Sunday, 17 April 2016

Beastmaker - Lusus Naturae (Album Review)


Release date: 26th March 2016. Label: Rise Above Records. Format: CD/DD/Vinyl

Lusus Naturae – Tracklisting

1. Clouds In The Sky
2. Eyes Are Watching
3. Arachne
4. Skin Crawler
5. Find The Stranger
6. You Must Sin
7. Burnt Offering
8. Mask Of Satan
9. It
10. Astral Corpse
11. Lusus Naturae
12. The Strain

Band Members:

Trevor William Church - vocals, guitars
John Tucker - bass guitar
Andy "Juan Bonham" Saldate - drums

Review:

Beastmaker from California are a brand new acquaintance to me and I was sold from the word go. So more of this please! I guess you can say this trio moves within the sphere of doom, but man the way Beastmaker unleashes their magic breathes new life into a somewhat overcrowded genre. Few new bands can match the old guard in terms of quality and honesty, and that’s one part in which the band excels. Not afraid to show who their influences are, they blend this with their own beautiful ideas. And the resulting concoction brewing in the cauldron, is invigorating and delicious.

Foreboding and punishing with a strong hint of early Black Sabbath, ‘Lusus Naturae’ brings out demons and nightmares from the darkest recesses of your mind. Mid-paced tempo, for the most part, with a full and earth-shattering bass guitar, loud and pounding drums that backs riffs that rips through steel. Adding occult themes for the lyrics and their magic brew is ready and potent as hell.

You should definitely enjoy the entire album, you hear, simply because it is badass! However, there are some tracks that stands out and represents the band the best. Church bells initiates opener ‘Clouds In The Sky’ and you can feel a storm brewing as evil forces approaches. Sludgy, crawling and sinister, it’s the perfect start to ‘Lusus Naturae’. Sticking to the lurking, crawling stance ‘Eyes Are Watching’ is even more foreboding and claustrophobic. The brutal riffs and Trevor’s distorted vocals enhances this greatly. The groove is on in ‘Skin Crawler’. A thumping, pounding bass guitar leads the way as Andy and Trevor weaves their magic around it. Slightly faster tempo, Beastmaker still breaks it down with an eerie, trippy mid-section that only adds to their excellence. Very Sabbath-y, ‘Burnt Offering’ is occult doom at it’s finest. No there are no baying Hammond Organs or seductive female vocals. Instead, the guys let their hair hang down as they belt out a fantastic evil creation. ‘Mask Of Satan’ is the best song of them all which is not a small feat, considering the great music throughout. Chugging riffs play on top of the bass guitar and drums, whose tightness and power can’t be underestimated. Ending in the most bone-chilling fashion, ‘The Strain’ goes slow but aims for the gut and it hits home immediately.

Like I mentioned earlier, Beastmaker are not afraid to show where they come from. The influence of a young and hungry Black Sabbath has the band enveloped, and then some. But the guys sidesteps any trappings of bringing in too much of their influences, simply by writing great songs and having a blast playing. All while making no apologies and rocking their socks off. I’m totally sold on Beastmaker and I urge you to check them out folks. Great stuff, indeed!

Words by Håkan Nyman

Lusus Naturae is available to buy on CD/DD/Vinyl from Rise Above Records now.

Links:

Ocultum - Ceremonia Oculta Primitiva (Album Review)


Release date: April 20th 2015. Label: Self Released. Format: DD

Ceremonia Oculta Primitiva – Tracklisting

1.Nausea y Oracion 09:14
2.The Faceless King 09:56
3.Marasmo 06:05
4.Tumba de Siglos 08:27
5.Black River 06:18
6.Ceremonia Oculta Primitiva 06:56
7.E.N.D. 10:43

Band Members:

Seba – Vocals/Guitar
Lautaro - Guitar
Pablo - Bass
Raúl Valenzuela - Drums

Review:

Ocultum's debut album was originally released last year but somehow it passed me by. I've been asked by Raul (on multiple occasions) to review the album. So here is my review of Ceremonia Oculta Primitiva.

Ceremonia Oculta Primitiva is dirty sludge ridden slab of Doom/Stoner Metal with harsh vocals to match. This style of music is a common theme within the South American Doom/Sludge/Stoner Metal scene and the guys don't break any new ground with this release. What they do offer is a heavy and pulsating listen from start to finish. Taking influence from the more heavier and influential bands of the Doom/Sludge/Stoner Metal scene. Ocultum's music has a vast psychedelic feel and the vocals give this album a real menacing feel.

The songs are not your standard 3 or 4 minute fast-paced numbers, nope – Ocultum create songs that last between 7 to 10 minutes in length. It allows the band to create heavy nightmarish sounds where the guitars are down-tuned low and the bass guitar has a menacing chainsaw effect. If you like your music played at a slow pace but with plenty of heavy distorted atmospheric noises then this album is for you.

All of the songs have a constant array of depressing sludge riffs but the band show hints of originality from time to time especially where they unleash a more straight-forward stoner riff. It's quite a stark contrast from the heavier sounds Ocultum creates . Though I do have some issues with the album. The production for one is sloppy in places. Parts of the album sound fantastic but there are other parts where you can hardly hear the instruments being played. Instead more focus is given to the vocals than the instruments themselves. Don't let that minor criticism put you off as Ocultum's debut album is a superb album overall.

Standout tracks have to be: The Faceless King, Tumba de Siglos and Black River.

If you want something to FUCK UP YOUR WORLD for 60 minutes or so then look no further as Ceremonia Oculta Primitiva will leave you in a world of pain and I mean that as a compliment.

Excellent and Highly Recommended.

Words by Steve Howe

Links:


Thursday, 14 April 2016

Interview with MERCHANT

Today's guests are about to release their stunning debut album – Suzerain. It's a complex, bleak and very progressive style of Doom/Sludge Metal. Taking influence from bands such as YOB, Neurosis, Cough and THOU, these guys still have their own sound.

I became aware of them back in 2015 when they released a single called Seismic. A song that showed a brief glimpse of their true potential. Now with Suzerain about to be released on April 18th 2016, I have a feeling we will be hearing a lot more from MERCHANT. Another great band from the superb Australian Sludge/Doom Metal scene that has provided so many other great bands over the years recently.

MERCHANT have kindly agreed to doing this interview with me where we discuss the usual Outlaws Of The Sun topics. I wanted to know what influenced to record an album this bleak and what they think of the rising Australian Doom/Sludge/Stoner Metal scene.

So read on if you want to find out more...

Hi guys. Thanks for doing this interview. How are things with you today.

Thanks for having us. Things are good. We're all pretty busy getting ready to release our album and doing all the behind the scenes stuff that comes with it.


Can you give a brief history of the band. How the band came together. And did you know each other before you formed the band or played in previous bands with each other.

Ben (guitar), Nick (drums) and I (Wilson, bass) got together in late 2014 with the intention of making a heavy stoner/doom band. We've all known each other for 10+ years and have played in bands together before, so the fit was right straight away.

Mirgy (vocals) came along about 4-5 months later when we got to a point where we needed a vocalist to make the songs progress. Mirgy has never done brutal vocals in a band before and Ben, usually a bassist until now, hadn't played guitar in a band before either so it was a bit of a new experience all round.

How would you describe your own sound.

In a few words - thick, psych drenched sludge.

You’re about to release your new album – Suzerain. It’s an excellent record. What can people expect from your record?

Thanks man, good to hear it struck a chord with you. In my eyes it's an album full of grating guitars and odd timed riffing, psychedelic guitar leads, layered brutal vocals, churning bass, elements of tribal drumming and worship of the slow and heavy.

Why did you choose the name Suzerain for the album. Any specific meaning.

The title track Suzerain came about after a couple of us read Cormac McCarthy's 'Blood Meridian'. The book is a pretty intense tale of a bloodthirsty gang in Texas around the mid ~1800's who collect scalps in exchange for currency. One of the characters is a seemingly immortal, omniscient man who is almost mythological in the area where they roam. He refers to himself at one point as a Suzerain, which is a feudal lord who has power of more minor lords in the area. A king of kings, really.

The song covers the quest for blood and the descent into madness that surely comes with a stressful job like that.

The album is a very bleak and complex album. Did you expect the album to be this bleak when you were writing and recording it?

Honestly, when we were writing it, we just thought it was groove driven and epic. Once we got into the studio and started listening back, that's when it kind of dawned on us that it was pretty bleak. The vocal layers really help to add to the menacing and claustrophobic sound in our opinion.


What inspired you when you were writing and recording the album and what was the overall recording experience like for the album?

Our main sources of collective inspiration are bands like YOB, Thou, Eyehategod, Conan, and Bongzilla. All those bands make either genre defining or genre defying music, which is incredibly inspiring. We had a pretty good time at Goatsound with Fuller (Blood Duster, The Ruiner), he's a knowledgeable dude who doesn't sweat the little things which can bog you down sometimes. He's also got some pretty funny stories from 25 years of being the underground metal world. The recording experience itself was unreal. We tracked all the rhythm parts and drums together, which really helps with the overall vibe I think. It definitely creates a bit more of a raw experience where the songs push and pull with what's occurring in the room.

What does the album represent to yourselves personally?

For the band as a collective, the album represents the first chapter and having gotten this far. Personally, and aside from the scalp hunting, the album's concepts touch on the world turning to dystopia, death of those near as well as insanity waiting in the shadows.

What is the song writing dynamic in the band. Is it down to an individual or a group collective.

Writing is definitely group driven usually with an individual as the catalyst. Usually someone will bring a riff or two that go together and then we'll see what everyone else has up their sleeve and try and put it all together.

We spend a lot of time trying things with different feels, drum rhythms, vocal patterns so we can get the best out of a riff. We end up exhausting a lot of possibilities this way - which is helpful for filtering out what works and what doesn't.


Will you be touring this record heavily at home? Can you give any details?

Australia is a pretty huge country and touring can become difficult because of that. We've got trips planned all around the country for the latter part of the year but not in any continuous stretch. Currently, we've got a trip to Brisbane in July and are looking at Adelaide in August.

What is the scene like currently in Australia. It appears to thriving with a ton of great bands starting to make a name for themselves. Do you perform a lot of gigs in your hometown of Melbourne or surrounding areas.

There's some killer bands in Australia now, and especially Melbourne. There's now a few generations of heavy bands in Melbourne, which allows newer bands to come up too. Bands like Watchtower, Space Bong, DEAD, BOG, Roundtable and Field are all doing really interesting, genre pushing stuff. We try and play once or twice a month in Melbourne if we can. We pretty much take any show that is thrown our way!

What is your equipment set-up when playing live or recording in the studio. Do you have an advanced set-up or a basic set-up.

We tend towards the more basic set-up in Merchant. A few fuzzes on both mine and Ben's pedal boards plus some more psychedelic pedals and some big cymbals for Nick to try and drown us out with. Mirgy is pretty straight up with the vocals too, no tricks there - just grim screams.


Thanks for doing this interview guys. All the best with the new album.

Thanks mate and thanks to Outlaws Of The Sun for doing what you do. Much appreciated

Words by Steve Howe and MERCHANT.

Thanks to Merchant for taking the time out to talking to me. Suzerain will be available to buy from April 18th 2016. You can read my review here.

Links:

Merchant - Suzerain (Album Review)


Release date: April 18th 2016. Label: Self Released. Format: DD

Suzerain – Tracklisting

1.Seed & Soil
2.Mourning Light
3.Suzerain
4.Black Vein

Band Members:

Ben - Guitar
Mirgy - Vocals
Nick - Drums
Wilson - Bass, Vocals

Review:

Australian Doom/Sludge Metallers – Merchant – create a bleak blend of Doom, Sludge and Stoner Metal. Merchant show huge potential on their debut album Suzerain as they create highly progressive Neurosis/YOB style sludge/doom sounds with the band injecting an almost blackened sludge metal feel to the mix.

Opening track – Seed & Soil – sets the tone and atmosphere for the whole album. Merchant play dark and epic pounding riffs with almost indecipherable vocals that may put some people off the album. If you have the patience for an album such as this then you will find much to enjoy and admire here. The psychedelic noises bring a welcome distraction to the filth and decay that Merchant expertly create throughout the album.

The production is handled superbly well as the album has a rich and heavy complex sound that only adds to the highly volatile atmosphere of the album. Second track Morning Light is another progressive nightmarish track sees the band change their sound between post-metal, doom and post-black metal. It’s quite a bass heavy affair with the pounding drums leaving you in a daze at times. The vocals and lyrical content are very bleak which more than matches the harsh sonic riffs being played around you.

Third track – Suzerain – is a twenty minute epic and perhaps the centrepiece of the whole album. Merchant create an almost tribal experience merged with the familiar depressing Sludge/Doom/Post-Metal style that Neurosis created back in the day. The vocals are kept firmly in the background for the first part of the song but Merchant experiment with their sound as Merchant bring heavy layers of experimental noise and you never know how it’s going to end. It’s quite a bruising encounter of extreme music your putting yourself through but it's never boring. Merchant demand your attention from start to finish. Psychedelic noises and bass heavy guitars could give doom metal heavyweights Conan a run for their money.

The final track – Black Vein – closes the album the way it started. Long drawn out doom/sludge based riffs with the band playing a faster style of music compared to the other tracks on the album. Merchant have created a menacing and quite frankly punishing album. It doesn't offer any easy answer though Merchant will have you coming back for more punishment as they have created a stunning debut album that is bound to get them noticed in the Sludge/Doom Metal scene.

Excellent and Highly Recommended. You can read my interview with the band here.

Words by Steve Howe

Links:

Tuesday, 12 April 2016

Haast's Eagled - II: For Mankind (Album Review)


Release date: May 27th 2016. Label: Holy Roar Records. Released. Format: CD/DD/Vinyl

II: For Mankind – Tracklisting

1.Pyaaz Bhonghi
2.The Uncle
3.Zoltar
4.White Dwarf

Band Members:

Jo
Lee
Adam

Review:

This band’s last offering was in 2013. The debut was sludge served at the perfect doom temperature. I have awaited another release with eager anticipation. The wait is over. Haast's Eagled II:For Mankind is upon us.

Haast's Eagled tips the ladle, basting your simmering brain with black butter and as you enjoy the concoction waves warming the folded crevices of your mind, the cannibal next door is salivating at the aroma of the imagined recipe. This album stirs your emotions through sound.
The 4 tracks are as follows:

Pyaaz Bhonghi - The opening song begins with droning distorted doom and tribal drums that rumble in like a thunderstorm. The elongated adenoidal vocals trade off with a chronic "Lurch" belch. Midway through is a slow daydream like portion which is haunting in effect. We are then given a powerful, soaring vocal passage which allows you to contemplate why the leaves turn red before they are completely dead. A piano version of the theme creates an emotional and stirring end to the song.

The Uncle - This tune begins as a fade in distortion, which is soon coated with the same shrill beak like vocals and the return of “Lurch” and his chronic indigestion. This offering is winged doom escaping through the creaking of the coffin lid. I don’t know the meaning of this song, but all my Uncles were creepy folk with leering eyes and foul breath, which this song resonates triumphant.

Zoltar - This track is a 20 minute opus. It has plucking strings and echoed strums of guitar conjoined with murky piano. It reminded me of the slow deconstruction of a grainy Zeppelin or Floyd recording. The vocals consist of melancholic chants of a defrocked monk and passionate singing passages of a lamenting paladin. The song picks up the pace to a galloping grunge over the half way mark with the victorious vocals of a vindicated philosopher and slows down again with mountainous drums, open chords and guttural sounds, not unlike an old sluggish 78 vinyl. Piano returns to accompany the dual soprano/baritone vocals, and a horned instrument makes the passage more heart rendering in its overall composition. The ending is pure life on Mars presenting the band firing all guns with old Sgt. “Lurch” pulling a last minute vocal duty again.

White Dwarf - This song hums as if recorded within a humid dungeon, resulting in fluid vocals and resonant instruments. The song eventually grabs you with an old style bob along song structure and vocal part causing you to nod in unison.

The album cover is rendered in shades of red and depicts a man lobotomized by a tusk larger than a sabre tooth. This must be the end result of aboriginal man, the basic urge we deny exists today.

The bipolar song architecture is perfect for the rage and ache within every self aware man. I would listen to this while I contemplate the words for the inscription on my tombstone.

This is a great album and a passionate experience for those willing to invest the sentiment and give it a spin.

Words by Na Palmisano

Thanks to Holy Roar Records for the promo. II: For Mankind – will be available to buy via Holy Roar Records and Haast's Eagled BandCamp Page from May 27th 2016 on CD/DD/Vinyl.

Links:

OMMADON - S/T (Album Review)


Release date: April 8th 2016. Label: Burning World Records / Dry CoughRecords / Medusa Crush Recordings. Released. Format: DD/Vinyl

OMMADON – S/T– Tracklisting

1.OMMADON 41:39

Band Members:

David Tobin (guitar)
Ewan Mackenzie (drums, keyboards)

Review:

An ominous wailing of dense feedback announces the arrival of the latest release from lords of bleakness Ommadon and this new album in keeping with the rest of their back catalogue is short on the number of songs but long on their length. This self titled behemoth is only one song but is over forty minutes long and has many musical twists and turns along the way.

That wail of feedback creates a long intro that you keep waiting and waiting to explode before, finally, a tribal-esque drum kicks in and pounds tensely, adding to an already anxious atmosphere by pushing the listener further and further to the edge of some sort of dark aural abyss where they will get restless, apprehensive and even upset and what is happening to their ears. This is lesson in aural perseverance in the heaviest way imaginable.

In fact, to say that Ommadon's music is not only heavy but in fact crushingly heavy would be a severe understatement and there is no trace of melody here at all and this combined with the massive apocalyptic riffs that are as punishing as it gets and resonate frequently throughout. While other heavy bands can talk the talk when they say that their music is heavy but not follow it up, Ommadon really do walk the walk and only need to let their music do its far from insignificant talking, there is a sense of negativity and sheer nothingness that just can't be faked contained on this album and it sounds all the better for it.

This is primal music at its base level, the mogadon pace of the music makes it all the more menacing and the whole feeling of the record is one of utter darkness. This is not music for the faint hearted, this is music for people who want or in fact need to be pushed over the edges of sanity and sounds like the entire world collapsing in on itself and as the album ends as it began with that evil sounding feedback, a sense of relief may come over you but your ears may never be the same again.

Turn on, tune in and let the harshness of Ommadon consume you, this is the sound of musical evil incarnate and for those that can handle it, enjoy the ride.

Words by Gavin Brown


Mount Soma - Origins (EP Review)


Release date: April 5th 2016. Label: Self Released. Format: DD

Origins – Tracklisting

1.Nebula 09:41
2.Origin 02:47
3.Lazarus 06:30

Band Members:

Vocals/Guitar - Brian,
Guitar - Keith,
Bass - Conrad,
Drums - Aaron

Review:

Mount Soma's debut EP is slowly starting to turn some heads within the Sludge/Stoner Metal world since it's release last week. Origins is the arrival of a band you need to check out now. If you're a fan of heavy spaced out Sludge/Stoner Metal then Mount Soma is the band for you.

The EP may only last for 20 minutes or so but the band have included a ton of great ideas for you to discover. Opening track – Nebula – starts off rather slowly before exploding into heavy sonic sludge based warfare with a touch of Psychedelic Doom Metal appearing here and there. The vocals from Brian add quite a lo-fi punk edge but it works in the bands favour.

Apparently Origins was meant to be a full length album but the band decided to release it as an EP instead. I think this is a wise decision as it allows the band to keep an air of mystery around their music. Second track – Origin – is a slow-paced semi-acoustic grunge song with cool vocals once again from Brian. It has a very earthly quality about it.

Though the band return to heavier spaced out riffs on the final song – Lazarus. This is perhaps the standout track on the EP as Mount Soma create a more progressive spaced out song to immerse yourself with. It's played at a very slow pace to begin with but once the louder riffs appear the song changes into a more heavier and doomier affair.

The production could have done with more work but that shouldn't distract you from enjoying the hell out of Origins. I've heard a full length album is on the way. If that's true then that can't come soon enough as I want to hear more of Mount Soma and this excellent EP is never enough. Check this out now. It's a great start from a band with hopefully a bright future. Excellent and Highly Recommended.

Words by Steve Howe

Links:

Facebook | BandCamp