Heriot "Devoured By The Mouth Of Hell" (2024)

Deep from the depths of metallic stagnation comes a rapid fire record I would have swiftly passed over if not for catching Heriot's energetic live performance. Devoured By The Mouth Of Hell also received some critical acclaim, convincing me to give it a proper go. I'm left convinced the Metal scene is lacking fresh innovation, as the genre matures into its sixth or so generation of existence, where does it venture next?

Described by Blabbermouth as "post-everything", one can hear a slew of subgenre ideals getting picked apart, then reassembled in this beastly collection of spiteful aggressive slogs. Focused on a mood of rage and tone of dread, its often a lurching background synth or atmospheric guitar distortion that glues together a songs identity. In barrels rumbling barrages of barbaric sound, dense with roaring bass but often devoid of much beyond amassing a terrifying textured vehicle of assault.

Thus its ten tracks aimlessly roam a desolate wasteland of destruction, sporadically lashing out in any available direction. Conceptually, it does sounds brilliant but in experience, most its songs lack a true musicality to latch onto. The dialed back, sullen Ethereal gloom of Opaline packs a genuine punch but its one cut from the many. The so called "post-everything" feels like a intentional choice to skirt prior conventions in search of something new. Only in brief glimpses does this search connect.

Rating: 4/10

Soul Blind "Red Sky Mourning" (2025)

 

I can't recall the last time I took to a record so swiftly. That's high praise considering my perpetual binging of its ten tracks has yet to dull. Opening up with a classy replica of late Alice In Chains, crunchy guitar grooves and that distinct harmonious singing kicks off a ceaseless run of moody, downtrodden aggressive goodness. With originality absent and familiarities running a mental list of possible mentions, Soul Blind's songwriting speaks volumes. A firm command of atmosphere and momentum seamlessly swings between hazy washes of bluesy grievance and rapturous head banging energy. Tracks tear through by on this engrossing fuzzy guitar noise, with splurges of Shoegaze melody, finding slick pivots into thudding romps of mammoth guitar groove. Sludgy, metallic, grungy and thunderous upon its arrival.

Ultimately, the aforementioned similarities seem skin deep, as emerging through obvious influences emerges a voice shaped to its own expression. Soul Blind house ill emotions. Frustration, sorrow, sadness and melancholy brood within to be exhaled through spurts of channeled aggression. The big riffs are memorable but its magic comes from the moody ruminations between. Early on the record plays these sways within tightly tuned songs. As it grows, more light is given to its aesthetic indulgence, the bluesy side, resulting in some beautifully sullen numbers like its title track. This dynamic keeps the record emotional and engaging till its final note. Its very hard to pick a favorite track, I want to play the whole thing front to back every time!

Rating: 9/10

Howling Giant "Crucible & Ruin" (2025)

Its been a while since I last checked in with Howling Giant. Turning an ear back to The Space Between Worlds, an evolution in song craft and aesthetic balance becomes undeniable. As part of the nostalgia revivalist Metal scene, Crucible & Ruin sees the band downplay imitations and embark on a tale steeped in inspired vision. Best expressed over its two part Beholder songs, all tropes and characteristic of the genre blend serve an expressive purpose that easily lulls one into the albums flow.

 

Capable of toning down its heavy moments without loosing momentum, these songs intertwine melody and groove together for an inviting froth of naturalistic scenery. Expressed through the lens of Rock and Progressive Metal, touches of Sludge, Doom and Psychedelic worm their way into this colorful brew. Subtle melodies weave around the rhythmic section, forging a gentle power. Heavy yet smooth, bright but hazy.

 

Only on Scepter And Scythe do the band overplay their hand. The chorus borrows a familiar cadence from Ghost's Papa Emeritus. Its a stark reminder of the bold vocal influence. The rest of the record navigates its lyrical delivery wonderfully, but once you hear this track it blemishes the spell somewhat. Otherwise, Crucible & Ruin is a fine record, not quite to my personal preferences but one can appreciate how well crafted its mood is, playing strong front to back with every spin.

 

Rating: 6/10

Knocked Loose "A Different Shade Of Blue" (2019)

 

Ever evolving, plunging deeper into metallic influences, Knocked Loose follow up their debut Laugh Tracks with this menacing beast of a sophomore record. Sinister in tone, its shouted angers and growled frustrations lurch within a darkly atmosphere well encapsulated by its album cover. A Different Shade Of Blue leans into discomfort, bleeding unsettled tensions into rhythmic groove and bounce. Dissonant, angular, shady guitar licks play interim on a stifling path to release. Strings of muddling riffs craftily pivot into thudding grooves and stomping halftimes, gratifying upon arrival.

Its thirty eight minutes entertain thoroughly. A consistent, non-linear onslaught of aggression. With dreary mood, the music seemingly stumbles its way into the wild throws of beat down magic over and over. A simple concept for release that somehow never unshackles its dingy looming dread. This characters the record with a sense of artistry where typical ideals are twisted to the will of this hallowed, enraged vision.

The metallic influences present are unshakable. In both tone and composition, these echos of Sludge, Groove and Melodic Death Metal ripple through more obvious Metalcore stylings. Many riffs and moments have an uncanny reminiscence but to what or who specifically I am never quite sure. This is testament to their creative expression. Influences heard all over yet never encroaching generic plagiarism.

My ultimate takeaway is my favorite sort, a solid record. Something that plays in service of its next song. Barely a peak or valley, just a consistently exciting venture along its meandering foray of gratifying aggressive oddities. Mistakes Like Fractures jumps out at the mid point but other than that its really hard to pick favorites as each track delivers on both its wretched mood and punchy spurts of head banging bliss.

Rating: 8/10

Dream Widow "Dream Widow" (2022)

 
Birthed as a fictional band through the Foo Fighter's Studio 666 movie, mastermind Dave Grohl brings his youthful adorations to the limelight. An exuberant testament to the gods of Metal, Dream Widow plays as a love letter to Thrash and Heavy Metal. Churned out with a soft tongue in cheek attitude, this self awareness plays keen. Backed by a consistent onslaught of sharp grooving riffs, its evil thematic comes across fun and playful. Dressed up with moments of metallic extremities, the record initially feels edgier, clearly oldskool Black Metal on March Of The Insane before settling into its cruising altitude of mid-tempo Mastodon crooning Metal.

Dave is pretty fantastic at steering his unique musical voice to these comically darker directions. Half the record feels fully committed to sinister theatrics, yet the other melds his Alternative Rock roots in both singing and writing. This is no complaint, the middle ground is entertaining too but after the shock of its full throttle, screaming and stomping opener Encino wears off, its clear this intensity isn't its firm format. When stepping away from the atypical cheese over the top Metal provides, the music sways with delightful inflections of melody, exchanging verse and choruses that compliment through dynamic shifts from rhythm to lead and all expressions between the two. 

Dream Widow is a cracking record stretched between Dave's expectant self and a mischievous, metallic inner child. Ending with seventeen minutes of sludgy hell, Becoming and Lacrimus Dei Ebrius illuminate his genuine understanding of the craft, as cheesy themes give way to sinister mockeries of the light. Ultimately its forty two minutes are a solid listen. Thoroughly entertaining, yet showing these three or so approaches that could of individually been their own beasts.

Rating: 7/10

Type O Negative "Life Is Killing Me" (2003)

 

Consistency is a thickly thing among bands amassing the years and albums. Maturing into their second decade, I anticipated a dip. With a sound no longer reflecting scenes of the time, Life Is Killing Me firmly solidifies the genius of this group. Stripping out the crass comical skits and experimental noise design interludes, Type O Negative ram another compact disc full with seventy plus minutes of moody Gothic tinged delight.

Their eclecticism runs amuck, new territory conquered and past roots resurrected. The pumping Hardcore Punk energy of Slow, Deep and Hard returns, accompanied by classic horror cheese synths. Fresh worldly instrumentation inflects accents in breezy unison with their motif. Somehow the experience comes intermingled with wretched bursts of sludgy Doom Metal riffage, Life Is Killing Me seems to offer it all again.

No thematic arc seems prevalent, simply a string of fantastic songs. Easily jumping among its more diverse territories, dense atmospheres and ripe attitudes always accompany. Steele seems evidentially distressed. Troubled by medical and identity issues, a handful of lyrics catch the ear as "overpaid meat magicians" are taken aim at professionals I can only assume gave him news he didn't want to hear. That and "I know I'm strange, I ain't no queer" turns up unfavorable attitudes lost to time.

Its a humble reminder of the human fragility behind the mesmerizing power of music, a touch unsavory in places yet his singing is quite the opposite. Leaning further into harmony and tenderness, the vulnerable side of a burly voice expresses captivating melodies with a keen pop sensibility among the 90s Alternative Metal vibes and doomed gothic romance he conjures. A bleeding heart performance, with sore pains and bleak suffering upfront yet not falling folly to shoutings barbaric aggression.

Thus its fifteen offer up fantastical conjurings which any fan will pluck some favorites. For me, IYDKMIGTHTKY a clear favorite. As Peter chants, "Gimme that", a snaky guitar grooves broods intensely in contrast to its shoegazing verses. The pivot into a hypnotic Synth whirl as he cries "If you don't kill me" an absolute delight. I could drone on but its rather simple, a quality record, lacking soaring peaks but absent of valleys along its path too. Just one record left to enjoy now. What a discovery!

Rating: 8/10

Type O Negative "World Coming Down" (1999)

 On initial exposure, a singular overt obvious influence and echoes of October Rust's Gothic glory hung overhead, looming like a curse. Type O Negative seemed to have hit a snag, one of stagnation. Having wholly won over my admiration, I persisted. With repetitions familiarity, their gloomy Gothic themes explored last outing grew on me. As did the Black Sabbath fervor reveled in by Hickey and Kenny, who's decent into the menacing grip of grueling Doom Metal lethargy, carves many unshakable riffs.

The buzzing, thin and fuzzed guitar aesthetic seems hard to justify on first contact. Riffs drift into the ether as Steele's manly darkened voice broods alongside bright punchy synths that channel 80s gothic cheese into stunning emotional splurges. Of course, this is actually their brilliance, great song writing in action. Swinging from gloomy theatrics with flashes of cold colors, dramatic lunges of rhythmic sway consume one. Powerful notes and bends play off one another, shuffling down the fret-board with measured persuasion on its groovy, sludgy march of Doom Metal prowess.

The thematic tone is rather dark as title and song names suggest. A looming gloom seems constrained to Steele's struggling lyrics and strife dwelled upon. The rest of the band come through with familiar strides in terms of theme, Steele directing a once Gothic allure to something grave. Despite this, the music still encroaches on the mid 90s melodic glory of past, among its diverse set of songs. Less experimental, more instep with their established persona, its Sabbath influences that shine brightest.

It sharper gravitas swings into gear when bluesy grooves bustle a rhythmic might. Pyretta Blaze kicks off with lengthy, sludgy low end riff to die for. Each time it comes back around is a pleasure. White Slavery, Who Will Save The Sane & World Coming Down all contrast Tomi Iommi riffs with ideas not plucked from this metallic world.

This underpinning comes to ahead on the closing and sublime Day Tripper Medley. Some how, this Gothic oddball group fused The Beatles and Black Sabbath together without a hint of irony. Sung with sincerity and heart, the odd fusion of sludgy groove and classic Pop Rock songs coalesces brilliantly under a haunting cawing of crows.

Technically cut short, its a special note to bow out on after a lengthy CD filling runtime. Its oddity tracks and interludes run intermittent with natural flow. They tie its rather grim lyrics to bodily constraints of mortality. As a whole, it plays wonderfully without filler yet some of its lengthier tracks do linger. Not quite as sharp as before but on World Coming Down Type O Negative still spark a bright, fascinating flame.

Rating: 8/10

Howling Giant "The Space Between Worlds" (2019)

Following up on a dazzling four track instrumental EP Alteration, it became swiftly apparent the band are side stepping from their core sound. As part of a growing trend in Metal that is already tiring me, the excitement wore off quickly. Initially spurred on by Ghost, this revivalist sound heard here reminds me of other fond discoveries, Green Lung, Beastmaker and a touch of Baroness vocally. Rather than riding the cusp of whats extreme or current, these songs look back to decades past by to pull together solid fundamentals of songwriting and classic riffage yet for all its excellence, the spark doesn't light a fire for most of the nine tracks found here.

 Ghosts In The Well peaks my interest, stalling the albums starting momentum and general temperament. Its acoustic strum sing along a cold and cautious tone of subtle sombreness. Its a rooted, cultural vibe standing in contrast to the swaths of loose and rumbling groove overdriven riffs that roar through every track. Its brief but welcome as the records aesthetic gets stretched on repeated listens. The soft chime of organs beneath every riff dulls the power of rhythmic guitar ideas, cushioning them into a common corner where one song to the next gets a little bland.

Cybermancer And The Doomsday Express may spice things up with hurried tempos and saw-wave synths but it feels like another idea entirely strung into the mix as its lyrics stand in direct contrast to the rest of the record. They in contrast, continually conjures images of mystic implied rural life from decades gone by and re-imagined, a romanticism of woods, wizards and witches. The vocals do deliver the theme so well, soaring with clarity and conjuring a creativity to resonate of the instrumentals below. Its a keen performance at the front to sell this nostalgic metal ride.

The groove riff that concludes Everlight, its fantastic guitar solos and the creaking Post-Rock build up makes for one wonderful song where the stars align but for much of the record that doesn't happen for me. I don't want to knock the record, My own exposure to this movement has this one feeling a little underwhelming despite clearly being a well written and performed album. To any Metalhead who yet to catch this sound though, it would be a great introduction worthy of checking out.

Rating: 6/10

Howling Giant "Alteration" (2021)

This four track EP has been somewhat of an obsession lately. Alteration is a sprawling instrumental epic of guitar led melodic grooviness! Its twenty minute duration graces us on a journey of progressive creativity, warm and welcoming as its mammoth guitar sound explores the rumbling depths of Sludge, Stoner and Groove Metal. Passing by psychedelic realms with a touch of Post-Rock scale, its elastication propels us from the crawls of swaying low end power up to the heavens of expansive lead guitar that swells with spacey melodies and colorful gleams of light.

Its twenty minutes breezes by with each of the songs working a deceptive linear direction as its recurring sections get re-imagined on revisiting. Its quite the feast as deep meaty bass lines, subtle chiming synths and dexterous drumming work around the guitars focal energy, livening up the stage and fleshing out this organic musical force. Its solo illuminate like a voice as its notations gush forth with a cadence reminiscent of lyrics being sung. Its not always in this vein but with surges it feels so.

Enemy Of My Anemone, to me, sounds like the telling track. Its opening lead riff and clever weaving of tune and rhythm feel strongly influenced by CKY... possibly? I am speculating and this is why I wrote about Foreign Objects two days back, spinning this one kept me thinking of Miler & Ginsburg's guitar styling. A Howling Giant is no imitation though, their identity feels rather distinct with its organic, warm and sun soaked temperament. Its a very welcoming style of Metal.

One odd criticism I've taken away is the lack of vocals. Often I am fine with instrumental music but something about these arrangements felt as if there was room for another, human, voice to chime in on the gorgeous weaving of colorful melody and swaying groove these numbers sail through. Other than that its a fine little record that sounds wonderful! Especially that deep bass rumble that comes to life when the rhythm riffs transcend up the fret board into lead licks. Its aesthetic is just right.

Rating: 6/10

Annotations Of An Autopsy "World Of Sludge" (2019)

Annotations Of An Autopsy... here is a band Id not thought of in some time! They were once the brief obsession of my friendship group back in the boom era of the emerging Deathcore music scene. It was mostly their utterly vile and misogynist lyrics that would grab attention. The music was equally disgusting, an ugly cesspit of pig squeals, Sludge, Death Metal and Slam that doesn't hold up well over a decade later.

I was initially excited upon seeing news of their return with a short five track EP. For some reason I thought the absense might yield a new matured perspective on their former "brutality". Unfortunately its as if they have been kept on ice, unleashing new music almost ignorant to anything that has happened in Extreme Metal over the last ten years. Even clocking in at under twenty minutes its an utter grind to endure.

This is mostly down to one element, the vocals. The instrumentals are competent in performance, dulled in creativity. Its a typical cramming of guitar chugs, snaky tremolo melodies and slam grooves, recycling the same stomp over and over. They chop up the drum measures to shift the pace and create plenty of alternating bounces and slams. None of the five tracks reach anything significant. Even the obvious "big moments" of the track seem to muster little more than a reiteration of the song so far.

At the musics forefront vocalist Regan throws out some meaty guttural shouts with gritty texture but this is where things slip up. His utterly wretched pig squeals sound like a joke. These squeals resemble a squawking crow being strangled to death. They are high pitched, ridiculous, shrill and irritating. Its hard to take seriously and the utterly valueless and immature lyrics drag it further into the gutter. It really dispels what little atmosphere is being mustered and puts a downer on the whole thing.

Rating: 2/10

Alice In Chains "Alice In Chains" (1995)

With a distinct shift in style from the likes of Dirt and Facelift, American Grunge and Metal outfit Alice In Chains throw a lot at the wall but little sticks. This self titled release has a clear artistic intention to not repeat themselves, however most of the differing ideas still feel experimental and without cohesion. Most of the music slips into a sludgier, gritty tone with a slow Doom Metal like tempo and atmosphere dominating the vibe. Its on these tracks like the opening Grind we hear a stylistic template that would stay with them to this day. The other half of songs unfortunately fall folly to this lack of glue in the experimentation as some ideas don't gel well.

Its Staley's last studio album with the band and he is somewhat subdued with a lack of those roaring hooks that would soar and sink into you like an infection. His voice is strong and capable but mostly matches the tone of these droning tracks. There are some clear experiments to reach new avenues with his singing, trying different inflections, Nothin' Song being a clear example of both lyric and execution feeling far from the grain. This also extends to Cantrell's riffing style too, mostly its temperate, slowed and washed out grooves creating slow sludgy grooves but these inflections of Country tang and Blues Rock feel off beat when they cut in suddenly.

There is a lot of good, slow moving and moody music here but the chemistry isn't ripe. If this were by another band I may have enjoyed it more however the bar had been set so high. There is also this linger feeling in the music that the band later nailed these sludgy concepts after finding DuVall. Its context given the year may yield it more significance in terms of originality but as we reach the end of this little revivalist journey I am left a little disappointed. It has its moments but at sixty five minutes you have to wade through lengthy songs winding around the main theme to find them.

Favorite Tracks: Brush Away, Head Creeps, God Am

Rating: 6/10

YOB "Our Raw Heart" (2018)

Its burly, dense and a meaty affair, another lengthy adventure, a Doom Metal crawler that is not quite to my taste but clearly epic in design. Our Raw Heart follows up on the Oregon bands seventh record, Clearing The Path To Ascend, of which the song Marrow remains a timeless classic among some less favorable cuts. That song is the main reason I checked out this record, in the hopes they would deliver something else as special. Unfortunately little of the record sparks any magic for me, however I hold it with a higher regard as objectively interesting music within the lands of Doom which rarely manages drags me all the way in.

Much of the music is focused around the dynamic duality of the bands long serving front man Mike Scheidt, his emotive vocals and sludgy, brooding riffs play off one another as the elasticated and temporal sway of his guitars crash on the shores. Its like a wave and he is surfing it with ranged singing from clean to grizzly and always earthly, rooted and authentically raw. The tempo held down by the drums crashing around him, compliments the musics direction and in its slowest moments they feel like the bare essentials to hold the sluggish lunging guitars into place as Mike rises over the top of his scenic waves with a meaningful energy.

The texture of the distortions are thick, muddy, crusty, a slab of almost tune deaf noise with a rich detail, unfortunately they don't evoke much beyond an interest as the pace and direction of the songs rarely seem to escape themselves with exception to Beauty In Falling Leaves. It has a bleak yet serine build up and sense of scale that unfolds. On the other end of the spectrum The Screen deploys a dirty, gritty, greasy chugging riff into the fold with not an inch of color about it. Its the albums most boring piece as the riff grinds on monotonously, its breaks and variations offering no counteraction to the ugly and repetitious chug.

Bar the one song I don't think its fair to be critical in anyway of music that you just can't connect with. Ive given it a fair try but in the future I probably wont give them more than one spin in the hopes of them having another song that captures my imagination just like Marrow did. It could be mood, or timing that made it hard to find a connection. In the Doom Metal scene this record will likely be praised but it just wasn't my cup of tea.

Rating: 4/10

Pallbearer "Sorrow And Extinction" (2012)

Sorrow And Extinction is a gloomily fitting title for this sullen, bewildering debut record by the acclaimed American Doom Metal band Pallbearer of Arkansas. Charmed by their newer albums Foundations Of Burden and Heartless I wanted to complete my journey through their catalog, which is rooted in a genre Ive never fully connected with. Their artistic approach to Doom Metal has the deathly slow pace traversed with burly lunges of oozing guitar distortion, making a mark on the genre far more interesting and intricate. Coming back to this origin point one can hear the cracks and creeks in the sound that would be greased out by their sophomore but even its flaws are mostly aesthetic.

Once again Pallbearer have me at the mercy of their sludgy pacing and dense foggy distortion tone. The feeling of imminent gloom and suffering revels in a bleak landscape that seems to find life just above the swampy guitar movements that crawl and lunge forward with a burden weighing it down so. This dark and esoteric sound has a natural and decaying quality where music of this nature so often falls into the realm of of evil and fantasy, something feels root and grounded, deeply earthly about Pallbearers journey through sorrows.

The guitar are poised at the mercy of singer Campbell who swings it in this carnal, earthly direction as his light and cruising voice swiftly sails out from the depths with finely held notes that coarse through the mist with an ambiguous touch of reverb that's both ghostly and living at the same time. The moments where he sings as lead guitars erupt over the brooding guitars are the most fantastic on this record. The leads too inflict much needed respite from the monstrous guitars as they break up the monotony and blossom with color and motion.

The album falls short where it fails to maintain its balance, or keep from letting the gloom become too engulfing. Treating the album as a single experience their are lengthy passageways devoid of that important break and respite that brings the music to life and gives the sprawling guitar sludge a sense of hidden beauty, for when it drags it drags its feet slowly. In the moments the chemistry is ripe its a very captivating listen but lengthy compositions hold these moments at bay. I also found the production to be a little jagged with its handling of the dense guitars which can all to easy dominate in a very interesting musical setting.

Favorite Tracks: Devoid Of Redemption

Rating: 6/10

Chelsea Wolfe "Hiss Spun" (2017)

American singer songwriter Chelsea Wolfe has had my ear for a while now. Her stunning Pain Is Beauty has been a standout record in recent memory but like all great artists, she continues moving forward and evolving with each record, which doesn't always yield success. Her feature on the title track of Russian Circle's Memorial seemed like a perfect match, something I craved to hear more of and her last release Abyss gave us that collaboration. Oddly it didn't resonate with me and this newest release, Hiss Spun, sounds exactly like what I hoped that pairing could accomplish. This time Chelsea features Troy Van Leeuwen from Queens of the Stone Age who composes monstrous Post-Metal guitars to bring weight and atmosphere to Chelsea's haunting presence.

With calms before storms we tepidly breathe, recover and anxiously await the lurking dread that's always present. One song after another has us in its grasp of haunting sorrow, and unsettling unease before unleashing the ugly, disturbed, mammoth walls of sound that drown us in its thick, dense and meaty persuasion of sludgy, wailing guitar noise. They bleed at the seems, burgeoning with gritty texture, turning eerie atmospheres to nightmares in there wake. With a swarming intensity the layers of sound flesh out dizzying moods as floods of Post-Metal guitars descend upon the listener in sudden, violent eruptions, sometimes with a little build up.

Chelsea's soft and pain felt voice finds its setting here with familiarly dark and harrowing instrumentals of baron percussion, eerie reverberated acustic instruments and piano chords of dread. Its set to new extremes with truly massive guitar distortions as most the songs find a pace to proceed to an unleashing of dense Post-Metal guitars stacked with sludging rumblings of guitar noise that occasionally have a semblance of groove but mostly thunder away a monotone driving of momentum.

 The chemistry is sublime, when it roars Chelsea's voice transforms from the weak, vulnerable, tortured soul to a fierce, empowered beacon of bitter strength. It comes in measures and always with an ear for aesthetics, her voice often discernible in a ghostly wash of reverberation. The compositions all feel linear, expanding and growing in one direction, taking us on a journey through her pain and inner darkness. A couple of tracks don't feel to dissimilar to previous work, her vocal style showing some boundaries in places as they echo old songs.

Hiss Spun is a maelstrom of noise, numbing you with its bludgeoning rumble of sludge guitars that decimate in the eye of its storm. The shadowy calms between hold us captive as the inescapable approaches. A fine record with vision, stunning execution and little to flaw, possibly her best to date? Id say it comes down to taste, I personally love the electronic variety on Pain Is Beauty but adore the overwhelming experience these forty eight minutes of smothering whisk you into.

Favorite Tracks: Spun, 16 Psyche, Vex, Offering, Static Hum

Rating: 8/10

Mastodon "Cold Dark Place" (2017)

Hot of the back of the desert sun soaked "Emperor Of Sand", American Sludge Metal rockers Mastodon bring us four songs I hoped were b-sides from their album released earlier this year. I say that because It has grown on me greatly over the months, Mastodon have the experience and talent to write music with depth that lasts. The same could be said of these four songs however, as the title suggests, they have moved on from the warm summery sound into a "Cold Dark Place", with exception to "Toe To Toes", that song would fit snugly into Emperor Of Sand.

Climate, temperature and luminosity are highly suggestive ideas in music. The record certainly kicks off with a chilling tone, its quaint aesthetics let bustling acoustics resonate of a flute line as the song jumps straight into its moment with earthly singing, the two voices chiming with a catchy quirkiness given the sombreness setting. Its a spooky, ethereal place we drift through with an odd moment of Funk as a upbeat jive manages to penetrate this melancholic place as the song unleashes its guitar solos. The groove is rather reminiscent of CKY given the style of singing and flexing riff beneath.

"Blue Walsh" and "Cold Dark Place" are in the same realm of eerie, dark melancholy without any heavy or blunt metallic riffage. Everything is a tapestry of thoughtful riffs layers to resonate and on the first mentioned song, a rather soothing, relaxing atmosphere is conjured with strong plentiful reverberation on the vocals the drifts over the instrumentals like a graceful ghost lost in memory.

Unfortunately, this is Mastodon and so the spell of our three darker tracks are often interspersed with technically dazzling riffs that scale the fret board with pace but in doing so break the spell of this shadowy, chilling setting. The same could be said of the solos too, when the distortion picks up and the more human Rock elements come to the front, it pushes the sombre setting out of mind. I really have enjoyed this record but its kind of bitter sweet as they don't fully embrace the mysterious atmosphere they create on three of the four songs.

Favorite Tracks: North Side Star, Blue Walsh, Toe To Toes

Rating: 5/10

Mastodon "Emperor Of Sand" (2017)

The behemoths of Sludge Metal, Mastodon, have become quite the reputable group over time, climbing festival bills and delivering record after record. I myself have barely checked in with the band since their classic breakthrough record "Leviathan" and I can't help but feel I'm enjoying this record more than the average fan would. Kicking off with "Sultan's Curse" the opening riff sounds as natural as Mastodon get, immediately identifiable with Brent Hinds verile voice. It doesn't take long for the record to set its desert sweltering, sun soaked tone. The warm undercurrent of broad baselines swell, heated under colorful, tonal guitar distortions that rock and groove, swaying back and forth in there own narrative. A constant switch and swerving of melodic inflections and pumping grooves come to light when the vocals illuminate there direction with earthly, raw yet harmonic singing that's got a rough authenticity and genuine softness too. Its a chemistry that works without force.

The record is always lively, not a dull moments passes as each rolling riff delivers melody and hardness. From crunchy grooves to expansive chords, guitar solos and interludes the adventure is sweet for all fifty minutes. On some tracks the whirling of soft organs can be heard in the backdrop, like mirages in the baking sun. If not for these its mostly a straight forward setting of guitar, drums and vocals, the themes and ideas emerge from the song writing but on "Clandestiny" the song pulls back to a Progressive Rock setting and busts in with vibrant electronic leads, very reminiscent of the tone used by "Contact". A robotic voice mutters as it comes to a climax and for a moment the record is transformed to a different setting. It works but is a rather isolated event in a very consistent record.

It's criminal that I haven't given more time to this band, I believe there strengths as song writers holds this record up however It doesn't have quite the immediate intensity of songs like "Blood And Thunder". This newest record "Emperor Of Sand" is more of a theme, a place, setting, a storey that the band really own. Listening to it alone makes the room temperature a little hotter. I really do like this temperate sun soaked breed of Metal they have put together here.

Rating: 7/10

Favorite Tracks: Steambreather, Roots Remain, Word To The Wise, Jaguar God

Baroness "Purple" (2015)

American Metal band Baroness caught my attention at the Grammy's with a nomination for best Metal record. Ive heard them a few times before due to critical acclaim but never got into their breed of sound, however this time I figured I would give the album a fair shot. Its the groups fourth full length and only singer John Baizley survives from the original lineup. Their sound hinges on a Rock core with Metal leanings that at times conjures fiery storming riffs, very similar to Mastodon's distinct style. In its counterpart the record is loaded with great catchy hooks, sing along vocal lines and an undercurrent for melody that surfaces in the climactic moments and interludes like "Fugue". Classic Rock with a hard tone, dynamism in its riffing and the subtle use of keyboards to compliment lead melodies and bury layers of unearthed sound under the riff roar of the energetic guitars.

The records production and mix says a lot about the looseness of their performance style. In the calmer moments everything is tight, fluent and well measured but when the music fires up, the distortion guitars and tone of the music gets a little sludgy, loose and organic. The production puts a lot of emphasis on this with peaking guitars and drums that can be heard with every tom roll as the distortion draws a complimentary energy from the peaking compression. Mostly it compliments the instruments tone but when the drums get lively it can become a bit tiresome to endure.

With matching tone and direction the songs here mix the lines between more tradition Rock ideas and metallic aggression, creatively I must say but the best of them come from moments of melodic cohesion where the guitars and vocals meet in the same direction which is something that doesn't happen all too often. Baizley's shout isn't the most charming but it has character, soul and a burden that is truly sung and felt. When the pieces full in place Baroness make terrific hooks and choruses but not every song could hit that mark. The guitars also deserve merit here for the expansiveness to make repetition interesting in delivery and playing where the dynamics are in a state of motion. It mMakes for a very humanistic listen with a passionate voice singing over a loose and noisy Rock entourage.

Favorite Tracks: Kerosene, Fugue, Desperation Burns

Rating: 7/10

Melvins "Houdini" (1993)

American Metalers "Melvins" are an interesting group. When it comes to Metal I am fairly well versed, except in the Sludge / Doom sub genres, which would explain why this band has alluded me all these years. They are acclaimed as a group with strong influences on the emerging Seattle Grunge scene in the early 90s, Cobain is even credited for his involvement in the production of this record. Drawing influences from Black Sabbath and Black Flag, Melvins forge slow, sludging music with that obscurer Ginn approach to guitars that can be felt in moments throughout this album. This is their fifth release and one I chose to listen to simply because it was the first full length to appear in a search result, no surprise it is their most commercially successful release too.

The Melvins sound on this record is a mixed bag of approaches to their slow and sludging style which is mostly achieved through song writing, more so than aesthetics. Boasting a light, rock drum kit, clean, slightly gruff vocals and modest overdriven guitars with pale lead tones, Melvins do not need pummeling kits, bludgeoning guitar tones or screams and growls to achieve brooding sludgy sound. Carefully crafted riffs and composed drumming unite to create some decent grooves and head bangers, as well as crushing, slow movers, of which their is a fair variety on this record.

There were many interesting, and captivating moments on this record, but for the good there was equally some drawn out, duller moments too. The flow of this record is a bit sporadic, with the tempos and vibes changing a fair bit from track to track. "Honey Bucket" kicks up the tempo with the albums thrashiest track, to be flowed up with "Hag Me", a lethargic sludger. Both equally good tracks, but the constant changes made it hard to stay with this record. Melvins have every right to experiment and put out varied music, the result is enjoyable but as an album for me it feel short of creating a consistently captivating listen.

Favorite Tracks: Night Goat, Going Blind, Honey Bucket, Copache

Rating: 6/10

Steak Number Eight "All Is Chaos" (2011)

Post Rock/Metal outfit Steak Number Eight are a four piece band from Belgium who released their debut EP in 2008 when the band members age was at an average of 16. Three years later these youngsters released their debut full length "All Is Chaos" in 2011 which I was recently turned onto by a friend. I enjoyed this record with no knowledge of their age, which shows it doesn't really matter when it comes to music.

Steak Number Eight have a big, epic, sludging sound. The group stroll their way through many varying degrees of heavy, melodic and grooving riffs that draw influences from Post-Rock and other styles of Metal that give each track its own flavor. These lengthy songs drone and brood rather than progress as moods and atmospheres intensify into bombastic moments littered with catchy riffs and absorbing climaxes. The album opens with "Dickhead", a catchy bouncy track that doesn't quite set the tone for what follows. Offensive lyrics and upfront riffing, the song climaxes with some almost Deftones-esque screams and guitar grooves that starts this one of with a head banger that the rest of the album doesn't quite follow suit with, offering much more moody atmospheres in the following tracks.

The album sounds decent, nothing spectacular but the guitar tones are the highlight, the production captures the best of the melodic guitars often soaked in blissful reverb. The distorted rhythm guitars texture and tone is sublime, capturing the right balance of distortion and fuzz, giving the guitar room to move in and out of the spotlight when providing the momentums grooves or backing for melodic leads. The drumming and bass is a little underwhelming, I don't recall any moments where the bass came to the forefront or the drum patterns were doing much more than guiding and accommodating the guitar department. Decent album with some great riffs but lacked icing on the cake.

Favorite Tracks: Dickhead, Stargazing

Rating: 5/10

Earth "Primitive And Deadly" (2014)

Earth are an American Drone Metal band from Washington that formed in 1989 and are considered pioneers in the field of Drone Metal. Over the years there style and sound has changed, evolving into a more melodic and Rock sound than their Drone roots, although still keeping the Sludge / Drone relevant in their sound. 2007s Hibernaculum caught my attention with its slow, sludging groves performed in melodical tones that created contrasting atmospheres of relaxation and intensity, since then i have been enjoying this bands output, and this album has certainly grasped my attention.

Primitive And Deadly sounds lush and vivid, capturing the textural depths of guitars that drone there beautiful distortion in graceful sludgery. The clean melodic leads share the space effortlessly as the two wrap and meld around one another. The drumming ever present, quietly retaining the pace of these slow burners with grace. On 3 this records 5 tracks, Earth introduce a vocal presence with exquisite execution, Lanegan & Qazi bring artistic, poetic performances to the fold, so tastefully done. There is a real connection between the instrumentals and the vocalists that add great depth to this record.

Through these slow burning numbers Earth build enigmatic & psychedelic soundscapes that have an almost rock-like feel to them. Maybe if sped up some of these riffs would sound a bit more so, but there sluggish dragging of these riffs create spacious atmospheres for these chords and distortions to ring out to great effect. Through these spaces the songs progress and build thoughtful and unresting moods that give this album and immersible quality. I'm ever so impressed with this record, I've been lavishing in these tunes. Earth have mastered their sound, and this record is a fantastic step forward for them.

Favorite Tracks: There Is A Serpent Coming, From The Zodiacal Light

Rating: 6/10