ALBUM REVIEW: Wolftooth, "Blood & Fire"

 By: Richard Maw
 
Album Type: Full Length
Date Released: 03/12/2021
Label: Napalm Records

 
“Blood & Iron” CD//DD//LP track listing:
 
1). Ahab
2). Hellespont
3). Blood & Iron
4). A King’s Land
5). Broken Sword
6). The Voyage
7). Winter White
8). Garden of Hesperides
9). The Mare
 
 

The Review:
 
Indiana's Wolfooth are back with their third album. Now signed to the mighty Napalm Records, it appears that the band may follow the oft-referenced metal lore of 'making it' with the third release. Of course, that knowledge refers to commercial as well as creative success, and seems to be based around Metallica, Iron Maiden, Def Leppard, Slayer, Anthrax, Sepultura and so on... but not around bands from recent history.
 
Regardless of what may or may not happen to the band from here on out, they have international dates booked (Desertfest, London et. al.) plus real label support behind them so, they might just be the next big thing- with a small 'b' as this is traditonal metal mixed with stoner doom in the vein of The Sword's early work. This isn't a radio friendly unit shifter. This is for real metalheads.

 
Having reviewed, loved and bought both previous Wolftooth albums, I had high hopes for this record- I see Wolftooth as modern-day renegades fighting alongside the likes of Visigoth for real metal- yes, I know, I know; I'm a metal loser. Opener “Ahab” quickly nestles into the groove that the band have made their own for the previous records; this time referencing Moby Dick for epic story telling, referencing The Sword for riffs and marking a continuation of the sound that has brought them this far.
 
The material here is stellar; “Hellespont” is all glorious harmonies, glorious subject matter and glorious playing. Great track. Musically, we are in classic Wolftooth territory; epic, majestic: metal. That could also accurately describe the title track. “Blood & Iron” is Irish legend done right- judging by the band members surnames, a couple may have some interest in the history and folklore of the Emerald Isle. Even if they don't, this is a great homage to a great hero.
 
As the record progresses, there are flashes of Thin Lizzy/Celtic riff stylings, lots of chugging riffs and some really magical music. Whether it is the shuffling rhythms of “A King's Land” or the more speedy and aggressive attack of “Broken Sword” there is just so much to enjoy here. The latter is particularly strong and it's no surprise that this was chosen as an advance track. It picks up where “Sword of My Father” left off and just evokes images of Conan, Elric and any other number of mythical pulp heroes.

 
Wolftooth do escapism very well; this is pure enjoyment, delivering pure entertainment and the band chooses to dwell in the realms of myth, legend and fantasy. It's a wise choice and the bread and butter of many metal bands- but done exceedingly well here. The heavy hits keep coming; “Garden of Hesperides” is mighty, “Winter White” is weighty as hell. There are no bad tracks and if you aren't too keen on one riff, well, another one you will like will be along in a second!
 
The riffs are massive, the vocals crystal clear, the sound is warm, the mix is... unusual. The drums are too quiet. Play the record on headphones, they're quiet. Play it on a streaming device while other things are going on (you're cooking or typing or doing pretty much anything other than listening intently to the music) and the drums are just too low in the mix. Is this a minor gripe? Not exactly. It is important, but not a deal breaker. The drums sound great. The guitars sound great. It's just that the drums should be the loudly beating heart and instead they are like a backing track (in a bad way) to the guitars. The record is also quite quiet- but this is better than it being clipped and brickwalled, for sure. These are minor criticisms but I find them a little frustrating, as both prior albums sounded unique to the band and quirky in a good way- they also fairly leapt out of the speakers (I bought the vinyl and CD of each- as I have of this album)
 
The album does sound better when it is turned up loud; I bet it sounded superb on the studio speakers. I warmed to the mix after a  few listens, so give it some time. There is no way I'm going to let a mix or production gripe let me judge an album too harshly (to illustrate this point, Manilla Road are one of my favourite bands, “...And Justice For All” is one of my most listened to records etc.). The most important thing here is not the production or mix or artwork or anything other than the music itself. And the music is uniformly excellent.
 
By the time of “The Mare”, Wolftooth have made a pretty powerful statement- it closes the album out with a solid slab of metallic mythology. The final stretch is particularly good. There we have it; “Blood & Iron” is not as immediate as the previous two Wolftooth records, but it is a grower with hidden depths and full of all the best of the band's musical traits. It has great riffs, songs and playing while the vocals work perfectly with clear storytelling throughout.

 
If this is the album that does see the band get much wider recognition, then it will be well deserved. They've now made three excellent metal albums and absolutely deserve the credit coming their way. From the moment I listened to their first album, I knew I'd love this band. This album only makes me love them more.
 
 
“Blood & Iron” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Wolftooth, "Valhalla"

By: Richard Maw

Album Type: Full Length

Date Released: 22/05/2020

Label: Ripple Music |

Cursed Tongue Records

“Valhalla” CD//DD//LP track listing:

1. Intro – The Lamentation of Frigg
2. The Possession
3. Firebreather
4. Valhalla
5. Fear for Eternity
6. Scylla & Charybdis
7. Molon Labe
8. Crying of the Wolves
9. The Coven
10. Juneau

The Review:

Wolftooth's sophomore release arrives at a fortuitous time. I've been savouring their debut since I reviewed it back in 2018 and I have craved more of this metal mixed with stoner mixed with tales of fantasy and heroism. “Valhalla” thus arrives right on time- two years after the debut and hopefully hints at an Overkill-esque work ethic in years to come.

The debut essentially took what was great about The Sword's first three records and distilled it. “Valhalla” is NOT the sound of Wolftooth abandoning their fan base and making a more mature record. In fact, though the arrangements of “The Possession” are undoubtedly more complex with layered guitars and vocals, the identity of the band remains firmly intact. The atmopsheric intro of “The Lamentation of Frigg” sets us up nicely for a delightful metal album which mixes a lot of the best of trad, stoner and a little doom.

The sound is once again tight and organic- wonderful tom sound- with a burly mix. It's not as aggressive as, say, High on Fire, or even The Sword's early work but it grooves well and there are great riffs and choruses played by a solid band in all aspects. As Wolftooth hail from the same state that gave us the mighty The Gates of Slumber, Apostle of Solitude, Thorr Axe and Throne of Iron, it might be reasonable to expect more of a doom flavour to the songs here, but if anything this is closer to traditional metal than even the debut. There is almost a hard rock vibe to the likes of “Firebreather” and even the title track even of the subject matter and component parts are totally metal.

It interests me to note the fairly uniform song lengths- 4-5mins- and also that despite this the material is not formulaic. There are stylistic traits throughout, such as the aforementioned  layered vocals of the choruses, but it's not boring. Quite the opposite. It's an album to play all the way through. There are some really heavy tracks here, too; “Fear For Eternity” is pure sword and sorcery in Conan style wrought in metal. Each song offers up light and shade, whether it be “Molon Labe” or the pretty catchy “Scylla & Charybdis”.

As the album reaches the closing stages, “Crying of the Wolves” offers up a track close to Dio-era Sabbath (yes!) and rocks hard down the back stretch. “The Coven” offers up a late album highlight with its absolutely hard-as-iron riffing and melodies. “Juneau” finishes the album strongly with... more of the same; fuzzed bass, heavy riffs, reedy/Ozzy-esque vocals and some big slabs of groove.

If the debut made many metallers take notice, this should push the band over the top and hopefully bring them over to the likes of Desertfest, Damnation Festival in the UK and Keep It True and Courts of Chaos etc on the continent. This is for fans of any of the bands mentioned in this review. It's heavy, it's metal and it's quite superb.

“Valhalla” is available HERE

Band info: bandcamp || facebook

REVIEW: Hazemage & Tombtoker, "Hazemage/Tombtoker"

By: Peter Morsellino

Album Type: Split

Date Released: 20/03/2020

Label:  Independent

“Haze Mage/Tombtoker” Split CD//DD track listing:

1). Haze Mage, “Sleepers”

2). Hazemage, “Pit Fighter”

3). Tombtoker, “Braise the Dead”

4). Tombtoker, “Botched Bastard”

The Review:

It seems there has often been some confusion when defining doom metal and sludge. And truthfully, I am often in that same boat.  What kind of music does Crowbar play?  Or Down?  I'm not talking about what it says on their wikipedia, but what do you hear when you listen?  I think there is a lot of overlap to what are essentially different sides of the same coin. What we have here today, folks, is an example of perfect musical duality.

With this masterfully done split from Haze Mage and Tombtoker, we're going to examine those different sides, and explore the overlap. I think we'll find that these bands, whatever you want to call them, go great together.

Haze Mage kick off the split with “Sleepers” and some solid 70's inspired jamming. The track rocks organically without needing to force their musical aesthetic on the listener. The dual guitar leads create an amazing effect that brings to mind those glory days of 70's hard rock.  “Pit Fighter” is a very different sound with a driving, rolling beat. This one will make you want to move for sure. The guitar solo with its creepy minor key tones brings a smile to my face everytime I hear it.

Tombtoker on the other hand, start things off with a bang.  “Braise the Dead” is a great opener, with its hypnotic and groovy riffs. Drum work is amazing in its variations while holding a steady beat that's as heavy as anything you'll hear today. Vocals lie comfortably in the death metal range, which compliments the fuzzy stoner sludge sound perfectly.  “Botched Bastard” keeps things going with some old school style riffing. This one maintains a pretty slower pace, keeping up with the heaviness we've come to expect.  The bass is allowed a little more of the spotlight, which for me personally, is a huge thumbs up.

Overall these bands both bring it hard here. With very different sounds showcased on each half of the split, this one offers a whole lot of bang for your buck. Whether you're looking for some earth rattling sludge or some fantastical classic fuzz, you'll find it here. Thumbs up from me for sure.

“Hazemage/Tomstoker” is available HERE

Band info: Hazemage || TOMBTOKER

ALBUM REVIEW: Phantom Hound, "Mountain Pass"

By: Richard Maw

Album Type: Full Length

Date Released: 28/03/2020

Label: Independent

“Mountain Pass” DD//LP track listing:

1). The Northern Face

2). Thunder Am I

3). Irons in the Fire

4). You Don’t Know Death

5). Grace of an Angel

6). Mountain Pass

7). Devil Blues

8). The Southern Face

The Review:

American trio Phantom Hound present a sound some way between Soundgarden and stoner/doom bands like Sixty-Watt Shaman and Roadsaw. You get eight tracks of blues inflected grooving rock.

Opener “The Northern Face” sums up the band's sound pretty well, while “Thunder I Am” is a solid slab with some time changes and extensive solo passages. The solo sections favour the strict trio format- no rhythm guitar under it. The guitar sound is a treat- thick and fuzzed out, although the drums are a little lacking in power. The sound is raw and live, but the drums are a little thin sounding.

No matter, there is nothing wrong with the playing at all and the material is uniformly strong throughout. “You Don't Know Death” is a fine track and then “Grace Of An Angel” brings acoustic guitars and bridges the first half of the album with the second. The epic title track is eight minutes plus of downbeat Soundgarden-esque rock but it is bettered, in my view, by “Devil Blues” which is a wonderfully dynamic track with excellent guitar work.

“The Southern Face” closes the album out with close to eight minutes of very dark rock, the driving main section is effective and very strong. Overall, this is a solid release of stoner rock that is as American as apple pie. If you like any of the bands mentioned above, give this a try. I assume you've got some time on your hands currently to do just that!

“Mountain Pass” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Elephant Tree, “Habits”

By: Andrew Field

Album Type: Full Length

Date Released: 23^rd April 2020

Label: Holy Roar Records

“Habits” CD//DD//LP track listing:

1). Wake.Repeat

2). Sails

3). Faceless

4). Exit The Soul

5). The Fall Chorus

6). Bird

7). Wasted

8). Broken Nails

The Review:

Listening to “Habits” in advance of its release has remind me of the first time I heard Nirvana’s “Nevermind”, knowing that I was about to lose one of my favourite underground bands to the masses. A mix of joy and sadness pervades. On the one hand I’ll be able to say I was there at the beginning, watching them play tiny venues like The Unicorn in Camden or the Alma Inn in Bolton. On the other hand, I now know they’ll shortly no longer be our little secret. I’ll now have to share them with thousands (maybe tens of thousands) of others, because this album is going to catapult them into the stratosphere.

Elephant Tree have taken their time with this album. These seven songs have gestated during the four-year period since their eponymous second release in 2016, with the band honing them on the road and Riley Macintyre unleashing the multiple tools at his disposal at Church studio in London (U2, Paul McCartney, Radiohead). And boy does it tell. “Habits” sounds like a hundred million dollars. We’re not just talking about just the kitchen sink being in these grooves, they’ve fitted a whole house in there. Musically, “Habits” is a five-course meal. It sounds like it was recorded in a cathedral, or on a mountain top, and is musically uplifting and wondrous.

Lyrically we’re in polar opposite territory. This is one very dark record. Thematically it touches on loss, regret, fucking up, self-loathing, depression, loneliness, anxiety, paranoia, and the inevitability of death. Only “Bird”, with its refrain of “soft wings brush the cloud up above, soaring high - welcome rays of sun, fly, fly” offers any respite from the emotional murk and melancholy which seeps from almost every word Pete (Holland, bass and vocals) or Jack (Townley, guitar and vocals) sings.

A sense of sadness and poignancy is there from the first line of “Sails”, which follows introductory instrumental “Wake”: “So long, fading, don’t leave me alone” Jack sings and you instantly want to give him a hug. Then they springboard into far darker territory with the caustic “Faceless” (“crawling the walls, sapping my soul…. vision tunnelled, fluorescent black hole”). “Faceless” encapsulates all that is thrilling about Elephant Tree: a slow burning build-up anchored by multi-part harmonies and Sam Hart’s simple hi-hat shuffle, followed by a Jack Townley Dave Gilmour-esque guitar solo which will set your spine a-tingling. But that’s just a starter for the main meal, which comes in the second half of the song: the biggest, most head-noddingly savage passage which sees the main riff gently, teasingly bend around a single note, exploring either side of it before exploding into an almost orchestral, heavenly crescendo of widescreen sonic musical blancmange before fading in a drawn-out Krautrock keyboard drone. It is, quite simply, breathtakingly good.

“Exit The Soul” explores reflections on living and dying, and how we come to realise there’s an end point for all of us. It’s a seven-minute ethereal epic which makes you feel like you’re bathing in sound, eventually erupting into a palatial snail-pace drone and choir-of-angels Phil Spektor-eque wall of sound. “The Fall Chorus” is an achingly beautiful acoustic-driven number with harmonies and strings and Tow nley'sbest vocal yet. It brings to mind the soundtrack to a spaghetti western starring Clint Eastwood, wide open plains and the Rocky Mountains shimmering in the distance.

“Bird” is the album’s money shot: a mid-tempo soaring chorus with monster harmonies is the album’s high point and sole spirit-lifting moment.  “Wasted” is a waltz about what goes through your mind when you’re coming down after a massive bender (“I can’t stand the way I destroy everything in me”), built around fat, grinding dirt-under-the-fingers-nails guitar work from Townley.

The album closes with “Broken Nails”, which is the best thing the band has put its name to and hopefully an indication of where they’re headed next. It’s a brave and unique song, starting with an acoustic guitar recorded so close to the strings you can hear them scrape and slide, building via a passage of clashing dissonance into a full-blown space opera. It sounds like no-one else, takes a while to make sense, and leaves you wanting much more of it.

The weight of expectation after their last album must have weighed heavily on Elephant Tree’s shoulders. They needed to make a stunningly good record. They can rest easy in the realisation that they’ve done exactly that. “Habits” is an exceptional piece of work and an essential purchase. What a band they are. What an album this is. Sheer sonic perfection.

“Habits” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Sigiriya, "Maiden Mother Crone"

By: Richard Maw

Album Type: Full Length

Date Released: 15/04/2020

Label: Burning World Records

“Maiden, Mother, Crone” CD//DD//LP track listing:

1). Mantis

2). Cwn Annwn

3). Tau Ceti

4). Peace Of My Mind

5). Seeking Eden

6). Dark Call

7). Arise (Darkness Died Today)

8). Crushed By The Weight Of The Sky

The Review:

Swansea's Sigirya certainly have the stoner/doom/metal pedigree- Acrimony and Iron Monkey loom large in their back story. This is their third full length record and a follow up to “Darkness Died Today” which was released back in 2014. Opener “Mantis” sets out the band's stall- loping grooves, space rock rhythms and riffs and sitar overdubs. A promising and surprisingly airy start.

From there, “Cwn Annwn” is similarly uplifting and oddly soaring, despite the low end rumble and weighty riffage. As per previous records, there is as much for fans of Monster Magnet here as there is for fans of any of the members' alma mater bands. “Yau Ceti” and “Peace of My Mind” continue in the same vein and it becomes clear what the band will deliver over the course of the album- languid grooves, uplifting and melancholy riffs and melodies, combined with some real weight. Add in some time changes and reverb soaked vocals and you have a Welsh stoner holy mountain.

Across the eight tracks there are plenty of twists and turns- it doesn't just rumble along at one pace- but there is enough uniformity to just stick the record on all the way through and absorb it; dare I say it... a little like the best Hawkwind records. You can certainly differentiate the loose and light “Seeking Eden” from the harder driving and more concise “Dark Call”.

There are darker tracks such as “Arise (Darkness Died Today)” which has a grunge like feel to it and acts as a fine bridge to the more epic closing statement of “Crushed By The Weight Of The Sky” which is the heaviest track on the album as well as being one of the best. Strangely, as I have mentioned grunge, some of the passages of music and melodies sound a lot like Nirvana, slowed down and beefed up. No bad thing as it lends the album a unique timeless quality in keeping with the band's approach and lyrical themes.

I would not hesitate to recommend this to fans of any of the bands mentioned within this review- there's nothing to dislike and plenty to enjoy. The performances match the material assembled here and this is a diverting and different listen.

“Maiden, Mother, Crone” is available HERE

Band info: bandcamp || facebook

TRACK PREMIERE: Costa Rican doom band Age of the Wolf debut "Herald of Abyssos"

Costa Rican doom band Age of the Wolf are set to release their debut full-length, “Ouroboric Trances”, on May 17th in digital, CD, and vinyl formats via Aural Music.  This fuzz-worshipping outfit delivers crushing riffs and epic melodies, backed by an apocalyptic rhythm section that crosses all spectrums of the sludge/stoner/doom genre. 

Today at THE SLUDGELORD we’re proud to have the band make their debut on the blog with an exclusive premiere of new track “Herald of Abyssos” which you can check out below.  Make no mistake, it is worth your time.  So comply and let your speakers die!!

Band info: facebook

TRACK PREMIERE: 1782 deliver the perfect blend of stoner doom with "Oh Mary"

In 1782 Anna Göldi was condemned, she was tortured and killed, this was the last witchcraft trial in Europe. Fast forward to the present day and in honor of all the "witches" murdered by the bigoted minds of many generations, Italian duo Marco Nieddu and Gabriele Fancellu formed the stoner doom band 1782 and today at THE SLUDGELORD you can check out a brand new track by the band entitled “Oh Mary” which is taken from their debut album “1782” set for release on May 24th 2019 via Heavy Psych Sounds. Now douse those fires with water, turn up the volume and prepare to let your speakers die!!! You can preorder the album HERE

Band info: facebook

ALBUM REVIEW: Forming The Void, "Rift"

By: Charlie Butler

Album Type: Full Length

Date Released: 17/08/2018

Label: Kozmik Artifactz

Forming The Void channel the best of Monster Magnet through a heavy psychedelic doom filter, alternating between massive riffs and passages of cosmic grandeur

“Rift” CD//DD//LP track listing:

1). Extinction Event

2). On We Sail

3). Arcane Mystic

4). Transient

5). Arrival

6). Ark Debris

7). Shrine

The Review:

It’s hard not to get excited by an album cover that depicts a woolly mammoth jumping over a mountain in space. Fortunately the contents of Forming The Void’s new LP “Rift” deliver on these weighty cosmic expectations.

The Louisiana quartet waste no time getting down to business with the crushing groove of “Extinction Event’. The track channels the best of Monster Magnet through a heavy psychedelic doom filter, alternating between massive riffs and passages of cosmic grandeur.  This is a trick Forming The Void hone to perfection over the course of “Rift”. The middle section of the album finds the band recreating the thunderous majesty of self-titled LP era Torche, particularly the monstrous opening to “Arrival” and the smouldering sky-kissing solo that rounds off “Transient”.

“Ark Debris” and “Shrine” provide a powerful end to the album with Forming The Void at their slowest and most hypnotic. The former is a particularly absorbing slow-motion voyage into the beyond with huge, lush layers of sound giving way to bursts of triumphant doom. These tracks particularly highlight the importance the production plays in the success of this record. Chris Munson’s recording has captured the interstellar scale of these compositions with the smoothness of a classic rock or prog album but with more than enough dirt that no-one forgets this is a doom album at heart. 

“Rift” is a strong collection from Forming The Void. These massive tracks sound like they could take the band to a wider audience while maintaining enough low end crunch to satisfy underground riff aficionados.

“Rift” is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Morag Tong, “Last Knell of Om”

By: Reverend Dixie Pole

Album Type: Full Length

Date Released: 18/05/2018

Label: Independent

In a year choc full of essential releases, Morag Tong have solidified their place with a Top 10 album contender

“Last Knell of Om” CD//DD//LP track listing:-

1). Transmission

2). New Growth

3). We Answer

4). To Soil

5). Ruminations

6). Ephemera / Stare Through the Deep

The Review:

In a world full of ever expanding realms of stoner and doom, it can be somewhat easy to get lost in the mire of it all. Thus, it is a comfort to know that a band such as Morag Tong exist. Ironically, when I first became somewhat smitten with Morag Tongs sound from the stupidly overlooked “Through Clouded Time” EP of 2016, they lived up to their name (see video game The Elder Scrolls III: Morrowind) acting as a secret entity operating from the shadows, however it has become harder and harder over time for people to ignore the existence and ever looming presence of this band as they have continued to leave punters in awe at the sheer power embroiled within their sound.

The procession of “Last Knell of Om” begins with “Transmission”, an instrumental instantly showcasing a rich and beautifully warm bass tone (courtesy of bassist James Atha), acting as a gentle welcoming to the listeners ears. This allows the drums to enter with ease all the meanwhile the guitars are bleeding in to create a landscape making tasteful use of swirls in fuzz. A song where many would falter for not knowing how to land it, Morag Tong touch down gracefully without over egging the pudding as it were.

With following track entitled “New Growth”, we are introduced fairly early on to the vocals from drummer Adam Asquith, a bellowing (and one of the better voices I have heard in a long time for this genre) call to the skies above, juxtaposed against a dark heavy and simplistic riff -all timed to perfection for the ultimate (bong) hit. The song builds and builds, drawing the listener back to the well balanced, interesting bass guitar riffing, drawing ever closer to the final riff and man oh man is it a riff worth waiting for. In fact if anything, I would love to have heard that riff far longer with some more lead work but it’s solid nonetheless.

The album plays to the strengths of Morag Tongs sound, which is to harness the core duo of well thought out bass lines and drums that are memorable, whilst creating a landscape with the guitars, their tones and subtle lead work over one another. The melodies captured by both guitarists (Alex Clarke and Lewis Crane respectively) invoke memorable, beautifully soul destroying melodies that can have a somewhat emotional impact on the listener – whether it’s the moment of looking to the sky and lamenting what life could have been if things had been different (see – “We Answer”) or gazing into the void at the hopeless mess that is mankind itself (“To Soil”). A drone of sorts is created by these elements and no – not in the Sunn O))) way – a natural drone that doesn’t overstay its welcome and acts as a soft blanket.

The album has been recorded, mixed and mastered by Sam Thredder of Cros Nest studios and what a fantastic job he has done. He has been the key to encapsulating what Morag Tong sound like live, allowing the listener to become all consumed by the waves of sound. Having seen Morag Tong live 5 times already over the past year, this is something which I had hoped was going to be evident in the presentation of the mix and master. Thankfully, this happy camper got his wish granted. Warm, clear bass throughout the fuzziest of amp orgy inducing guitar tones, clear definition of each limb of the drum kit and the perfect balance of vocals within the mix, powerful yet not overbearing on the instrumental side of affairs.

The musicianship on “Last Knell of Om” is simply big, fantastic and mature. Morag Tong excel in their subtleties, of guitar tones, bass tone and overall placing of songs, for example one need only pay attention to the placing of album concluder “Ephemera / Stare Through the Deep” with its “Planet Caravan”-esque ascending trip to the stars only to be dropped to earth again for opener “Transmission”. In essence this is to me how “Last Knell of Om” plays out, a journey that starts by allowing the listener to rise from the earth, then drift through a swell of emotions, ascend to the astral plains and be stricken back to this world, only for the process to repeat all over again as if caught in the belly of the Ouroboros.

“Through Clouded Time” was a great introduction to Morag Tong and is still essential whilst you can grab a copy (which I recommend), however “Last Knell of Om” has already in a year choc full of essential new releases from legends such as Sleep and Yob, solidified its place as a top 10 contender for myself this year. This is the most earthly, organic stoner doom band these ears have heard in a long time and as one who can usually throw around other comparisons to what a band sound like, I struggle to do this with Morag Tong. This - in my opinion, can only be a good thing.

Catch them on 16^th May at The Black Heart in Camden with Wychound and Elephant Tree for the album launch.

“Last Knell of Om” is available here

Band info: bandcamp || facebook