Posts Tagged ‘Sludge’

Uneasy listening trio Under have unveiled their new video for latest single ‘Malcontent’.

When asked on the theme behind the song, the band stated: “Andy (Preece – drums, vocals) came up with this suitably grinding, droning riff while bored out of his mind waiting outside a changing room. As we arranged the overall tine, adding Mayo’s signature noise and our usual uneasy rhythmic approach, we tried to accentuate that feeling of anxious horror and discomfort as much as we could. To reflect this feeling I wrote the lyrics to invoke that sickly desperation apparent in anybody hungry for power.

Their new album, Stop Being Naïve, is available now from APF Records.

Under are a trio from Stockport, Greater Manchester. Formed in 2016. Though rooted in the blueprints of Sludge and Doom Metal, their sound is harder to pin down with elements of Prog, Noise and Avant Garde creeping in. Under play with jagged, slow, off kilter riffs that tease the listener into a false sense of security with dark and abstract lyricism evoking a trippy and sinister unease. The trio cite the likes of Swans, Mr. Bungle, The Melvins and Radiohead as prime influences.

Watch the video for ‘Malcontent’ here:

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Under Oct 2018

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Pak40 – Crusts

Posted: 14 September 2018 in Albums
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5th September 2018

Christopher Nosnibor

I practically creamed my pants over Pak40’s live show in York, just up the road from my house, a few months back. I didn’t exactly know what to make of them, which was part of the appeal – they didn’t conform to any one style, but they were bloody good. And noisy. And now they follow up their live show with a ‘live in the studio’ EP. ‘Crusts’ was recorded live in one take, and released it the same day, the band leaving it ‘warts and all for a loud, crunchy listening experience’. And that’s exactly wat they deliver. While this type of set-up rarely works for guitar-orientated bands, York-based Pak40 prove the exception to the rule with their crossover style and experimental, big-noise approach.

A spot of research reveals that the 7.5 cm Pak 40 (7,5 cm Panzerabwehrkanone 40) was ‘a German 75 millimetre anti-tank gun developed in 1939-1941 by Rheinmetall and used during the Second World War.’ It figures: these guys sound like total war, a sonic blitzkrieg from beginning to end.

The first track, ‘Sausage Roll,’ is formed around a rolling, strolling, trippy psychedelic bass groove. It’s hefty, trudging, a mid-temp sludge-soaked stoner workout that emerges from a hum of feedback before it slows and speeds and grunts and grinds and powers along with some packed-in density. And when it slows to early Melvins pace around two-thirds in, it truly sounds like a Sabbath 45 played at 33. If you’re expecting some laddish indie jauntiness based on the title, with its connotations of working-class / low salaried simple pleasures in Gregg’s and various greasy spoons, think again.

It bleeds through a humming sustain into the ten-minute centrepiece ‘Rain’, a slow-burner that begins quietly with more strolling bass and some understated percussion. It goes nowhere fast, and in fact doesn’t do anything fast, burrowing deeper into darker depths as the squirming bass worms its way down, down, down. Time stalls: it trickles along and tapers away.

‘Pyramid’ hits a powerful groove and also calls to mind That Fucking Tank, only gnarlier, messier, more downtuned and bottom-heavy. In concluding with a definite finale, the EP has the shape of an inverted bell-curve in terms of the listening experience, and Pak40’s obtuse approach is something to be admired.

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Pak40 - Crusts

Sacred Bones Records – 31st August 2018

Christopher Nosnibor

Magus is Thou’s first full-length since 2014’s Heathen. It’s perhaps fair to say that the three EPs which preceded it – which they forewarned would be ‘a complete sonic departure from Magus and from each other’ – which effectively constituted albums in their own right – did nothing to prepare us for this.

But what exactly is this? As the album’s press blurb acknowledges, they’re ‘often lumped in with New Orleans sludge bands like Eyehategod and Crowbar, [but share] shares a more spiritual kinship with ‘90s proto-grunge bands like Nirvana, Alice in Chains, and Soundgarden’, while ‘the band’s aesthetic and political impulses reflect the obscure ’90s DIY hardcore punk found on labels like Ebullition, Vermiform, and Crimethinc’. All this makes them hard to place.

The album’s opener, ‘Inward’, provides just over ten full minutes of snarling fury that carries enough weight to crush weaker souls who may venture forth expecting any of the soft musicality of the Inconsolable EP (which revealed Thou to be capable of extreme gentility, and, indeed, extreme beauty).

Things turn very black and very sludgy and very heavy on ‘Transcending Dualities’; and while it’s a snarling, low-tuned mess of slow-creeping sludge, there are stray notes that break free to squeal to break the trudging oppression. Bryan Funck’s twisted vocals draw every ounce of excruciation into the mix.

‘The Changeling Prince’ brings grace and grandeur to proceedings, and the hushed intro and expansive sound of ‘Sovereign Self’ (the second of three songs to cross the ten-minute mark) calls to mind Amenra, but his is a whole other level of gnarly, demonic savagery, and the overall sonic density is suffocating.

But Magus does find Thou continue to expand and explore in all directions, and there are three shorter tracks that serve as interludes between the towering monoliths which are the songs themselves: the cacophonous racket of ‘My Brother Caliban’ contrasts sharply with ‘Divine Will’, with its ethereal female vocals and pounding tribal drums. Elsewhere, the sprawling epic that is ‘In the Kingdom of Meaning’ introduces a psychedelic twist to the doomy trudge. And there are passages of extreme delicacy, rich in evocative atmosphere, which draw the lister into quiet clearings with dappled light where an air of calm radiates before the shadows loom, the clouds gather and the next tempestuous storm breaks. Such tension-building passages and contrasts of mood and volume create a compelling dynamic and makes Magus a mighty album which requires attention and exploration of the detail.

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New Heavy Sounds – 20th July 2018

Originally released independently in February, Under The Strawberry Moon 2.0 sees Blacklab’s debut receive a vinyl release, wider distribution, and augmented by an additional track. It sounds like we’re arriving halfway through a song at the start of the album’s opener, ‘Black Moon’. It’s a slow, hefty riff that grinds out of the speakers at high volume. Yes, it’s loud and mastered even louder. Then the pace picks up the drums really get cracking and everything just throbs.

Yuko’s vocals are astonishing, switching between full-on gutsy hard rock, and witchy ethereal, and snarling deep and demonic. And they’re not afraid to send the needles into red, everything cracking with a fuzzy edge of overloading distortion. It’s this in-yer-face production that really makes Under The Strawberry Moon 2.0 the album it is. You don’t just listen to it: you feel it. You visualise the speaker cones on a massive rig vibrating, can almost feel the air being displaced.

‘Warm Death’ takes the face down and exploits the classic quiet / loud dynamic thing, and against a tidal wave of overdriven guitar the banshee howl vocals are nothing short of terrifying. Closer ‘Big Muff’ goes all the way for maximum downtuned sluge, with enough low-end to give rise to an uncomfortable sensation in the bowels. And it does so for ten whole minutes, in an audaciously excessive workout worthy of Melvins.

Coming on at times like Boris at their best, it’s hard to conceive that Blacklab are just two in number. Because this is some dense noise, gritty, driving and raw. There’s chug and grind, and there’s thunderous powerchords in abundance. In fact, there’s no let up – and no filler. And they could only ever have come from Japan: while we’ve seen a number of female-fronted stoner/doom/heavy bands emerging recently, Blacklab stand out as one of the fiercest, most intense and most-far out. They promise ‘Fuzz, fuzz, fuzz, doom, stoner, more fuzz,’ and they deliver it with the knobs all turned to eleven.

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Ritual Productions – 21st June 2018

Christopher Nosnibor

It’s perhaps fitting that self-professed occultist doom collective Drug Cult should unveil their debut long-player to coincide with midsummer’s day and the solstice.

They open with a nine-minute sludge-trudge that’s bursting with the trappings of psychedelia and old-school hard rock: ‘Serpent Therapy’ starts so slow, with so much distance between each chord that it sounds like an ending, a protracted grinding to a halt, rather than the start. Yes, this is slow, and this is heavy. The guitars are close to collapsing under their own weight, and threaten to bury Aasha Tozer’s reverb-drowned vocals in the process. It’s the soundtrack to a bad trip into the underworld, and while there’s nothing of such epic proportions to be found during the remainder of the album’s nine tracks, the darkness remains all-pervasive.

There’s a classic, vintage quality to the songs, but it’s all sludged up, twisted and messy, and what the songs lack in duration (the majority are below the four-minute mark) they more than compensate in density. The riffs lumber slow, low, and heavy, the bass grinds just as slow and even lower: the percussion doesn’t propel, but instead lands in thunderous ricochets while the cymbals wash in tidal waves. In fact, it’s like listening to an early Melvins 45 at 33, save for the vocals, which never sound anything less than borderline deranged.

The sense of volume is immense, speaker-shredding, earth-shattering. And just when it doesn’t seem possible to drive any deeper, grind any lower, ‘Bloodstone’ reaches a new low in low, the essence of doom-laden hard rock riffing distilled to its absolute. The form is still apparent: Drug Cult don’t take it beyond the limits as Sunn O))) do, but against contemporaries like Esben and the Witch and Big Brave, Drug Cult stand out for their concision and their eschewing of passages of levity: this is unforgiving, ultra-heavyweight from beginning to end. As such, it’s a truly megalithic work. Worship it.

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