REVIEW: Ungraven & Slomatics, "Split"

 By: Richard Maw
 
Album Type: Full Length
Date Released: 05/03/2021
Label: Black Bow Records

 
Split DD//LP track listing:
 
1). Ungraven, “Defeat The Object”
2). Ungraven, “Onwards She Rides to a Certain Death”
3). Ungraven, “Blackened Gates of Eternity”
4). Slomatics, “Kaan”
5). Slomatics, “Proto Hag”
6). Slomatics, “Monitors”
 
The Review:
 
So, half an hour of the heaviest sounds and tones known on the planet... Ungraven is Jon Davis' (Conan) side project, Slomatics are Northern Ireland's heaviest export.
 
Ungraven is not a million miles away from Conan, of course, but is less about atmosphere and slothfulness (or High On Fire bits) and more about beating the listener down with unbearable weight.
 
Over the course of the three tracks, Ungraven sound superb- heavy, crisp, weighty... I assume a Foal Studios recording with the inimitable Chris Fielding at the helm. Simply put, if you like Conan, you'll like this. If you like Fudge Tunnel, you will like this. If you like.... well, you get the idea.
 
Slomatics are all about heaping impossible weight onto the listener, in fact the material here is so heavy you'll need to Eat Clen and Tren Hard to withstand it. It is certainly downcast and moody- atmospheric in its blackness with impossibly low tuning. If you haven't ever heard them (is that possible?) think Electric Wizard crossed with Conan and you are in the right ballpark, but Slomatics have a sound and style all their own.
 
Over the course of six tracks, each band gets a roughly equal playing time and three tracks of each is enough to get a flavour of both, to decide if you to explore further.  Of course, where this is all building to, is to say that it is great – if you like any of the comparison bands mentioned here, this is a must.  Heavy, dark and pleasingly relentless.
 
You can purchase the Split HERE
 

Band info: Slomatics || Ungraven

ALBUM REVIEW: Bast, “Nanoångstöm”

By: Chris Bull


Album Type: Full Length

Date Released: 23/11/2018

Label: Black Bow Records

 

Bast have certainly developed creatively and have released another standout album in the world of heavy music

 

“Nanoångstöm” CD//DD//2LP track listing:

1. Distant Suns
2. Far Horizons
3. The Beckoning Void
4. Nanoångström
5. A Red Line Through Black
6. The Ghosts Which Haunt the Space Between the Stars

The Review:

When I heard Bast had recorded and released their 2nd album 'Nanoångstöm', I knew I was the right SLUDGELORD to put my name forward for the review.

4 years have passed since the release of 'Spectres', in my opinion, one of the best heavy records to be released this century, so Bast face an uphill struggle to better, let alone match the benchmark they previously set. 'Distant Suns' immediately leaps for the aforementioned benchmark, with the solemn bass intro, like a lonely astronaut floating through space, gathering momentum and hurtling towards the epically heavy 'Far Horizons', where the contrasting vocals of drummer Jon Lee's blackened growl and guitarist Craig Bryant's deep below overlay the Primordial esque folk tinged black metal. The album ebbs and flows seamlessly highlighting Bast's penchant for the epic and enthralling, as 'The Beckoning Void” and the title track deliver moments of brutality, subtle tempo shifts and glorious melodies all wrapped up in progressive and finely crafted song writing.

'A Red Line Through Black' harks back to 'Spectres' building upon Bryant's moody guitar and vocal work, through some heavy prog inspired riffing to create a sonic journey full of the unexpected. By the time  'The Space Between the Stars' opening tremolo laden riff and blast beats slow down to allow the song the room to breathe, the unexpected becomes the ordinary as riffs, licks and screams leap out from all corners, dragging you, towards the black hole they created.

While Bast's influences may be apparent to some, with nods in the direction of a few of black metal's proggiest bands, it's the personal touches and subtle nuances that forge the main body of their sound. Bast have certainly developed creatively and have released another standout album in the world of heavy music. Whether it will leave as lasting an impression as 'Spectres' remains to be seen, but several more spins will go a long way into that decision. Now, where's that repeat button...

“Nanoångstöm” is available HERE

Band info: bandcamp || facebook

REVIEW: Mammoth Weed Wizard Bastard & Slomatics, "Totems"

By: Mark Ambrose

Album Type: Split LP
Date Released: 29/03/2018

Label: Black Bow Records

Alter your mind, crank the volume, and worship two of the best of doom metal shaman delivering one of  the stand out releases of 2018 .

“Totems” DD//LP track listing

1. Mammoth Weed Wizard Bastard – “The Master and His Emissary”

2. Mammoth Weed Wizard Bastard – “Eagduru!

3. Slomatics – “Ancient Architects”

4. Slomatics – “Silver Ships into the Future”

5. Slomatics – “Masters Descent”

The Review:

Last time I threw on a split album it was the fun, fast cross genre thrashing of Iron Reagan and Gatecreeper – one of those brief, appetite whetting samplers that made me want to search out more of the contributing bands’ back catalogues.  I really enjoy those kind of horizon broadening splits, but the ones that may stick with me most are the LP length collaborations by artists operating in even closer genre proximity.  Take, for example, “Totems” – a formidable, surprisingly cohesive split from young but powerful Welsh psychedelic doomsters Mammoth Weed Wizard Bastard and the long-running Irish stoner sludge trio of Slomatics.  Both acts take similar spacey, prog indebted approaches to their massive cuts so the LP stands out as a proper, unified album – but you can’t mistake the unique methods and voices on display between the Mammoth crew and Slomatics.

Mammoth Weed Wizard Bastard’s opening cut, “The Master and His Emissary”, may be my favorite track on “Totems”.  Starting with a bass and synth intro, it plunges straight into space rock weirdness.  The ascending, chugging verse riff balances with ethereal, multi tracked vocals – largely those of bassist Jessica Ball.  Her delicate, clean tones, contrasted with the gnarly dual guitar heft of Wez Leon and “Dave” Davies, makes for an exciting, unique counterbalance of grim and graceful.  The unique emphasis on cymbal work, juxtaposed with persistent bass drum pounding from drummer James Carrington, is another standout trademark that had me intrigued by MWWB.  And just when I thought “hmmmm it would be interesting if they incorporated the synth intro back into this piece” the ‘Bastard went and did it!  Plus the closing guitar solo is just thrilling.  Unfortunately, after such an exciting opening, “Eagduru” feels like a bit of a disappointment.  A swaying, much more thudding doom dirge, it isn’t a bad cut by any means, but feels less structurally satisfying and complex than the trippy first track.  Ball’s vocals are again haunting and mystical – I’m impressed enough to want to explore the back catalogue.

Slomatics hardly need an introduction at this point, with nearly 15 years and releases in the double digits (including splits and a live LP).  But for me this is another gateway, as I’ve never taken the full plunge into their formidable back catalogue – another grievous error I plan to address immediately.  The heavy doom verses of “Ancient Architects”, countered by Fabrio Frizzi reminiscent synth laden refrains hit right in my metal/horror/scifi/weirdo nerd sweet spots, and I was hooked.  Drummer Marty’s clean vocals have just the right amount of grit, while his kit work is spot on.  Dual guitarists Chris and David are tone masters, shifting to a militaristic trudge in the pummeling midsection, only to crash everything to a tectonic crawl on the outro.  The fuzzed out phaser effects make the whole ending feel impossibly psychedelic, while retaining the paranoid edge of a bad acid freakout.

“Silver Ships into the Future” is a perfectly serviceable instrumental transition, primarily clean, slightly warped keyboards and some nice, menacing ambient tones.  But “Masters Descent” is a genuine work of stoner metal masters.  The savage riff and gently processed, reverb laden vocals is like a Kubrickian transit through time and space.  Marty’s jazzy fills, partnered with what sounds like Mellotron backing tracks, makes the doomy number sound like a haunting mashup with early King Crimson.  The chiming, synth laden, psych dirge latter half is a particularly nice touch, and the vocal work is particularly moving – trust me when I say that’s a disservice to the ineffable power when everything clicks into place for Slomatics.             

In short, “Totems” serves as one of those effective entreaties to explore more from the contributing bands, but also works as a powerful slab of metal, best enjoyed in one long, bleary eyed session, or staring into space and envisioning the types of otherworldly journeys Mammoth Weed Wizard Bastard and Slomatics delve into with each new composition.  Alter your mind, crank the volume, and worship the “Totems” of these two linked tribes of doom metal shamans.

“Totems” is available here

Band info: Slomatics || Mammoth Weed Wizard Bastard

ALBUM REVIEW: Throneless, "Cycles"

By: Charlie Butler

Album Type: Full Length

Date Released: 01/04/2018

Label: Black Bow Records

Throneless do not break any musical barriers on “Cycles” but their mastery of riffcraft and ability to create massive, awe-inspiring compositions sets them high above the competition.

“Cycles” DD//LP track listing:

1). Born In Vain

2). Cycles

3). Senseless

4). Oracle

The Review:

Right from the opening subsonic bass rumble, you know you are in safe hands with Throneless. The Malmö trio’s new LP “Cycles” is a master class in monumental sludged-up doom bathed in a cosmic glow.

“Born In Vain” immobilises the listener with a ten minute onslaught of crushing riffs, each one striving to reach a higher plane of heavy perfection. The reverb-laden vocals and hazy atmosphere recall the rural horror of Electric Wizard’s “Dopethrone” recast as a science fiction epic. After this pulverising introduction, the title track initially offers some respite. Beginning as a laid back jam, there is an almost optimistic mood reminiscent of Colour Haze at their most blissed-out. It’s not long until Throneless unleash the full power of their earth-shaking backline once more, taking the track into lumbering Torche style thunder pop territory.

The second half of “Cycles” shifts towards slower tempos with an increase in punishing heaviness. This metamorphosis reaches its peak with the gargatuan “Oracle”. Over the space of fifteen glorious minutes, Throneless gradually build a sonic fortress of epic proportions from huge slabs of dense riffage worthy of Bongripper.   

Throneless do not break any musical barriers on “Cycles” but their mastery of riffcraft and ability to create massive, awe-inspiring compositions sets them high above the competition. This is a hypnotic trip that will have you coming back for more throughout 2018.

“Cycles” is available here

Band info: bandcamp || facebook

TRACK PREMIERE & TEST PRESS GIVEAWAY: "Masters Descent" by Slomatics

When you run out of superlatives to introduce a band, sometimes you’ve just gotta cut the shit and let the music speak for itself.  Today that is exactly what I am going to do.  Slomatics are back barely a year after their monumental album “Future Echo Returns” and their finest album to date and what’s more they have exceeded themselves again, with vocalist drummer Marty Harvey putting in his finest vocal performances to date, supported by the sledgehammer riffs of Chris Couzens and David Majury, for me today’s  track premiere is one of their best ever tracks.  So enjoy “Masters Descent”, the final track from their forthcoming split with Mammoth Weed Wizard Bastard, entitled “Totems” which is set for release on 30^th March 2018 via Black Bow Records and is available to purchase here.  Info about the giveaway below.

Now if that track premiere wasn’t exciting enough, we have teamed up with the band to give away a test press of the split.  All you have to do is like the post of this article on our facebook page.  That’s right.  Like the post. The give away will end in 5 days directly after the post and I will select a winner at random and sent them a message notifying them they have won. 

 Band info: Facebook || bandcamp

TRACK PREMIERE: Hawkmoth deliver sparse and crushingly dense heaviness on "Godless Summit"

Australian post-metal/doom band Hawkmoth will release their imposing new album “Godless Summit” on December 14th 2017. The album is part 1 of a 2 part opus

Following on from their highly regarded debut, “Calamitas” , the instrumental 4 piece enjoyed support shows with renowned international acts Boris, Pallbearer, Elder, Earthless and Acid King, all whilst developing their latest body of work that sees them take their sound to even more extremes. 

“Godless Summit” will take listeners through the realms of post-metal and doom, whilst conjuring cinematic imagery and atmosphere as well as primal emotive reactions.  From sparse to crushingly dense, a unique heaviness and depth is created by Hawkmoth on “Godless Summit”. 

Recorded & mixed by Jason Fuck-Face Fuller @ Goatsound Studios and Mastered by Brad Boatright @ Audiosiege, the album will be released digitally via Black Bow Records and on limited edition vinyl from the band. 

Today with the release fast approaching we can exclusively reveal the opening and album title track, “Godless Summit” and pre orders for the LP are being taken here

Band info: bandcamp || facebook

INTERVIEW: TarLung - "phlegmatic heaviness from Austria"

By: Stephen Murray

Within six months of forming back in 2013, TarLung had recorded their debut release, seven tracks of fuzzy self-confessed Eyehategod and Church of Misery worship. Yet it took until late last year before the next instalment of tectonic shamanism and their “Void” EP, emerged. Now, after the release of their full-length “Beyond the Black Pyramid”, with a sound so fat it is in danger of not being able to squeeze through your speakers, I threw some questions at Marian, Rotten and Five about what they had been up to in the interim.

Marian [drums]: [The debut] was received very positively, so we just continued with writing stuff, playing shows, and testing the new material in the live setting. It happened quite organically that the tunes got longer, darker and more refined, while of course maintaining the love for the gritty, fuzzy and noisy approach.  So we found ourselves with an extensive bunch of material a year or so after the first release and thought “an in between EP might be in order, but a new full length album is basically there as well…” So in the end we decided to go for one recording session for both EP and new album. And we knew there was a bunch of material, but indeed it was more than 90 minutes in total, which came as a surprise in the end… but we had kept adding parts and going slower, so that just sort of happened!  But yeah, the separation into “Void” tracks being closer to the desert biker blues of the debut and “Beyond the Black Pyramid” consisting of the lengthier, bleaker and more monumental tunes was settled before going into recording.

Rotten [guitars]: In fact we ended up with 20 minutes more than we anticipated before entering the studio.

The sound on “Void” and “Beyond...” feel unified, and distinct from the debut. How did that sound come about? Was it organic? Do you feel Lukas Haidinger captured your sound well? Did the recording process go smoothly?

Rotten: Well, we recorded both releases in a three-day session, so that might give the more unified feel. The decision to hit the Deep Deep Pressure studio again was an easy one for us as Lukas is a good friend and he recorded our debut as well. He understands what sound we are going after, as he is active in numerous bands including the Austrian sludge outfit Underground Groove Front (check them out, they are awesome!).  Thanks to Lukas' great work, he was able to record all our songs live and in three or less takes per song. Recording with him is smooth and doesn't feel like hard work at all. There was always a relaxed atmosphere in the studio, despite the burning hot weather, and we are very happy how he captured our sound. This time we also used different amps than the first time, mainly an Orange Rockerverb MK I and an old Laney AOR – these got the job done alongside cool fuzz and effect pedals to spice things up.

Marian: Yeah, it was a great recording experience, but a full day of live tracking drums in the midsummer heat in a rooftop studio was indeed quite demanding… I was holding up somehow during playing, but after each take I got quite close to passing out, drenched in sweat. Mmmh, I must have smelled really good!

Five [bass]: Working with Lukas is definitely a pleasure. It's like recording in your own living room, but a lot hotter and louder. Lukas is also hugely technically adept in what he is doing; he knows his recording stuff. We pretty much just said how we would like to sound and that it should capture our on-stage performances – that was enough for him to create a blueprint for our sound on the album.

“Beyond...” really feels like a full-length. There seems to be a trend now of albums being shorter. I wonder if that is to accommodate vinyl's time limitations now that more bands have gone back to offering that format. What are your thoughts on that? Do you feel bands should be offering more from their releases? What do you hope to offer your audience when you set out to craft, record and release?

Marian: Yeah, actually we would have loved to put out “Beyond the Black Pyramid” on vinyl! Of course there is some sort of hipster hype about that format, but I personally love to spin some wax; it’s just a more intimate way to pay respect to your favourite artists. Alas, with 66 minutes running time, “Beyond the Black Pyramid” would have had to be a double LP, so in the end the cost factor was too off-putting for us. So it came to be good old CD format and bandcamp, and Black Bow Records did the digital release on other platforms like iTunes and Amazon for us – courtesy of Jon Davis of the mighty Conan. Thanks, man!

But maybe, if there is the demand, we still could get this record onto wax. Still would very much like to do it!

But about the running time: as mentioned before, it wasn’t really a conscious decision, it just happened… and we had to roll with it! There are great albums around the half hour mark which feel complete as they are, but others just need the long running time… Sleep’s “Jerusalem”, Neurosis’ “Times of Grace”, Electric Wizard’s “Dopethrone”… so while not wanting to compare us with those giants of heavy music, we hope that “Beyond the Black Pyramid” feels like a long, exhausting march through the searing desert, full of hallucinatory demons and visions of doom, which is just as long as it needs to be!

Rotten: If there is a big enough demand for a “Beyond...” vinyl we might give you one in the future, maybe with a preorder of some sort. Also the whole artwork Alex Eckman-Lawn did for us is intended to be used for a vinyl release.

Five: As Marian said, there are shorter and there are longer records, really depends on the music and the artist. While writing, for example, ‘The Prime of Your Existence’, I was well aware that this is now a >10 minute song. If I would get bored playing that song again and again, for example in band rehearsals, then there is something wrong with it. Cut it, make a riff shorter, whatever. But so far I did not have this feeling yet on any of the longer songs of the album. I can still get into a delirium-like state while playing the longer riffs, and that's really important to keep up your excitement. I hope it stays that way.

From the debut there were always elements of a kind of melodic doom, but how much do you think “Beyond...” now leans towards minor melodies rather than bluesy licks to communicate its bleak bitterness?

Marian: I like to believe it was an organic transition, TarLung still sound like TarLung, but we have definitely shifted a bit from the NOLA style ‘slow man’s blues-punk’ towards a somewhat darker approach. I also think this matches the stories the songs tell, but apart from a few more ‘fun’ tracks like ‘Space Caravan’ the darkness has already been there on our debut: It was not so much ‘Drinking and smoking are fun!’, but more ‘Drinking and smoking might be fun, but you will fucking die.’ The same goes for the themes of apathy, misery and depression – but they emerged more clearly in the image of the Black Pyramid, which is of course a Lovecraftian motif, but at least for me also a strong symbol for personal struggle… but it is about going “Beyond the Black Pyramid”, not about wallowing in constant self pity, but about trying to overcome the misery, while maintaining that life will always contain its fair share of gloom.

Rotten: The whole lyrics of the song “Beyond The Black Pyramid” are also loosely based on different Lovecraft stories. For me the change was something that came naturally and wasn't intentional at all. I guess we just got more pissed off, or got a more disillusioned look on life as we got older.

Five: The debut album was, in general, a lot simpler. The rhythms are faster, there are much more accessible melodies, and the songs are much shorter. The tracks on the debut album were mostly pretty old ideas, from even before TarLung really existed.  Between the birth of TarLung and the creation of “Beyond the Black Pyramid” we had a lot of time to grow as musicians. Speaking for myself, I have gained a lot of experience playing the guitar and using my vocals.  Meaning that as you get better as a musician, you can use your tools in different ways than you would have ever expected. The message of our music pretty much stays the same, but the language on how we communicate that message changed a bit. Maybe we'll speak a completely different musical-language on our next record. Who knows.

What have your adventures outside Austria been like? Do you find playing shows further afield easy for you or a challenge? Have you noticed a difference in how you are received in different places?

Rotten: So far we only had the chance to play in Germany.  I think our music is received quite well in most places and the audience always treated us well.  We had to take trains for most gigs outside of Vienna as none of us owns a car right now. It might not be the easiest way to do shows but our love for playing loud music for a crowd is bigger than the challenge of public transportation. But I'm sure we will be able to hit the road with a van sometime in the future to play more shows and hopefully visit more countries and meet many more people.

Marian: Würzburg was great both times, never seen an audience so drunk and wild! Cheers and thanks to Tommy Hellfighter, our good friend and supporter. And yeah, shout out to promoters all over Europe and the world: We want to play your miserable hellhole, get in touch, we want to make it happen!

Do you think stoner rock and sludge can exist without the influence of drugs? How much of TarLung's aesthetic is drugs based? Do drugs make for more creative work, or do they limit thinking and musical expression?

Rotten: For me drugs (including legal ones like alcohol or tobacco) aren't an important part of my life, and I think you don't need a mind altering substance to enjoy or write good music. I don't even get drunk before hitting the stage, maybe one or two beers but that's it for me. After the show I more than once got pretty shitfaced and we all had our fair share of partying so far.

Marian: Drugs are definitely a big and important part in underground music, a symbol for not wanting to be confined by the rules of the mainstream society, for separating yourself. But it really depends then – drug culture can become sort of conservative and restricting in its own way. So as much as I love Electric Wizard, Sleep and the likes: You are not automatically making great music just because you are stoned, and you don’t necessarily need to be stoned to enjoy “Jerusalem” or “Dopethrone”. TarLung is about a reality that is there, people doing what they do, partying and suffering. Not condemning it, but not glorifying it, either. In the end, what remains from all the highs is a bunch of tar in your lungs. That is the way of the world. A strange place to be, a strange life to live… but definitely better if you got some really heavy tunes to accompany your existence!

Five: I don't think that drugs are needed in any situation, especially for something creative like music, to really enjoy it. If I can only deeply listen to a particular record under the influence, then the record is probably not that good. Drugs may alter the experience of art, but I personally enjoy, for example, Doom Metal or a good book just as much without any mind altering substances.  I never understood bands who openly celebrate or promote drug use on stage. I don't actually mind it, as it's really none of my business what they do on stage, but this kind of music can be much more than just a drug induced fever dream. Having a few beers before stage time to get into a relaxed mood, and maybe one more beer on the stage to keep the throat moistened, is enough for me. After we've done our set, there's usually enough time left to really start partying.

I personally have never gotten intentionally "high" to write songs. In fact, I think I've never written any song under the influence of drugs. I like to focus on what I'm currently doing – if I'm sitting down to write a song or some riffs, I'm doing exactly that. Our band rehearsals are also usually very straight-forward: a few hours of focused music playing and song inventing. This seems to work quite well for us.  This doesn't mean that drugs are generally bad for doing creative stuff. Of course not. But for me personally it doesn't really go together. Better keep the fun stuff for after the work is done. All work and no play makes Jack a dull boy, as we all know.

The End

Band info: bandcamp || 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 71TONMAN let 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 here and digitally here

Band info: bandcamp || facebook