are more than just a vessel of heaviness, live there is a genuine symbiosis between Turner and Yacyshyn, so much so in fact that if you didn’t know the songs, you could be forgiven for thinking they were improvised jams, Turner flipping between dense riffs to master noise manipulator, allowing the feedback to ring out then we’re awash with psychedelic passages, Turner producing a drumstick to tap the strings, Yacyshyn pulling off impossible drum beats and at times giving the impression this is a man built at a cost of six million dollars, given his apparent bionic abilities.  This was not perhaps a gig that everyone would enjoy, yes at times you're banging your head , but live these compositions are more about feel, dynamic shifts, the manipulation of sound and for me it was an absolute pleasure to witness.  It was a lesson in absolute power.  

Band info: Facebook 

ALBUM REVIEW: Aseethe - "Hopes of Failure"

By: Charlie Butler

Album Type: Full Length

Date Released: 24/02/2017

Label: Thrill Jockey Records

“Hopes of Failure” is sparse and minimal yet packed with detail and intricacies, like Yob and Unearthly Trance stripped of their psychedelic tendencies to let the raw oppressive riffs do the talking.  Aseethe have crafted a slow-burning masterpiece that reveals more with each listen. Every spin increases the pull of its hypnotic spell and leaves you with no option but to submit to its crushing power.

“Hopes of Failure” CD//DD//LP track listing:

1). Sever The Head

2). Towers of Dust

3). Barren Soil

4). Into The Sun

The Review:

Thrill Jockey Records continue to bolster the impressive heavy end of their roster in 2017 with the latest LP from Iowa trio Aseethe. “Hopes of Failure” sounds destined to follow in the footsteps of label mates Sumacand The Bodyand bother many an end of year list in eleven months’ time.

Over the course of four lengthy tracks the band entrances the listener with their distinct brand of bleak doom. It is sparse and minimal yet packed with detail and intricacies, like Yob and Unearthly Trance stripped of their psychedelic tendencies to let the raw oppressive riffs do the talking. Vocals are kept to a minimum, carefully deployed when necessary for maximum impact such as the pained howls that accompany the snail-paced downward spiral into misery at the climax of “Barren Soil”. Aseethe eschew vocals entirely on “Towers Of Dust”. Instead they focus on aggressive riffage that slowly degenerates into a jerky discordant locked groove reminiscent of Harvey Milkat their most awkward.

The band offer some glimmers of light in amongst the gloom. The middle of “Sever The Head” breaks down to clean picked guitar that brings a hint of Slint-style dark post-hardcore to proceedings. This leads to a passage of restrained heaviness that packs as much of a punch as the punishing riffs that bring the track to a head.

On “Hopes Of Failure”, Aseethe have crafted a slow-burning masterpiece that reveals more with each listen. Every spin increases the pull of its hypnotic spell and leaves you with no option but to submit to its crushing power. 

“Hopes of Failure” is available to buy/preorder here

Band info: bandcamp || facebook