Ahhh Primitive Man. As you can see from my reviews of their previous work, (here, here, here, and here), this is a band I absolutely love. Their pitch-black, nihilistic, world-hating doom is so perfectly delivered that it never ceases to satisfy and crush in equal measure. Continue reading
A mere four or so years ago since their self-titled debut album came out, 71TONMAN have now returned with an ever heavier, slower, and fatter release. Hold on to something tight before you press play, as Earthwreck is likely to live up to its name when played at high volumes. Continue reading
This is a powerful mix of stoner, sludge and doom. Lasting over 66 minutes, the band crawl and slither their way through the playing time with gritty heaviness and slothful aggression. Continue reading
This is nasty, raw and nihilistic music that wants nothing more than to terrify, scar and demoralise the listener. With a mix of Nails, Anaal Nathrakh, Hooded Menace, Aborted, Trap Them, Extreme Noise Terror, Primitive Man, Zao, and many others in their sound, Sunlight’s Bane have concocted an identity that’s very much their own and quite a hard one to accurately classify, if you care about such things. Continue reading
Due to my love of their first EP Permanence, as well as all things Primitive Man and Clinging to the Trees of a Forest Fire, (who they share members with), this release has been highly anticipated by yours truly.
On Permanence Vermin Womb channelled the destructive essence Continue reading
Mares of Diomedes start us off with two songs of bastard-heavy metal, lasting 13 minutes.
This is fuzzed-up and harsh, with colossal riffs drenched in distortion being unleashed like they are going out of fashion. With Continue reading
Sludge heaviness mixes with psychedelic hypnotic grooves to create slow, torturous music that takes the listener on a tour through forgotten swamps, populated by hideous witches, (do you see what I did there?).
Deep growled vocals act as a guide on this foul journey, paving a path through the murk with sheer force of diseased will. Continue reading
What do you get if you combine raw black metal with industrial and dark ambient? You get Christ Clad in White Phosphorus.
The ugly, intense black metal parts are my favourite bits of this album, as they rage with an underground fury and intensity the likes of which most bands only aspire to. It’s not all about Continue reading
Both excel at what they do and having both of them on one release is quite an exciting prospect.
Primitive Man start us off with two tracks of the grimmest, most evil Sludge-fuelled Doom that there is. It’s 17 minutes of agonised pain and hatred. After many releases, (here, here and here, for example), I still can’t get enough of the horribly bleak noises that they make.
Colossally heavy and nihilistically bleak, Primitive Man always deliver the goods, and on this split it seems that the goods are well past their best-before-date and covered in filth and dirt.
The singer has hands-down one of the best pitch-black growls I’ve ever heard and when his voice first makes an appearance on Cold Resolve it’s like being floored by a truck. That’s if the slow, crushing guitars haven’t flattened you before then. The song proceeds to crawl across your broken corpse, all distorted malice and squealing feedback, slowly pressing you into the ground until there’s nothing left.
The second song of theirs is the shorter of the two, yet is no less nasty for it. Servant starts off with a feedback squeal and is typically crushing from then on in, once again showing off the kind of high-quality Doom that the band have become known for. Dripping with spite and rage-fuelled negativity, as the track unfolds things just get heavier and darker until the playing time is mercifully over.
But there’s no real breather, as we now have Sea Bastard’s colossal near-20 minute behemoth of a track, The Hermit, to deal with.
Like Primitive Man, Sea Bastard keep unleashing quality releases on the world, (here, for example), and this is no exception.
Sea Bastard’s Sludge Metal is less dripping with filth than Primitive Man’s, but no less effective for it. Previously I’ve described them as similar to Bongripper only with screams and growls, and that’s not a band starting point for initial reference.
Sea Bastard specialise in settling into a slow-burning crawling-groove, with a mesmerising heaviness drawing the listener in and repeating itself over and over, but never to the point of where the listener loses interest. This is enticing and hypnotic, and just when you can’t take it any more the band shift gears or change riffs and the suffocating Doom takes on a different edge, no less crushing than the last.
The screamed vocals are the perfect accompaniment to the music’s guitars, and the combination of the two produces a very satisfying feeling deep in the stomach where the bass seems to have set up home.
Picking up the pace a bit halfway through, the band show that it’s not just slow riffs that they can peel off with ease. This doesn’t last, of course, and once spent the juggernaut returns to a malevolent crawl as the song claws its way to conclusion.
The Hermit is just as good as anything the band have released, and combined with Primitive Man’s side of the split this is a pretty damn essential Doom release for anyone who’s into this kind of thing.