Friday, 15 December 2017

SATAN'S DOZEN: The Best Unearthly Hymns Unearthed 2017

Compiled by: Andrei Moose
Artwork by: Josh Mashesh



When we started the SATAN’S DOZEN back in July of this year, for those folks new to the blog or this feature, the idea was to present the very best music the underground scene has to offer to you the reader/listener.  Whilst we make every effort to review every album we can, we also receive band submissions, not to mention the countless recommendations you send our way, so in practical terms it is just not possible to review everything.  

Therefore because we don’t want killer music to pass you by, each and every month Andrei Moose  painstakingly sifts through the music labelled “all killer  riffs” and chooses 13 of the best new albums released via bandcamp and bundles them together into the mightiest riff sandwich.

Whilst all the albums we included are top tier stuff, we have compiled the albums into a chart on a sliding scale of 13 - 1. So with the year coming to end, we thought it was appropriate to choose  our favourites of the year, in what we like to call THE BEST OF SATAN’S DOZEN 2017,  so we hope you dig our selections and enjoy The Best Unearthly Hymns Unearthed 2017.  

These bands need more exposure, so go “like” “share” and “follow” their pages, but most of all enjoy some of the best music the underground has to offer.  THE SLUDGELORD most sincerely approves.   Now, go heavy or go home.

13) Idlegod – “Idlegod” (Tuscany, Italy)

Stoner / doom / Sludge



12) Lord Crow – “Gods Among Man” EP (Philadelphia, Pennsylvania)

Sludge / Stoner



11) Shadowmaster – “Shadowmaster” (Sundsvall, Sweden)

Stoner / doom / Sludge



10) AIAUASCA – “Rise of the Molecule” (Montreal, Qu├ębec)

Stoner / doom / Sludge



9) Have Blue – “Melted Mind” (Berlin, Germany)

Garage / psychedelic / blues / rock 



8) Presumption – “Presumption” (Le Mans, France)

Stoner / Doom / Metal



7) Masterhand“Mind Drifter” (Oklahoma)

Garage / psychedelic / stoner / rock



6) Void Commander – “Shrooming Widow” (Karlskrona, Sweden)

Stoner-rock / hard-rock / doom



5) Coughdust - “Worldwrench” (Finland)

Stoner-doom / Sludge / death doom


4) DROID – “Province” (Melbourne, Australia)

Sludge / Stoner / Doom / Metal



3) Blame God – “Strategically Confined” (Oneonta, New York)

Noise / Grindcore / Powerviolence



2) Bone Church – “Bone Church” (Connecticut)

Psychedelic / stoner / doom / metal



1) Monte Luna – “Monte Luna”

Stoner / Doom / Sludge



Thursday, 14 December 2017

INTERVIEW: Dead Quiet frontman Kevin Keegan discusses "Grand Rites"

By: Mark Ambrose


Dead Quiet, a Vancouver quartet featuring members of 3 Inches of Blood, Barn Burner, and Anciients, has been steadily amassing a solid collection of doomy stoner rock bangers since 2014.  However, this year’s sophomore effort, “Grand Rites”, is nearly a debut of its own, as it’s the first to feature all members of the live lineup – and the cohesion shows.  As THE SLUDGELORD’S own Mark Tremblay said in his album review, “Grand Rites” is “one of the best Canadian Metal Records of the year”.  Guitarist, vocalist and founding member Kevin Keegan took a few moments to answer some questions via e-mail, sharing some insights about the road to “Grand Rites”, the hopes for performing in the future, and some of his personal favorite records this year.




In his review for our site, Mark Tremblay said the band sounds more “fully formed” than on the self-titled debut.  Can you talk about how you guys have developed since 2015’s “Dead Quiet”, and what steps you took to prepare to record “Grand Rites”?

Kevin: The main factor was having the right members. We had a little bit of trial and error with the line up when we first formed; the debut record only features Dana and myself, the band that we have now came after the recording. With “Grand Rites” we had the line up we had always dreamed of. When Brock came aboard we knew we had something special and then it got even better with Mike and Justin. As far as preparing to record it was just a lot of rehearsing. We spent a lot of time ironing out the arrangements and then having some fun with additional instrumentation when we got to the studio.

The artwork on your records has a particularly striking, throwback appeal.  Can you tell us a little about the artist/concept/design process was like for this record?

Kevin: Cody Fennell, the artist who did both our records, has always been a close friend and my go to guy when it comes to band artwork. We worked together on all the Barn Burner records as well as countless t-shirt designs. The way we work has always been I’ll have a direction or a full concept and he will put pen to paper and make it happen. I trust in him completely so what he churns out never disappoints. Conceptually, I wanted to stick with this theme of fantastical shapes amidst a landscape of ruin. The notion of this beacon of something mysterious yet hopeful surrounded by bleak deprivation was always in mind with both records. Thematically, this theme runs through the music as well.

There are elements of prog, stoner metal, classic soul-infused rock, and even some thrash running through the album.  What are some of the influences you distinctly drew from when writing the album?


Kevin: It’s hard to pinpoint exact influences. I’ve kind of been listening to the same stuff for a long time. I’d say it’s definitely a lot of classic rock and proto metal as well as some newer doom and hardcore. Some of the other guys listen to a ton of old pop music and funk too so that creeps its way in.



Canada seems to have a more eclectic or maybe more visible heavy music output in recent years.  How has Vancouver or B.C. shaped your development?  What is the scene there?  How does it differ from, say, Toronto or Montreal?

Kevin: To me Canada has always had a prolific heavy music scene. Vancouver itself introduced me to live bands that I still draw influence from to this day. Growing up watching Vancouver and Seattle bands was how I gauged how I was going to perform and write songs. The scene here now is an overwhelming abundance of great bands. The individuals making music here are very talented and for a fellow Vancouver musicians it keeps me on my toes. Montreal has a great music scene as well but for whatever reason it’s never had the sheer volume of bands and players that Vancouver does. As for Toronto, I’m not sure what’s going on there, doesn’t seem like they’ve had a very cohesive scene in a long time. Don’t get me wrong though, there are some killer bands from Toronto that I absolutely love.

What are the current plans for touring in support of the record?  Any particular bands you’re looking forward to playing with?

Kevin: We can’t wait to hit the road with this new record, no tour plans as of yet though, still waiting on the opportunities to present themselves. As for bands, I think most of the bands we’d love to play with are slightly out of our league but hey, a guy can dream!

What are some dream locations or festivals you’d like to play in the coming year?

Kevin: We really want to get to Europe, that’s our priority right now. Playing Roadburn or Hellfest would be absolutely amazing but really what we want is just get on the road and play in general.

Finally, in Mark Tremblay’s review he singled Grand Rites out as one of the best Canadian metal releases of the year.  With that in mind, and the year drawing to a close, what have been some of your personal favorites for 2017?

Kevin: I’d say Mutoid Man’s latest record, “War Moans” is up there as #1. Other than that it’s the latest Converge, Power Trip, and the yet to be released debut record from Montreal’s The Sick Things.

The End

Band info: bandcamp || facebook

TRACK PREMIERE: Emerging doom masters Djinn And Miskatonic produce gold with "I, Zombie"


Formed in 2011, the journey to release their sophomore album hasn’t been without tribulation for Bengaluru, based doom metal quarter Djinn And Miskatonic.  Overcoming a break up following the release of their debut album “Forever in the Realm” in 2013 on then unknown label Transcending Obscurity Records , Djinn And Miskatonic would reform in 2014, emerging as part of the explosion of Indian metal bands.

Upon hearing the first meditative and shamanic like tones of new album "Even Gods Must Die' it is clear their sound was forged from the same riff foundry as Sabbath, Electric Wizard and Reverend Bizarre, indeed with nods to that trio in particularly, it should come as no surprise that Djinn And Miskatonic cultivate the same godly tones of their forbearers and deliver an album of down-tuned and molten smothering doom.

With a release date for "Even Gods Must Die' set for 10 January 2018 via Transcending Obscurity Records, today it give us great pleasure to be able to debut the dirge like and colossal track “I, Zombie” which with a mammoth run time of 15:36, has everything you could possibly need, if you like your doom, brooding, atmospheric and packed with variety.  Check it out below and the link you need to pre order/buy the album is  here


Band info: bandcamp || facebook

Tuesday, 12 December 2017

ALBUM REVIEW: Drunk In Hell - "Drunk In Hell"

By: Charlie Butler

Album Type: Full Length
Date Released: 12/10/2017
Label: Burning World Records


Drunk In Hell have delivered what is easily the most horrible release of 2017. Seven years of accrued filth and sludge has never sounded so good.


“Drunk In Hell” DD//LP track listing:

1). I’m An Arsehole
2). Sick Sick Sex
3). Bitch Boy
4). I’m Not Laughing
5). Born Sick
6). Chick Flick
7). Gag
8). Walking Abortion

The Review:

It seemed that Drunk In Hell’s debut album was destined to exist only in the realm of myth. Somehow after a gruelling seven year gestation period, the notorious Middlesbrough hellraisers have finally managed to drag this dirty beast into reality.

“I’m An Arsehole” sets out the blueprint for forty minutes of soul-crushing, feedback-soaked monotony. Each track is based around one (occasionally two if you’re really lucky) minimal, knuckle-dragging riffs that the band hammer to breaking point and beyond. Imagine Flipper’sGeneric” pumped up on steroids and ruined on cheap lager and you get a good idea of the kind of punishing dirge Drunk In Hell have to offer. Bish’s belligerent vocals establish a threatening air of constant menace, decipherable enough to discern some of the grotty details of “Sick Sick Sex” and “Bitch Boy” but incoherent enough to leave the complete picture disturbingly vague.

I’m Not Laughing” provides a twisted adrenaline rush before the second half of the LP sees the band increase the levels of drudgery with grossly compelling results. “Born Sick” is based on a lumbering doom riff that feels like the Melvin’s back catalogue distilled into one shot of pure evil while the ominous rumble of “Gag” heightens the mood of dread.

The eight minutes of “Walking Abortion” brings the album to a close in tense fashion. The track comes across like a weird, tooled-up version of Joy Division’s “She’s Lost Control”, based on an unrelenting drum beat that drives a feeling of increasing desperation and futility reflected in the guitars and vocals. The spell is finally broken by a squalling cloud of feral saxophone that provides a suitably nasty finale.

Drunk In Hell have delivered what is easily the most horrible release of 2017. Seven years of accrued filth and sludge has never sounded so good.

“Drunk In Hell” is available here



Band info: facebook

Monday, 11 December 2017

ALBUM REVIEW: Path of Might - "Hallowed Gate Style"

By: Mark Ambrose

Album Type: Full Length
Date Released: 07/11/ 2017
Label: Encapsulated Records


With “Hallowed Gate Style”, Path of Might adds some melody and grace to the punishing might of their debut, but more importantly cements the trio as an act who, in time, could equal or even eclipse their diverse influences.


“Hallowed Gate Style” CD//DD track listing

1. Hallowed Gate Style
2. Locust Fugue
3. Infernal Orchards
4. House of Rain
5. Mega Magicka
6. Tea and Oranges
7. Locust Storm
8. Chapels to the West

The Review:

               
Path of Might’s 2015 self-titled debut drew a lot of comparisons to other sludge masters: Mastodon, Neurosis, and Baroness, to name a few.  Like these modern legends, Path of Might infuses sludge with prog flourish, and adds some Appalachian folk for good measure.  If that tidy half hour of power was just a taste, “Hallowed Gate Style” is a veritable smorgasbord of sludge.  Over the course of eight tracks, guitarist Spencer Medley, bassist Derek Rife, and drummer Adam Lucz pay homage to their forebears in metal and prog alike, while crafting a cinematic journey through time and space that invokes images of Kurosawa and Leone, by way of Timothy Leary and Aldous Huxley.
               
First and foremost, Path of Might are a highly skilled power trio, who lock into steady grooves without feeling stiff or mechanical.  There’s considerable production, with some distinct separation between guitar tracks for a nice, well rounded listen overall, but the organic tempo shifts and ineffable chemistry shines on the loose, jammy “Infernal Orchards”, or the swaggering, retro “Tea and Oranges”.  Spencer’s vocals push past the guttural barks of their self-titled album to move into melodies that are sometimes reminiscent of Pink Floyd, or, conversely, a younger Matt Pike.  While the lyrics are often subsumed by the heavy reverb or “chants field recorded in caves” qualities, it still works considering the hallucinogenic dynamics of Path of Might’s overall aesthetic.
               
The prog sludge infusions really cement the record as a serious step forward.  Even the interludes of “Locust Fugue” and “Locust Storm” incorporate American folk and vaguely “far eastern” qualities, even if they’re just cinematic flourishes.  The acoustic bridge of the title track, in particular, qualifies as its own little mystical journey.  For each of the progressive elements, there are lots of passages where the men of Path of Might reveal their classic rock hearts: “Infernal Orchards” feels like Nazareth, if they went full stoner metal, while the finale of “Mega Magicka” has a definite Thin Lizzy vibe.  The utterly savage “House of Rain” is the most indebted to Mastodon, with its rapid hammer-on, pull-off guitar riffing… but damn, Spencer manages to rip it up just as effectively as Brent Hinds & co.

For all the references to other artists, however, Path of Might is more than pastiche.  With their first album, they showed considerable instrumental prowess and fierce delivery.  In slightly more than two years, they’ve incorporated diverse elements without losing a bit of aggression, and battle hardened their sludge alchemy.  With “Hallowed Gate Style”, Path of Might adds some melody and grace to the punishing might of their debut, but more importantly cements the trio as an act who, in time, could equal or even eclipse their diverse influences.

“Hallowed Gate Style” is available here and physical copies here



Band info: bandcamp || facebook

THE BEST OF 2017: The Top 6 of the 666 Pack Review 2017

By: Nikos Mixas

Artwork By: Joshua M. Wilkinson

If you’ve been paying attention, the 666 Pack Review is an abbreviated review column mostly focused on very new bands or bands that have submitted demo material to THE SLUDGELORD.  The basic premise is that 6 bands are critiqued using only 6 words and on a scale from 1 to 6(66).  What you see below is the best of the year for the 666 Pack Review.  Congrats and hails to those bands that made the list! 

6). Sparrowmilk - “Articles of Separation” (Cleveland, Ohio) (April 2017)

Instrumentals usually bore me, this didn’t. 



5). Dawn on Sedna - “Our Sky Has Changed” (Viareggio, Italy) (February 2017)

Some good sludge right there Sludgelord! 



4). Dwoom - “Pale Mare Demo MMXVII” (Sundsvall, Sweden) (June 2017)

Better than most signed doom bands.



3). Cacus  - “Dirty filthy godless” (Copenhagen, Denmark) (March 2017)

 Iron Monkey could learn from them…



2). Elder Devil - “Graves Among The Roots” (Fresno, USA) (July 2017)

Angriest submission of all the 666s! 



1). Five The Hierophant - “Over Phlegethon” (London, UK) (September 2017)

Most original of the Sludgelord offerings.



Friday, 8 December 2017

TOP 16 ALBUMS: THE SOUR 16 (November 2017)


As we enter the countdown to Christmas and with a mere 17 days to go it is time to present 16 of the best albums from September, it is time for your SOUR 16

You know the drill by now, each month you the reader are unwittingly compiling a list of the top16 records of the month, 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 in the red)

16). Sect“No Cure for Death” (823)



Sect have set the standard for hardcore music and what it should aspire to in 2017. If you’re looking to heavy music with a message, look no further than “No Cure for Death”.









15). Slabdragger & Wren - “Mothers Of The Beef And The Magic Of Invention” [Split] (874)



Both bands deliver the best kind of cover version; one that takes the source material and imbues it with their own unique spirit to create something new and exciting.  An essential purchase for any fans of the UK heavy underground and maybe it’ll turn some old Zappa and Beefheart heads towards the sludgier side of life too






14). Cannibal Corpse - "Red Before Black" (938)


Once again, Cannibal Corpse have crushed all in their wake and returned as conquering anti-heroes of the death metal genre.  Cannibal Corpse remain the death metal band by which many other death metal bands are judged and remain my go-to band of choice if I want to listen to something extreme, violent, uncompromising and also oddly, inexplicably, insanely listenable.






13). Hooded Priest - "The Hour Be None" (959)



This is doom metal that will appeal to anyone with a sense of theatre and anyone who wants to bang their head as well; there is some great metal on offer here. Huge and sprawling in its ambition, “The Hour Be None” is a doom tour de force and I recommend it highly.







12). Amenra - "Mass VI" (1054)



Amenra’s music is real and comes across as brutally honest. The formula (sonic + emotional heft) = (a heavy album) is one that’s been done many times before, but what Amenra does that sets them apart from the pack is the diligence they use when drinking from the well of inspiration. Amenra makes their listener feel and live with them. This keeps Amenra in touch with why they started making music in the first place. It’s this artistic integrity that helps make “Mass VI” what it is. 




11). Pale Horseman - "The Fourth Seal" (1084)


Pale Horseman offers a special sort of heft to their music, with mesmerizing guitars convulsing, vocals crunching  and the drums creating a war beat that is stifling in weight.










10). Fister & CHRCH“Fister/CHRCH” (Split LP) (1120)



Over the course of nearly forty minutes, CHRCH and Fister, employing different sonic palettes and lineups, craft a perfect split for the moment: unholy, polluted, funereal and dismal – a requiem for humanity’s end times that is as beautiful as it is ugly.







9). Manilla Road - "To Kill A King" (1205)



In summary, To Kill A King is a superb and epic metal album, forged from the finest steel.











8). Dead Quiet“Grand Rites” (1255)



All of the nuance and balance on this record really make it an experience that never bogs the listener down. It is for these reasons, that Dead Quiet’s “Grand Rites” is one of the best Canadian Metal records of the year.








7). Purple Hill Witch - "Celestial Cemetery" (1256)



From the Deep Purple-indebted organ intro, to the bluesy pentatonic riffing, there’s no doubt that the latest LP from Norway’s Purple Hill Witch is pure retro-metal worship.  The pervasive garage metal swagger elevates some pretty raw material and proves that they have the chops to be a really excellent outlier in the doom metal underground






6). Clouds Taste Satanic - "The Glitter of Infinite Hell" (1381)



Clouds Taste Satanic’s blend of doom, stoner and sludge chords, capacious basslines and drums set an imposing climate that sets them  apart from their peers. Each cut here feels distilled down to the pitched greatness of its many influences. Guitars simmer like the hunt during a horror movie and by the albums conclusion, chances are your mind will be thoroughly mashed.





5). Converge - "The Dusk In Us" (1897)



Today, with random acts of violence, anger and pessimism dotting our timelines, maybe Converge just now seems like a soundtrack to our contemporary apocalypse










4). Godflesh - "Post Self" (2301)



It may be a disturbing, challenging last will and testament of humanity’s futurist hopes and dreams, but “Post Self” is an invigorating, complex, and honest piece of industrial metal.  Perhaps most importantly, in a genre that can be glutted with repetitive speed metal riffs and samples of shouting despots, Godflesh stands as one of the smartest bands working today.





3). Norilsk - "Le Passage des Glaciers" (2752)



French canadian doom duo Norilsk return from a two-year layoff with a surprising new album, one that gives a reengaged sound to the pair's signature style.  Norilsk manages to be bold without being alienating, and that is indeed refreshing.








2). Electric Wizard - "Wizard Bloody Wizard" (9121)



 “Wizard Bloody Wizard” transcends whatever the in-thing of the moment is, and focuses instead on musicianship, the album's all-analog approach creates a warm, vintage sound for the songs and on the whole Electric Wizard feels re-energized, whilst  remaining true to their seedy pedigree






1). Morbid Angel - "Kingdoms Disdained" (28760)



This album is a statement of intent, placing the focus on convulsive rhythm changes and dissonant, jagged riffs over accessibility.  ‘Kingdoms Disdained’ is Morbid Angel's most uncompromising album of their career and their best album in nearly twenty years, and I don’t consider that light praise.







A big thank you as always to our amazing writers, your dedication knows no boundaries and for that I am truly grateful.  Novembers 2017’s “SOUR 16” features reviews byRichard Maw, Ernesto Aguilar, Daniel Jackson, Mark Ambrose, Victor Van Ommen, Charlie Butler & Mark Tremblay