Druglord - Enter Venus (EP) (2014)

We've all been implored at some point in our lives to stop and smell the roses. And while sticking your snout into a bundle of thorny flowers might not seem like something you are anxious to do, it is the sentiment behind the saying that is most important. Every now and then, you need to slow things down and take a minute to appreciate the other side of things. No, this isn't the beginning of a long winded yarn about loving life. Instead, it is a cry to all of us who spend too much time on the fast and the furious styles, and miss out on the other side of our beloved metal genre. Druglord, a three piece band from Richmond, Virginia, already won us over with their debut release in 2012. But what "Motherfucker Rising" best was remind us that simplicity in music can be refreshing, and that down tempo songs can be just as mesmerizing. With their sophomore album, a four track balloon ride titled "Enter Venus," they give you every reason, and every opportunity to slow down, and smell the fucking roses.

It's low and fuzzy, early and often on Grievous Heaving, which should come as no surprise to anyone who has been witness to this band in the past. But don't mistake that choice of words to mean mindless or inept. What you hear below the peeled back layers of distortion and rattling speaker cages is a down tempo groove and howl that brings to mind the early days of doom metal, before the posturing and preening rendered many artists incapable of basic structuring. Bass heavy, but not drowned in it, as is evident in the masterful solo in the latter stages of the track. Segments like the opening to Feast On The Eye are good uses of extended track times, the slow cascading of guitars and bass pouring from your speakers like molasses or maple sap from the north eastern United States. No rush to get from point A to point B; yet somehow, they never overstay their welcome on any individual track. Perhaps it comes down to the way the tracks are built. Here, you have a main guitar groove to build off of, but the airy, spacey vocals provide a respite from the lower register assault. It is a combination that may, on paper, not seem dynamic; but in reality, it hits just right.

But there is bound to be a track that stands out above the rest. However subjective it may be, the title track, Enter Venus, is as good as Druglord as ever sounded. The depth of sound they've found here is incredible, but it is the manner in which they deliver this piece that resonates long afterwards. Hazy distortion rings through, punctuated with minimal drum interjections. But unlike the other tracks on the album, this one features a show of restraint that elevates everything that much further. Sandwiched between smoky verse passages lies a quiet, cleanly played interlude that does wonders. That small bit of contrast goes a long way, highlighting another deftly played solo before the final countdown. If there is anything to note about Let Us Bleed, other than it's obvious placement as the closer to any set list, it is the noticeable strain that comes from the vocal track, something that might actually be a major plus. But while you are busy taking in all of the subtle nuances the song has to offer, the clock seems to be ticking rapidly away. Try as you might to slow down time to enjoy it longer, the end draws near far sooner than you would expect, hastened by great instrumental work on all fronts.

Some bands can pull off fuzzy and clouded. Others can't. Druglord falls squarely into the former, making it a trademark of sorts on their first two releases. While others bands, some who inhabit the same genre, strive for pitch correction, tuned perfection, and a myriad of digital "fixes" along the way, this three piece is giving you something different. Guitar, bass, drums and vocals, pieced together with bits of string and wire, yet holding stronger than any overtouched, big budget mix could ever hope to. They get their sound, their way, and hand it to you on a silver platter; or a green and milky white one, if you are vinyl inclined. In a way, this album is a throwback to a simpler time, when it was about the writing and the music, instead of the overdubs, drum loops, and studio wizardry. But I digress; "Enter Venus" is a mindtrip through and through, sometimes bending you just like a set of guitar strings under heavy fingers. If you have the ability to, for once, sit back and take it slow, this is an album that might strike a familiar chord.

9/10

Bandcamp - http://druglord.bandcamp.com/
Facebook - https://www.facebook.com/pages/Druglord/168553533162240

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Mammoth Storm - Rite Of Ascension (EP) (2014)

What can you do when your main band, the project to which you are attached, have a record deal with, tour with, and lead a legion of fans with, is put on hold? It would be a crime for the members of Draconian to sit around, playing Facebook games and reading up on their British literature while new vocalist Heike Langhans arranges her affairs, and relocates to Sweden from her home in South Africa. It has been a long and arduous process, one that has taken far longer than any band could anticipate. But in the meantime, there are other things to do, including a handful of side projects that have arisen. Guitarist Daniel Arvidsson has taken the giant leap away from the Draconian sound on his project, the aptly titled Mammoth Storm, a sludgy stoner metal band which features Arvidsson himself on bass and vocalist. With one demo released, and nothing but time to kill, the three piece from Sweden has prepped and released their newest disc, the two track EP titled "Rite Of Ascension," a murky, distorted collection of riffs, screams, and beats unlike anything his bandmates would have expected.

For fans of Draconian, it is important to note at the onset that this isn't that band; in fact, it isn't even in the same ballpark. The heavy, droning riffs of the title track are down tempo and groove laden, bolstered by a booming drum kit that, while restrained, is not short on powerful blasts. Arvidsson's voice fits the bill to a T, imperfect in tone, but perfect in his handling of the backing instrumental. The slow stomp of guitar, bass, and drum can wear you down, but when the insertion of a melodic riff comes along, it adds a different dimension to the track. But don't be misled; this is an oily, black tar coated piece of work that is rooted more in it's weight than its versatility. The second half of the EP, the nearly thirteen minute Obscure Horizon has a haunting, horror soundtrack vibe to the early movements, transporting you to a dungeon from which you are unlikely to escape. The rattling distortion is enough to loosen the snow on your roof and free the icicles from their perch. But in between dense chugging and reverberating passages, there is a vast void where little else is happening. Vocals, small tempo shifts, and barely detectable tone changes are left to pad out a full seven minutes here.

Branching out of your comfort zone is always encouraged; some of the best bands you will find today began as side projects. Arvidsson has certainly done that here, leaving the sound and strength of Draconian for another day, while harnessing something else entirely for this project. Mammoth Storm isn't the opposite end of the spectrum (What would that be, exactly? Yanni?) but it is a great departure from the driving riffs and dual vocals of one of the most popular death/doom titans on the planet. But for a stoner doom record, "Rite Of Ascension" succeeds in a number of ways. It manages to make the most of a small sample size, giving you a pretty good idea of what a full length album would amount to. If there is anything to be shaky on here it remains the intimidatingly long track lengths, as the entire duration is spent playing off of one main riff and drum beat. This may not be a detriment to the enjoyment of this album or any other, but it something that must be considered when dealing with the evolution and growth of this band. Two tracks, topping nearly twenty five can't be the pattern to follow from here.

7.5/10

Bandcamp - http://mammothstorm.bandcamp.com/
Facebook - https://www.facebook.com/MammothStorm

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Black Vulpine - Demo (2013)

Metal isn't the boys club it once was, something evident from browsing any record store these days. Arch Enemy, Lacuna Coil, Leaves' Eyes, and so many other acts have broken that gender barrier in every branch of metal music. The one subsect that hasn't been blessed by the fairer sex, as far as we can tell, is the blooming stoner community, often inhabited by grizzly men with full beards and raspy tones to their voices. Luckily, even that can't last forever. German four piece Black Vulpine aren't new to the scene, but a new demo is enough to get the conversation started. Female fronted, riff dominated, and bursting at the seams with energy, the band has come a long way since forming in 2004. But what they enjoy in individuality and uniqueness, they may lack in focus. On their new three song demo, released in November of 2013, they give you a taste of where they've been, where they are, and where they hope to be. But unless they can focus on the greater goal, it might not be enough to break through to the stoner elite.

It's no surprise that the heavy stomp of "Avra Kadavra" comes out of the gate in full force. But when vocalist Sarah joins the mix, it creates a new dynamic all together. Her voice is beautifully melodic, without compromising the raw nature of the instrumental. These are hair swinging riffs, the music you want to listen to standing up with room to give yourself a mild case of whiplash. It is relentlessly driving, and yet always accessible to even the most distant rock or metal fan. While "Drowning In Lakes" may have a playful side, it reignites the blaring riffs that the stoner genre relies so heavily on, often wearing you down until you can no longer resists their pull. The rhythm section, though they rarely if ever cut loose, is rock solid in their support of those big guitar sounds and even bigger distortion. If there is a misstep on the demo, "Lies" may be it. Clocking in at less than three minutes long, there is little time to ascend and descend, meaning this would be the perfect opportunity to throw caution to the wind and deliver something that flexes their respective muscles. But they opt for subtlety, Sarah crooning with a layer of effects over her voice. The voume knobs open, but just in time for the track to end.

A demo is exactly what the name says it is: a demonstration of what a band is thinking, what they are doing, or what they are aspiring to do. As such, this initial offer from Black Vulpine gives you a sneak peak into what this four piece has in store for you down the road. There are plenty of infectious grooves to be had here, albeit in a very small and short cross section. This alone would be enough to warrant a follow, a like, or an additional listen. But the bigger concern is the unfinished feeling you may get when these three songs come and go. They don't feel fully fleshed out, especially the finale, and they could be indicative of a bigger problem. Is the three minute blast the best they can do, or is there more than meets the ear? Was it an issue of creativity or inspiration, or is this what they intended for their debut performance? These are all legitimate questions that will need to be answered with subsequent albums and releases. For now, Black Vulpine has every reason to stay on your musical radar. Their next effort will decide if they grow or fade.

7/10

Bandcamp - http://blackvulpine.bandcamp.com/
Facebook - https://www.facebook.com/blackvulpinemusic

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Curse The Son - Psychache (EP) (2013)

Much in the way that the hair bands of the 80's and 90's were pigeonholed and stereotyped, so are the stoner doom bands of the new millennium. The difference, of course, being that the big hair, lipstick, and fishnets stockings worn by those oft dismissed bands of yesteryear managed to disqualify them from any conversation about true talent and foresight. Things have changed, albeit in small ways. Everyone thinks they know what stoner metal is all about, and we judge it by the tag alone. but much like the other blooming genres, there are many intricacies that fall under that same umbrella. Curse The Son, a three piece band from Hamden, Connecticut, are all about the small things. Whether it be there obvious influences, their ominous artwork, or just the lues infused riffs and vocals that put onto recorded media, they are doing things slightly different from their contemporaries. And, as a result, they have recorded one of the best albums of the year, with "Psychache."

There is no hiding a riff this thick, as guitarist Ron Vanacore makes known very early on in "Goodbye Henry Anslinger." How they manage to bring out the inner melody in an instrumental so down tuned is anybody's guess, but they do it beyond expectation. It is the vocals, also provided by Vanacore, that catch you completely off guard. His voice is unlike any you've heard recently, a melodic cry that seems contrary to the distortion that it accompanies. The two come together brilliantly, setting the bar high for the rest of the album. Thankfully, there is no letdown to be found here or anywhere else. rather than hide or mask their love of all things stoner metal, they display it openly on tracks like "Spider Stole The Weed." This is showcase piece for the rhythm section, with bassist Cheech Weeden and drummer Michael Petrucci further bolstering the low end. As they bring the sound wave down to new lows, they also bring the tempo down with it. But it isn't hard to pick out the noticeable and just as easily repeated groove. That theme, the undeniable groove, permeates the entire disc; forcefully at first, more subtly on songs like "Psychache." And despite being far more aggressive, it leaves so much for your mind to piece together. The last thirty seconds alone could be on mental repeat for days.

In a daring change of pace, "Valium For?" is a different kind of interlude track, one that builds from whisper quite riffs to a blasting mountain of guitars, bass and drums, if only for a second, before fading back into the silence from whence it came. But when your haunted house goes up a few days from now, it is "Somatizator" that will be your theme song. It embodies something eerie and sinister, something counteracted by Vanacore's signature voice. But when the entire thing spins to a halt halfway through, it wouldn't be far fetched to see an axe wielding murdered appear from the smokey haze. Coupled with the album cover, and this could be the song nightmares are truly made of. The lyrics indicate as much, as Vanacore croons, "this is where the nightmares go, they find you when you're all alone." No amount of bluesy, stoner doom riffing will make that chill go away. Even as it fades, and "The Negative Ion" begins, the hair on your arms won't go down quite so easily. It wouldn't be a stretch to call this final monster one of the best tracks of the year, despite it's simplicity, simply because it infects you. The buzzing distortion, the effects laden main riff, it all fills your brain with smoke.

We talk so much about the small things that take an album from good to great. Bands that can get a grasp on those minor details can easily separate themselves from those who can't; thankfully, the cream always rises to the top. Curse The Son, at first glance, or even first listen, might not seem like they have a great deal to pick apart and appreciate; one supporter on their Bandcamp page summed it up best in saying, "I saw this album months ago, I was like eeeck! and passed it up." That reaction probably isn't isolated to one person, or even ten. But if you can get by that initial snap judgment and just hit play, it will be more than worth the chance. One track in, you'll be happy you went for it. Two tracks in, and you'll be willing to throw them a couple bucks for it. By the time the album ends, you might not want to stop. Yes, "Psychache" really is that good. The cover art may look like a dvilish figure chasing you away. But hidden behind that artwork is an album that could quite possibly blow you away in a cloud of smoke.

9/10

Bandcamp - http://cursetheson.bandcamp.com
Facebook - https://www.facebook.com/cursetheson

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Black Sleep Of Kali - Who's Hearts Are Faint Within You (EP) (2013)

We've all seen a rainbow. Colorful, bright and happy, they are the symbol of all things positive. But there is an equivalent in the metal community, one devoid of blues, reds, purples, greens, yellows, oranges and all the rest. The black spectrum is all we need to classify some of the best music in the world. But it doesn't all have to be one dimensional, and one note, even for bands in the sludge circles. Formed in July 2008 by four "dudes who needed an excuse to drink beer and play louder," Black Sleep Of Kali are playing a brand of sludge that will resonate with the more debonaire fans of the genre, but it might not make sense to outsiders, who only know sludge by what they see and read online. On the magical world of the internet, any band with distortion can lay claim to the title. But not here. Not now. This four piece, for all the fun they've had, has also forged some of the most refined, well constructed music in modern sludge. After listening to "Who's Hearts Are Faint Within You," it might be time someone told them they don't need an excuse to drink and turn the volume knobs up.

Despite being a predominantly sludge driven band, there are many melodic tendencies that pop up throughout the album. On "Judecca," you really have a two headed monster to contend with. The verse and chorus sections are dominated by the harsh, screaming vocals you would expect. Bottom heavy and distorted, there is no mistaking this for any other form of music. But with the genre of sludge comes the misconception that it is all somehow sloppy, something you won't find evidence of here. The drumming is tight, and the guitar work has seen the rough edges filed off in favor of more distinct riffage. But scattered here and there, you find melodic elements at play, whether it be in a guitar lead or just the way the rhythm section plays. That style can be heard early on in "Morbus," as well. Sure, it's buried for most of the track beneath guitar riffs that could best be described as ominous. But it can never truly be quashed. In fact, the root of the bridge sections can be traced back to that main melody, however faint. It is the drumming that does the lion's share of the work here, with a battery of rolls and fills. 

There are more colors in the sludge rainbow than the black and white you've probably been led to believe. Sure, dark and darker are in that spectrum somewhere, but there are probably a bunch of shades of gray tucked in between. No, not 50; probably more than that. Some bands only focus on a few shades, which is what has rendered the sludge genre the one dimensional stereotype of modern metal. But where those bands fail, Black Sleep Of Kali succeed, infusing many other layers of sound into their mix. You won't find a delicate acoustic passage here, nor will be graced with atmospheric or sweeping keyboards; there is no room for that sort of musical accompaniment. What you will find is a four piece who know exactly what sludge means to them, and they play it unapologetically. It would be hard to believe that you could find any two songs in their catalog that are this big, this powerful, and fit this well together. But "Who's Hearts Are Faint Within You," is a new look at the sludge genre.

8/10

Bandcamp - http://blacksleepofkali.bandcamp.com/
Facebook - https://www.facebook.com/pages/Black-Sleep-of-Kali/112646081284

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Woodwall - WoodEmpire (2013)

A rhetorical question: can an album give you exactly what you expected, and still be great? Has our musical pallet become so refined that we have to hear groundbreaking elements on each and every album just to enjoy them? You can speak for yourself, of course. But somehow, bands like Woodwall are speaking for all of us. We've heard stoner metal and doom, psychedelic metal and post; not every band can spark a change in those genres. But doing those things well, and really well at that, is just as impressive as changing the way we hear them. This Italian four piece are doing just that, taking their hazy sound on the road with a new album that is both the same old thing, and the same new thing in one. They are the personification of your favorite bar, clouded with the smoke of a thousand cigarettes, yet every puff is greeted by a breath of fresh air behind it. On this album, simply titled "WoodEmpire," they don't break new ground or tread too heavily on old ground, but tip toe through all the things that make these varying metal styles great. And the result won't surprise you; or maybe it will.

While it isn't a fast and furious start to the album, the smokey undertones that coat the opening to the title track, "WoodEmpire," are no mistake. They are hazy and clouded by design, something that quickly becomes the common thread in the album. Each crunching groove, furnished by guitarist Matteo Signanini, travels through a wall of pure distortion to reach it's intended goal. For his part, he not only delivers the central melodies, but his raspy, distant voice ties those pieces together. While it seems, at times, to be chaotic and unfocused, it is quite the opposite. It may meander in certain passages, as it does around the seven minute mark, but it always makes its way back to the mainline. At this stage, it is the shifting between songs that brings it back to Earth, as "Locrian" makes oddly great use of the keyboard element. By adding that slightly spacey sound just behind the guitars and bass, it gives great depth of sound to the mix, completed by a crisp drum sound at the hands and feet of Pietro Groppi. This is a far more driving track than the last, uptempo and pounding. It clearly suits the band well, as they are at their best here. Signanini's voice takes on an airy nature, one that is as melodic as it is exacerbating. But it is "King Stuste" that will leave the biggest impression, a headbobber's dream come true. The short three minute burst has all the pieces in the right places, leading to a maniacal stomp that only a musical prude could resist. A guitar lead like this one could unite enemies and friends under one banner.

The unsung hero of the stoner genre, and most musical styles, is the bass player. But Massimo Cornali's impact can be heard loud and clear throughout the album, adding his personal touch to the opening of "Red Toad." By nailing down the low end, in combination with Groppi, he makes a three minute instrumental all the more dynamic. This leaves the ultimate sound of the album, the way it sticks in your mind afterwards, to the wild card; synth master Paolo Cipolla might not have the biggest role, but his contributions are as important as any. The light touches he places so carefully throughout the album are crucial, if not completely necessary. But his command on the towering "Walden" is utterly essential. This track, more than any other on the album, speakers well beyond it's run time. The airy atmospherics, musically and vocally, are perfected here, and the band shifts their sound to a completely new level. For some, it may be hard to believe you've been listening to the same band as before; the change is a big one. It speaks to their ability to grow within the confines of an album, and each member has a hand in that. Signanini gives his best performance on both guitar and vocal, and drummer Groppi is as crisp as possible. The only failure here is that the track has to end. Back to their crushing riffs and boisterous drums, the band ends on a high note, "Holocene/Cambrian," though not as high as the note it began on. It's a more melodic take on sludge, confident and bottom heavy as it is. This is a track meant to be heard live, igniting a mosh pit and a crowd of hands in the air.

Let's revisit that not so rhetorical question; can an album give you exactly what you expected, and still be great? There are a million different answers you could give, and none of them would really affect the way you view this album. Woodwall are doing things you'll recognize, at a skill level that makes them sound as good as the first time you heard them. It's a victory that should be celebrated for it's quality, rather than whether it's shiny and new. Because even with the wear and tear on the sludge and stoner genres, there is still a lot of mileage left on those tires. More than that, though, is the notion that when you are good at something, old or new, you can make it work for you. Woodwall are doing exactly that, to a degree that should confound you. The beats are punchy, the rhythms are tight, and the vocals are a snug fit. If you're willing to take a step back and appreciate something for what it is, "WoodEmpire" is an album you'll go back to again and again. If you've evolved beyond that point where music has to be groundbreaking and innovative to give you any sort of satisfaction or enjoyment; it's going to be a lonely place to be.

8.5/10

Bandcamp - http://woodwall.bandcamp.com/
Facebook - https://www.facebook.com/woodwband

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