The dirty relationship that would arise should the dregs of sludge metal mate with the slick, foreboding nature of black metal is anything but likely…or so we thought. Out of the darkness comes Wolvhammer, a band of Minnesota natives hell bent on crushing skulls via blunt force trauma as echoed in the sludge metal handbook, and then cleaning it up with the eerie sounds of black metal. This is a match made in heaven for horror, but in terms of musical accomplishment, I have not found myself to be as excited by this prospect as maybe I thought I’d be.

For some reason, the two beasts present on Black Marketeers of World War III often offput themselves. Most of the time, this is a straight up sludgy album with blackened overtones, but once the vocals kick in, the blackness suddenly overtakes the cool pace set by the sludge, resulting in a meddlesome affair. Often when black metal is introduced into the picture, it almost always makes the accompanying metal sound more atmospheric and deep, but Wolvhammer, despite supplying us with pulse pounding music that lives up to their uncompromising name, fails to deliver with the ingredients selected. The brisk, punk-laden “Das Kult”, and the equally uptempo tribal “Suicide Brigade” bring an excellent touch to this album, along with many of the sludgy moments on each song, but once the vocals and the black metal elements kick in, I immediately lose interest.

I normally would give suggestions on how I’d like to see a band improve on their next outing, but with Wolvhammer, it’s the bare essence of their style that doesn’t sit well with me, so unless their style beecomes more adaptable to my sensibilities, I don’t foresee myself enjoying much Wolvhammer in the future.

NOT BAD

Similar Artists: Darkthrone, Lair of the Minotaur, Corrosion of Conformity

1.    Cold Ghosts
2.    Witchery Artillery
3.    World War Winter
4.    Das Kult
5.    Call To Assimilate
6.    Snaketongues
7.    Suicide Brigade
8.    A Cancer Of Purity
9.    Monolith

M.L.
H.R.
A.S
R.M.

Init Records

http://www.myspace.com/wolvhammer

Instrumentals can be a nice reprieve from some of the shit you listen to. It’s even a reprieve from the good stuff as well, because you simply don’t have to listen that hard for the lyrics to come, and you don’t become distracted from where some of the real talent in most bands really lies…In the band! It goes just that way with Year Of No Light. All you have is instrumentals, and it definitely is a welcoming sound compared to some of the wailing that comes blasting over the speakers.

Hailing from France, Year Of No Light really brought something to the mix with their 2010 release, Ausserwelt. When everyone listens to music that is truly good to them, I believe that it can speak something to you. It can speak to the love in yourself, and make you think beyond the basic sounds, and relate the music to something you might enjoy. I personally enjoy movies more than most things, and Ausserwelt really has me thinking of some. Being of the Sludge/Doom Metal genre, they have me thinking of some dark ending scenes to movies. I listen to tracks like “Persephone (Enna)” and I’m drawn into something like an end scene from The Punisher or something. It could even be the credits to a movie like The Crow too. I’m just throwing some things out there. Another cool part of the album would be the flow of the tracks. They all seem to flow right into one another, as if they’re telling a story of some sort. What that story might be, well…You can use your imagination. Dream it you fuckin’ Dreamers!

All in all, this album slinks you into the dark parts of Sludge/Doom metal, and leaves you there to rot. It has no forgiveness, nor does it show compassion… What I’m getting at, is this is definitely some dark shit, so to all of the faint-hearted, Dragonforce-only fanboy types, Ausserwelt might be way past what you could comprehend.

VERY GOOD

Similar Artists: Acid Bath, Om, Down

1.    Perséphone (Enna)
2.    Perséphone (Core)
3.    Hiérophante
4.    Abbesse

Pierre Anouilh – Guitar
Jérôme Alban – Guitar, Keyboard
Johan Sebenne – Bass, Electronics
Bertrand Sebenne – Drums, Keyboard
Shiran Kaidine – Guitar, Vocals
Mathieu Mégemont – Drums, Electronics

Year Of No Light Homepage

http://www.myspace.com/yearofnolight

Conspiracy Records

Awake in Sleep – Dark Castle from Paul Myers on Vimeo.

First and foremost, I want to say that the label distributing this fine piece of work is Neurot Recordings, the group who is also distributing the Shrinebuilder debut which I simply cannot get enough of. Everyone should check out Neurot’s website to see all the other great material they are or have distributed in the past…after reading this here review of course. Anyway, onto the nitty gritty. Forgive Us Our Trespasses is the second album from A Storm of Light, and the first that has graced my aural cavities. Hailing from New York, A Storm of Light follow in the same vain as Isis, Shrinebuilder and Neurosis amongst others, which doesn’t surprise me since its guitarist and vocalist is Josh Graham of Neurosis fame, and also a large contributor to the Neurot Recordings label. Honestly, Forgive Us Our Trespasses is what I wish Wavering Radiant should have been from Isis. I found the latter album to be boring and maybe a bit pretentious, while Forgive Us Our Trespasses is darker and WAY more atmospheric.

A Storm of Light , as with Isis, fall into the post rock genre, which combines elements of hardcore, metal and other rock oriented sounds into something that is much more atmospheric and ambient with a focus that falls on the artistic expression of the music rather than just wanting to rock out per se. I can’t say I am a big fan of this supposed post rock genre, if it even really exists, but I do know that Forgive Us Our Trespasses is an album that you should listen to all the way through to really appreciate. Like other ambient types of music, I find more enjoyment with this album when I am occupied with something else, much like how I listen and enjoy classical music. When I focus on a sound, it needs to have dynamics that keep my attention. This album lacks dynamics, which are replaced with melancholic muttering vocal passages in between musical numbers. The musical numbers themselves, as I have said, are quite atmospheric. This is not a concept album, or a rocker, this is a piece of art that has to be enjoyed the best way you can perceive it. In other words, this is not soda, this is a fine wine that requires an appreciative palette to enjoy its unique qualities. I find unique qualities when I am disconnected from an album like this when my mind is open; a clean slate of no judgement and consequence. Fans of Isis will eat this thing up for sure, but impatient listeners are strongly encouraged to look elsewhere.

GOOD

Top Tracks: Amber Waves of Gray

Similar Artists: Neurosis, Shrinebuilder, Isis

1.    Alpha (Law of Nature Pt. 1)
2.    Amber Waves of Gray
3.    Tempest
4.    The Light in Their Eyes
5.    Trouble is Near
6.    Arc of Failure (Law Of Nature Pt. 2)
7.    Midnight
8.    Across the Wilderness
9.    Time Our Saviour (Law of Nature Pt. 3)
10.    Omega

Josh Graham: vocals, guitar, synthesizers, banjo, piano
Domenic Seita: bass, backing vocals, percussion
Andy Rice: drums, percussion
Joel Hamilton: guitar, wurlitzer, modular synthesizers
Nerissa Campbell: vocals
Jarboe: vocals
Lydia Lunch: spoken word
Carla Kihlstedt: theremin vocals and violin
Marika Hughes: Cello

Neurot Recordings

http://astormoflight.com/

http://www.myspace.com/astormoflight

Review by CODY

Wow, Eastern Canada is really pumping out the bands! Nova Scotia’s own Big Game Hunt has recently released their album Goliath and seeks to bring the southern stoner sludge Canadian style. Does have Canada have what it takes to make their own New Orleans? Well, they already have the French influence, so all they need is a bit of Southern grit and we may get just that.

Goliath is almost on key in every department. We have the hard hitting tracks combined with the freewheeling fun grooves so evident in southern rock, as well as acoustic experimentation in “Before Long.” Big Game Hunt wear their influences on their sleeve, but it doesn’t harm their sound one bit because they can construct riffs that bring the power and the fun. This isn’t some local bar band, these guys really have potential and I’d personally love to see them play live. Unfortunately, there is one minor set back.

It’s very clear that Big Game Hunt have taken a lot of inspiration from the dirty, southern sludge style of Down, especially vocalist Jordan Rose who attempts to take on the style of Phil Anselmo. Unfortunately for Jordan, Phil isn’t exactly the best vocalist to mimic as he hasn’t been a good vocalist in almost 20 years despite fitting rather well into the Down mold. Jordan on the other hand, isn’t as fitting. While the groovy sludge feel of Big Game Gunt is really good and even rivals the last Down album, the vocals bring a “cover band” quality to what would have otherwise been an excellent chunk of metal. Jordan isn’t a terrible vocalist, but his style is too reliant on Anselmo’s stylings that it hurts the effectiveness of the band. Goliath is definitely an album worth checking and some may find my criticism of Jordan to be a bit harsh as he is competent and the music really stands on its own.

GOOD

Top Tracks: On the Scene, Before Long,

Similar Artists: Down, Corrosion of Conformity, Clutch, The Sword, Kylesa

1. Dave and Big C
2. Seeing Red
3. Heavy Blues
4. Revelation
5. Blue Devils
6. Leaving
7. Lucky 13
8. Raise A Glass
9. Embrace
10. Reprieve
11. Heaven Falls
12. Wisdom in One
13. Lesson Learned
14. Search Party
15. Before Long
16. On the Scene

Jordan Rose – Vocals
Wayne Muise – Guitars
Matt Duncanson – Drums
Jared McInnis – Bass

Self Released

http://www.myspace.com/biggamehunt

Review by CODY

Atlanta’s own Gray Ghost are out to harvest despair and nihilism, at least that is the sound that is evolked from their new EP, Deep In the Shallow End. Creating atmosphere through a sludge metal record is an art within itself, because you don’t want to sound like you are trying too hard by just playing down tuned riffs very slowly, and you don’t want to sound pretentious by making a carbon copy of Saint Vitus records because no one else could possibly create music as well as they did. Gray Ghost is in a decent place, harnessing a solid atmosphere that is much more akin to punk than classic doom, which is awesome, because I can’t help but think of sludge masters, Melvins, and really, who else is better to be compared to with this type of music?

Gray Ghost aren’t original, let’s get that portion out of the way. Their music, as I alluded to, is a much slower, darker and less playful version of Gluey Porch Treatments from Melvins, combined with the stoner spirit of Electric Wizard and Kylesa. However, this is definitely not a bad thing. Deep In the Shallow End is an intense slab of metal that any fan of the above mentioned bands should definitely have a go at. Muddy, nihilistic riffs filled with pained, distant harsh vocals. This is definitely not Saint Vitus, and that’s not a bad thing either. The punk attitude of “simple is better” is very prevalent with this release, and to me, that makes the best sludge, which in itself is an even more downtuned, simpler version of doom metal with stoner tendencies. Gray Ghost know exactly what music they are setting out to create, and are probably very in tune with the scene they participate in.

Deep In the Shallow End is not a catchy record, which basically translates into it being good, but new hipster fans of Mastodon should steer clear; this is a sludge album for sludge fans, with marijuana being an optional accessory. I would definitely recommend this to long time fans of the genre, as well as open minded newbies.

GOOD

Top Tracks: Hold, Stay or Sleep

Similar Artists: Melvins, Electric Wizard, Kylesa, Bongzilla

1. Siberian
2. Saints
3. Hollowed Out
4. Stay or Sleep
5. Hold
6. Bed of Snakes
7. …

CJ
Sky
Chris
Corey

Chainsaw Safety Records

http://www.myspace.com/grayghostatl

Review by CODY

I have been receiving an unusual amount of instrumental albums lately, but my latest arrival is nothing short of a mind bender. Solo project Inchoate, courtesy of Brandon Duncan, is not your stereotypical instrumental project. Most instrumental albums consist of a full band (or at least guest musicians), and usually provide a platform for an hour or more of progressive wizardry. On IV: The Revenant however, we are presented with a 32 minute single track of something that is clearly not designed to “show off,” instead, we are given a flashlight into the soul of something truly out of the ordinary.

Brandon’s delivery throughout this single tracked album instrumentally is quite noteworthy, and is what brings this aural imagery to life. Playing every instrument except for the drums which are programmed, Brandon has composed something that has just as much to do with examining a mural as listening to music. I use this analogy because IV: The Revenant is not something that can be summarized in a linear fashion, instead this whole 32 minute CD is seemingly designed to evolk the emotions of whatever the beholder wishes to experience. Brandon has written that this album is to convey the soundtrack to a fictional zombie movie, but it seems much more complex than that.  Containing crunchy thrash riffs, atmospheric sludge, electronica and a slew of other odd combinations that while odd, are still undeniably metal. Inchoate represents the project of someone who wishes to tell a story through self-introspection that will leave you as much puzzled as satisfied.

Many people, I believe, will fail to appreciate the artistic merit of Brandon Duncan, but I get it, in my own personal way. I don’t listen to this album in the same way I do others, because other albums use lyrics and traditional emotive techniques to evolk what “they” want their listeners to feel. Inchoate is here to beckon you to relish in your own creative spirit, just as much as the music’s creator has. You have entered the world of an aural ink blot test, do what you will with it.

VERY GOOD

Top Tracks: Well, I guess I”ll go with track 1

Similar Artists: Liquid Tension Experiment, Scale the Summit, Pelican

1. Inchoate IV: The Revenant

Brandan Duncan – Guitar, Bass, Programming

Self Released

http://www.corporatedemon.com

http://www.myspace.com/inchoatenoise

Review by CODY

Many in the mainstream feel the need to call Isis post-metal. This is a term that I never understood because it insinuates that those that are labeled “post-metal” are no longer actually metal. Does this sound like a cop out to anyone else? To me this sounds like fans of Isis not wanting to be labeled as fans of metal, because one thing is for sure, Isis on their 2009 album, Wavering Radiant is still most definitely metal. What now hipsters? Did I just ruin your happy moment?

I will admit that classifying any of Isis’ music is a chore, a chore worth laboring over, but a chore nonetheless. You see, Isis, from a metal standpoint, comes from a strong doom/sludge metal background, but with a HUGE dose of atmospheric conditions fueled by non-metallic elements. These elements enfused with traditional metal riffs is probably where the term “post-metal” originated, but since when does a metal band who uses non-metal elements all of a sudden become not metal enough? Trust me when I tell you that Wavering Radiant, while not your every day Bongzilla record, is still very much metal.

Now, enough of the diatribe. Wavering Radiant is Isis’ 5th studio album, with a crapload of live material scattered between. As I mentioned earlier, the sound is very sludge based in the heavier portions, while the remainder is a whistful, jazz like series of riffs and accompanying beats. For a laman’s comparison, I’d say its a combination of the heaviest portions of Mastodon, and the lighter portions of Opeth. This comparison is just to give you a general feel mind you, and its important to understand that the Isis sound is quite original and “avant garde” if you will.

Upon my initial listen, I wasn’t really sure what to think of this album. It has actually taken me a few weeks since receiving this promo to really formulate an opinion of Wavering Radiant. However, while listening this evening, the entire piece seemed to finally sink in with me developing a final conclusion. In the end, I discovered that the juxtaposition between the heavy portions and the softer sides was quite apt and very well balanced. While I’d say the majority of the album falls in the more atmospheric side of things, there are continuous moments where the band suddenly breaks down all sense of calm with Earth shattering riffs of the extremely crunchy variety.

My ultimate conclusion about this album is, while I do appreciate it and can enjoy it on a certain level, Wavering Radiant isn’t a fun listen. To me, it’s like watching the film Pi; it’s a heavy handed, well put together piece of art and well worth the listen, but going back for more is just not as pallatable. I’d have to say, despite their reliance on the term “post-metal” that this record will ultimately be best enjoyed by those outside of the normal realm of heavy metal, as there just aren’t enough dynamics for the average metal fan to really find this to be worth repeated listens. Nonetheless, I do recommend Wavering Radiant to everyone to at least try out, because it is definitely worth the experience, even if it ends up being only once.

GOOD

Top Tracks: Wavering Radiant

Similar Artists: Opeth, Mastodon,

1.    Hall of the Dead    07:41
2.    Ghost Key    08:31
3.    Hand of the Host    10:45
4.    Wavering Radiant    01:50
5.    Stone to Wake a Serpent    08:33
6.    20 Minutes/40 Years    07:07
7.    Threshold of Transformation    09:53

Aaron Turner – Vocals, Guitar
Mike Gallagher – Guitar
Jeff Caxide – Bass
Aaron Harris – Drums
Bryant Clifford Meyer – Electronics, Live Guitar

Ipecac Recordings

http://www.isistheband.com/

http://www.myspace.com/sgnl05

Review by CODY

What stands out to me about this album in comparison to other albums of its kind is its inclusion of melody in it in kind of a Led Zeppelin way all traced with heavy, stoner-like riffs. When I listen to this album, I am immediately put into a borderline catatonic state, staring off into nowhere just enjoying the far out presence of each riff, and that’s completely sober! Plastic Green Head is an incredible album that really defines stoner metal in the perfect way. We have heavy riffs, but its done in such way that doesn’t raise your adrenaline levels through the roof like other genres do. I really dig this stuff to say the least. (Similar Artists: Black Sabbath, Kyuss, Alice in Chains, Spiritual Beggars, Pride & Glory) AMAZING

Fleshcrawl – Descend Into the Absurd (1992)

This album usually catches a lot of praise in the underground, and I am not really sure why. This is a good, solid album, but I don’t think it qualifies as “great.” Don’t get me wrong, the entirety of this album is a solid state of death metal, but I don’t think its memorable enough to be classified as one of the best German death metal albums ever created as some metalheads seem to think. Still, there really isn’t much I can speak ill of on Descend Into the Absurd. This is a quality release drenched in deep, dark methodical death metal from an era that has seemingly died out. Definitely worth looking into. (Similar Artists: old Therion, Obituary, Entombed) VERY GOOD

Steel Prophet – Into the Void (1997)

Brutally boring power metal. Lackluster melodies, over the top vocals with little “power” in the riffs to back them up, uninspiring drum beats with little in the way of fills. This is a very uninspiring metal record. Nuff Said. (Similar Artists: Fifth Angel, Iron Savior, early Gamma Ray) EH

Capharnaum – Reality Only Fantasized (1997)

Yes, Matt Heafy can play death metal too as witnessed in Florida tech death metal act Capharnaum. This their debut release is really nothing special. Is it technical? Yes, but it’s technical in a sloppy, underproduced way. Yes, death metal in its bare essence doesn’t/shouldn’t need to have a polished sound, but Reality Only Fantasized sounds a bit unprofessional. Nonetheless, despite some of the technical shortcomings, the album has a few catchy moments and really represents some sick old school death metal. (Similar Artists: Nocturnus, Pestilence, Autopsy) NOT BAD

Eyehategod – Take As Needed For Pain (1993)

Sludgified sludgtastic sludge metal. Eyehategod, the progenitors of sludge metal show why they personify that title to the best of their abilities on this release. Containing uber (and I mean UBER) amounts of dirty, grimy heavy as fuck riffs that would make Witchfinder General blush. Essentially, if it weren’t for albums like this, Phil Anselmo and company would probably be sitting on their laurels right now instead of playing in Down. God/Satan/Zeus hath blessed us with sludge, and Take As Needed For Pain is truly a quintessential example of the best this genre has to offer. (Similar Artists: Crowbar, Down, Melvins, Bongzilla) VERY GOOD

Reviews by CODY

While always holding down the fort as a doom metal band, Kylesa has been a great story of maturity in evolution. On their 2002 self titled debut Kylesa was a rough around the edges sludgy doom metal band heavily influenced by the hardcore scene which was becoming the center of the heavy music world’s attention. However, unlike many of their counterparts (Bleeding Through being a good example of a group who has remained static for most of their career), Kylesa has gone from a youthful band adopting the sounds of their peers, to coming into their own as a band best amplified on their latest release, 2009’s Static Tensions. This isn’t hardcore tinged doom anymore, this is a full on psychodelic sludgefest.

Now instead of echoing images of their hardcore brethren, the metal fan will probably liken Static Tensions to the breakout stoner artists The Sword, more than any other group. I don’t know what long time Kylesa fans think of this their latest album, but the crisp guitar tone, laid back drum technique, and well produced vocals leave me, as a newer fan, smiling from ear to ear because I tend to eat this stuff up. Older Kylesa was much more heavier and raw, especially off of their self titled debut, and really brought the aggression, but I think the band has shown true gusto by going in a much more atmospheric/psychodelic direction. Don’t get me wrong, the heavy “sludge” factor is there still which Kylesa should never lose in my opinion, but it’s much, much more refined with far superior production values.

Essentially, Static Tensions represents the band’s transition from the pecking order, into a fully grown outfit. I hope that doesn’t sound derogatory because as a listener, this is about as big of a comment as I could give these guys. Kylesa, despite being a metal band, is one that does not need to rely on heavy, pulse pounding aggression to get people to buy their record, instead, they can interlace quality songwriting with excellent production. Of course, knowing when to turn up the heat and blow people’s faces off is always good too, and thank God that Kylesa still knows how to make eyeballs pop out of people’s heads like Arnold in Total Recall. Oh yeah!

VERY GOOD

Top Tracks: Nature’s Predators, Scapegoat, Only One

Similar Artists: The Sword, Mastodon, Alabama Thunderpussy, Fiftywatthead, Electric Wizard

1.    Scapegoat    03:25
2.    Insomnia For Months    02:04
3.    Said and Done    04:09
4.    Unknown Awareness    04:22
5.    Running Red    05:46
6.    Nature’s Predators    04:10
7.    Almost Lost    03:03
8.    Only One    05:20
9.    Perception    03:43
10.    To Walk Alone    04:22

Phillip Cope – Guitar, Vocals
Laura Pleasants – Guitar, Vocals
Carl McGinley – Drums, Noises
Eric Hernandez – Drums
Javier Villegas – Bass

Prosthetic Records

http://www.kylesa.com/

http://www.myspace.com/kylesa

Review by CODY