Posts Tagged ‘UK’

Gnarly doom trio Tood are one of those bands that, when you first hear them, you wonder how they haven’t exploded already. Their debut self titled EP has all the fuzzed out rumbling groove that any self respecting Sabbath worshipper could want. If you are lucky enough to grab one of the cassette copies that Carvetii Productions have got, it adds to the gloriously old school vibe oozing from your speakers.

Opener ‘Gaffer Tape’ is like the soundtrack to some ancient, murky horror movie. The fuzzed guitar tone takes you into dark occult territories while a touch of early Cathedral in the vocals and psychedelic vibes loom throughout. ‘Discordant Method’ drives us onward towards the endtimes, aching riffs soak you in darkness and a mysterious bloodlust rises. The twisting, enchanting ‘The Bastard’ provides the most graceful of psychedelic freakouts before the churning ‘Schweinhacker’ brings us to a close.

If Tood were around when the first evolutionary steps of heavy metal were taken, they would be revered as legends by now. Their sound is vintage, enthralling and insistent. ‘Tood’ is a new favourite of mine; a deceptively heavy, simple journey to the dark mystical heart of heavy metal. Lead us to our doom, for doom this is

http://carvetiiproductions.bigcartel.com/product/carvetii-productions-cassette-releases

https://www.facebook.com/toodmusic/

Edinburgh based death/doom newcomers Wolf Sermon have got their 2016 demo out on cassette now through the always reliable Carvetii Productions. This is four slabs of dense, savage and dark metal for those of us drawn to the Asphyx/Autopsy axis of death metal. Be prepared for a couple of surprises though.

‘Pagan Skin’ rides out with a vicious, chugging Swedish death buzz to its riffing, while a strong Asphyx vibe laces its way through. Dark melodies are woven into each monolithic riff, bringing it above your standard Autopsy clone fare. It’s that sense of melody that lifts the superb ‘Violent Art’ into the realms of greatness; where mournful lead guitar meets crushing bass riffs and howling growls. When a band makes sure on their DEMO to do things a little differently to stand out, that’s a potential marker for future greatness.

Anyone who enjoys great, heavy music can appreciate the shifting sands of ‘Pillars of Vengeance’, but Wolf Sermon plant little nuances within each track that only enhances your joy at the pure spirit of their demo. Wrap that up in a tasteful cassette package from Carvetii and I’m frankly embarassed I’ve only just come across this now, because I love this shit. Grab a copy as soon as possible!

https://wolfsermonmetal.bandcamp.com/releases

https://www.facebook.com/wolfsermon/

http://carvetiiproductions.bigcartel.com/store

Sadly the death of Acid Goat has come before I really even discovered them, but thankfully Carvetii Productions have dropped both of their releases as a compilation cassette and what a fine piece of merchandise it is. Almost an hour of sublime, stoner doom is about to bulldoze you here, so sit back and enjoy the punishment.

It opens with the four tracks from their ‘Acid Goat’ debut, and the thunderous ‘Demonstash’ which groans and lumbers its way under the stress of awesome Sabbathian riffs. There’s an inherent menace lurking within the thick basslines of ‘Nosferatu’, which sways with malicious intent. That insatiably evil groove is a common theme within the entirety of this release; a rumbling highlight being the visceral Pink Floyd cover ‘Another Brick in the Wall Part 2’. The second part of the tape is Acid Goat ‘II’, a more self assured evolution of the dense groove of the first demo but with a more raw edge.

There’s a little Sabbath, a little EyeHateGod, a healthy dose of Electric Wizard darkness (especially in the mourning melody of ‘Sacrament’) and no lack of herbal influence all the way through this release. I’m glad, even if they’re gone, that I got to experience the groove, the soul and the heaviness of Acid Goat. If you’ve ever enjoyed a slow and heavy as fuck riff storm, then this is for you. Highlights for me are the tectonic opener and the moody closer ‘Brazen Bull’, which drags us off into the sunset perfectly. Get it as soon as possible!

https://www.facebook.com/acidgoatband/

https://acidgoat.bandcamp.com/

http://carvetiiproductions.bigcartel.com/store

Warcrab - Scars of Aeons

When death metal meets sludge, you’re probably going to be in for the heaviest of musical endeavours, and when you find Warcrab you’re in for a real treat. Their second full length, ‘Scars of Aeons’ is out very soon on Transcending Obscurity, and it could be one of the most devastating releases this year. Prepare to be flattened…

‘Conquest’ is one of the ugliest monoliths of extremity you’ll experience. Chilling murmurs begin to fade behind a dense, Crowbar-esque riff and an insistent drum line. Massive, deathly groove flows like a river, overwhelming you in a torrent of crushing riffs. That almost typical British death metal groove rolls out in full force, but the injection of Deep South sludge sensibilities looms large over the melodies that lurk within. The bulldozing start of ‘Destroyer of Worlds’ is a thing of mighty, brutal beauty.

The mournful ‘In the Shadow of Grief’ is bleak, rolling thunder upon a barren world, while the monolithic crush of the title track provides the final soundtrack to a burning, collaping planet. ‘Scars of Aeons’ finds Warcrab creating a sound that is beyond mere sludgy nihilism and deathly brutality, but a defining place beyond. Nasty, yet undeniably catchy in parts, Warcrab are heaviness incarnate and ‘Scars of Aeons’ is fucking great.

https://warcrabuk.bandcamp.com/album/scars-of-aeons-death-sludge-monstrosity

https://www.facebook.com/WarCrab666/

http://tometal.com/

Now I have been waiting a long time for this. I first came across Mountains Crave a few years ago with their track ‘The Violet Hour’, and have slavered in hope that a full length would eventually appear. And here it is, the enigmatically titled ‘As We Were When We Were Not’, coming out on Avantgarde Music in May. Something bleak and black for the coming spring!

Opener ‘Ynisvitrin’ opens with ritualistic whispering before a cold, bleak black metal riff takes us far from our safe, warm place. Bleak, depressing black metal is the name of the game here, with hypnotic melodies soaring above a frozen waste. Far more melodic than it has any right to be, Mountains Crave have injected a vastness and a glorious atmosphere here. The ethereal delights of ‘Clear Light of the Void’ sounds like if Isis had made black metal instead of post metal. It is expansive, melodic and yet intensely grim in parts.

The grasp of dynamic shifts in pacing, volume and ferocity here is staggering. Effortlessly darting between blasting torrents of ferocious black metal and delicate, contemplative acoustics, Mountains Crave have designed and crafted one of the most starkly beautiful records I’ve come across in years. The shimmering open to ‘O Arise Magnificent Sun’ is breathtaking, as is the soaring keyboards. If for whatever reason you are sleeping on this band or this record, then wake up now, because these guys could be the next Wolves in the Throne Room. A stunning record.

https://avantgardemusic.bandcamp.com/album/as-we-were-when-we-were-not

https://www.facebook.com/mountainscrave

http://www.avantgardemusic.com/

Impavidus - Eradication of Mankind

I reviewed Impavidus’s demo recently here on the blog, and they’ve returned with a new four track EP called ‘Eradication of Mankind’. This continues their journey creating some of the more interesting melodeath to come out of this country for a while. It is out on the 29th March via Bandcamp.

Gloomy, blasting opener ‘Reprisal’ pulls no punches immediately, with haunting clean vocals twisting around the chunky riffing. The raspy screams of vocalist Michelle Adamson works well with the ragged melodies and chunky groove. There’s a more overt death metal influence on ‘Eradication of Mankind’, but I can’t say I’m overly convinced on the use of the clean vocals on ‘Lies’, which treads the fine line between extremity and commercial metal a bit too closely for me.

The fantastic ‘Void’ rescues that for me, with some delightfully galloping melodeath riffing and earworm melodies proving to be a hit, and closing with the almost sultry menace of ‘XII’ really puts a stamp on that Impavidus ‘sound’. They don’t sound like anyone else, and while ‘Eradication of Mankind’ has the odd stumble, the positives far outweigh the negatives.

https://impavidus.bandcamp.com/album/eradication-of-mankind-ep

https://www.facebook.com/impavidusuk/

Long running UK thrashers Solitary have just released their third full length record at the start of March, and ‘The Diseased Heart of Society’ is yet another step towards riffageddon in terms of pure, blistering thrash metal. Blessing us with this release is the excellent UK Extreme Metal Records, and a more potent record they may struggle to release this year!

Opener ‘Wait’ comes roaring out after the ‘Blackened Skies’ intro with galloping riffs and some cool as fuck chugging sections. Also, I’m totally distracted about how vocalist Richard Sherrington sounds so much like Lee Dorian of Cathedral, and am now imagining a psychedelic doom/thrash crossover band. Musically, the main leads come from old school Exodus and there’s also some cool rumbling riffage in the crushing ‘Trigger Point Atrocity’.

Highlights include the rampant ‘The Edge of Violence’ which could be a lost cut from ‘Tempo of the Damned’, and the killer title track that shoots lightning from its fretboards. Solitary have got what seems like an endless stream of superb riffs cultivated from almost 20 years of Bay Area thrash worship, from the Death Angel-esque ‘Unidentified’ to the more Megadeth like stomp of ‘Anthem of Regret’. Solitary are a band that are not to be trifled with, because carrying this much riff power around must be dangerous!

https://www.facebook.com/Official.Solitary/

http://www.ukemrecords.co.uk/product/solitary-the-diseased-heart-of-society/

http://www.ukemrecords.co.uk/