Sunday, 1 February 2015

Interview with UNHOLD

I've been a fan for UNHOLD for about a decade or so. Their style of noise rock driven Sludge/Stoner Metal music has won them a loyal fanbase within the Sludge/Stoner Metal scene. It's been 7 years since they released their last album but now in 2015 they are back with a new lineup and a new album – Towering – which I feel is their best album yet.

I described the album as:

Towering is an album lasting 60 minutes or so. If you are a fan of Neurosis, Kyuss and Kylesa then you are in for a treat as Unhold go straight for the jugular. Unhold have created something special with Towering as even this early in 2015, Towering is potential Album Of The Year Material. No question.”

Unhold have kindly agreed to an interview with ourselves at Sludgelord HQ. So lets gets started.

Hi All, Thanks for doing his interview. Really excited to have you here at Sludgelord as I’m a big fan of Unhold. How are things with you today.

Hey Steve, thanks for having us! Things are good, the record‘s rolling out, we‘re getting good feedback and we finally can go out and play live. Check the record in "The real world“, so to speak.

For people not in the know, can you give a brief history of how the band came about and where it is today.

Sure. Unhold was born from the heads & hearts of four teenagers, we decided to get instruments and give it a shot. That was around 1990, ages ago. At first we just jammed around, we never really played covers, occasionally riffing after bands like Asphyx, Bolt Thrower, Entombed. We started making our own songs pretty quick, that was more leaning towards Death/Thrash Metal. After the first couple years and a bunch of shows we gave it a more serious thought, changed our name from “Mausoleum“ to “Unhold“.

Around 2000 our original drummer decided to quit, we were lucky to have Daniel join, he also was from our little community who listened to heavy music and visited shows out of town. We released “Walking Blackwards“, our debut. That already had elements of Noise Rock and Stoner on it.

Not the heaviest production, though. 2004 we released “Loess“. I think the angriest of our albums. That as well as “Gold Cut“ (2008) was recorded with Serge Morattel in Geneva. We toured with that album for a good two years, then got back to work on new material. In 2012 we celebrated our 20 year anniversary, had a lineup change and started working to finalise the fourth album.

Towering cover art

Unhold actually split in 2012 after 20 years as a band which I was very sad about at the time. What were the reasons behind your original split. As you released 3 excellent albums within that time.

Actually we didn‘t split up, we just parted ways with our old bass player, for mainly musical reasons.
We always intended to keep going. Leo and Miriam both auditioned for bass, we thought they did excellent and asked if they both would like to join the band. As Miriam‘s original instrument was the piano we figured there might be a spot for adding a new element to our soundscape, in addition her magnificent voice. The songs for "Towering“ were pretty developed, we just had to go over and integrate organ, piano and synthesisers.

How would you describe your own sound as Unhold falls under many different categories, Noise, Sludge, Stoner, Doom, Post-Metal. Or do you think Unhold as a Rock Band through and through.

The longer we‘re in the "business“ in deed we think of ourselves as a somewhat extreme Rock Band. It‘s harder to sell if you can‘t be pinned down just in one section. But that‘s the way we like our music. We enjoy various kinds of extremes in music and why not have that reflected in our own work?

Unhold has been going since 1992. Did you ever expect to last this long as a band. What have been your personal highs and lows with the band since its inception.

We never had an extended plan for our future, we always took it from album to album. It‘s just what happens if you don‘t stop - it just keeps going on. Plus we‘re a bit stubborn by nature, so we won‘t give up that easy!

I think it’s time to talk about your new album – Towering. What can people expect from that album. I think it's’ your best work to date.

I think it‘s the most diverse album up to date, yet it‘s a unit. if there‘s a theme it would be a journey from the deepest place in your soul travelling outwards. We also kind of illustrated that with the interludes which start at the core of the earth and then move through all layers to the surface, up in the atmosphere passing our system‘s planets onward out into the depths of the galaxy.

Was it a hard or easy album to write and record for. As it’s a very powerful and intelligent album that speaks to you on so many levels.

For me personally it‘s getting harder to find stories worth telling. The music isn‘t that much of a problem, but as you get older things are settling and the teenage angst also is pretty much dissolved. Of course the world we live in is far from ideal but where we live things are smooth compared to elsewhere, with personal development also comes a wish to shed some light on the better aspects of life. Which at first glance is a bit of an opposed element to the rather harsh and melancholic music. So therein lies a challenge.

As far as the recording process goes we tried something different this time. We recorded at a studio in our home town, which gave us maximum flexibility in time-management and less dead hours. We then passed the recording on to Latch (Gonga) in Bristol who remote-mixed the album.

What does – Towering – mean to you all as a band.

It marks the beginning of this new era of the band‘s existence. We rear our heads after what feels like a state of hibernation. The beast becomes alive!

Will you being doing extensive tours to promote the album.

We have a loose tour in February, a next one is scheduled for the second half of may. We‘re hoping to do some festivals this summer, autumn also should see some live activity from our side.

What is the song-writing dynamic in the band? Is it down to one individual or a group process?

We have a pretty democratic way of working on songs, basic ideas come from individual members, yet we also have a jam-based method where we gather pieces and bits. The process can be time-consuming, but I think we gain a closer relation to the resulting song in the end, you know which piece belongs where and for what reason.

The thing I admire the most about your new album is the vocal arrangement. As you include multiple vocalists throughout the album. Is it hard to decide which member sings each part on the album.

Basically who came up with lyrics got to vocalise the song. With "Southern Grave“ we made an effort to actually explore our voice-range a bit, something we might pursue further in the future.

Which bands or musicians influence you to become a musician? Any particular albums that stand out.

I can only speak for myself. I think Metallica‘s "…And Justice For All“ made me want to play a guitar, the way Neurosis weave the guitars together had a great impact on how I try to treat the instrument. There‘s too much good albums that fuelled our need to make our own music to mention here.

How important is a physical product (CD/Tape/Vinyl) to you as a band.

I think it still makes sense to bundle a collection of songs together and release it that way. It also helps you as a musician to resume over your work, to put things to rest and move on. Times are a bit confusing and it‘s hard to say in which manner people consume their music. So as a band you still have to serve all needs.

Which musical formats do you listen to and own the most – CD, Tape, Digital or Vinyl.

Much to my embarrassment i have to confess i listen to crappy mp3‘s a lot. But if i dig the record i try to get it on vinyl, so i have a decent collection.

What is your musical setup when playing live or recording in the studio? Do you have a basic setup or advanced setup?

I guess our setup is rather basic. Pedals are cumulating slowly as we‘re heading towards a little more atmospheric and dynamic sound. We‘re no gear-geeks by all means, we figured out where to plug in, that‘s as advanced as it gets!

What is the scene like in your home town and country. Are there opportunities for you to perform gigs on a regular basis? Or do you travel further afield to perform regularly.

The town we‘re based in doesn‘t have such a big metal-scene. It‘s more like a tribe of like minded people from various kinds of music. There‘s a lively garage/rock‘n‘roll and a noise/power electronics scene. The French speaking part of Switzerland has a more active and progressing scene i think. There‘s a couple venues in Switzerland, but we usually don‘t hit a town more than once a year. If we can manage the expenses we will travel for shows but we haven‘t been outside Europe yet.

So apart from the album release what other plans do you have for in 2015. Anything exciting you can tell us.

Keep going out there and play shows, meet new audiences, start working on new material.

Unhold, thanks for doing this interview. Do you have any last words of wisdom for your fans?

Keep your ears peeled, there‘s much good music out there waiting to be explored and worshipped.

Thanks for doing this. All the best with your new album.

I want to thank UNHOLD for taking the time out to talk to us here at Sludgelord HQ. Thanks to Fredy at Czar Of Crickets Productions for arranging the interview.

Towering will be available to buy from Czar of Crickets Productions from February 15th 2015 on CD/Vinyl.

Words by Steve Howe and Unhold

For more information

Interview with Legion Of Andromeda

Today's guests made an impression on me back in December 2013 when I reviewed their debut demo. It was a startling and brutal affair that mixed Death, Doom, Death, Drone, Sludge and Black Metal riffs with bone crunching vocals to match. It won acclaim from fans and critics alike.

Now Legion Of Andromeda return with their even more heavier and disturbing debut album – Iron Scorn – which was recorded and mixed by music legend – Steve Albini. Iron Scorn will no doubt be considered as one of 2015's heaviest, brutal and most dangerous albums.

This is what I had to say about the album:

The album sounds incredible from start to finish courtesy of legendary music whiz - Steve Albini - who mixed and recorded this album. Let me say Iron Scorn can lay claim to being one of the heaviest, brutal and disturbing debut albums you are ever likely to hear. This is filth ridden dirge induced Death/Doom/Black Metal on a grand Drone Metal scale.

The instrumental work is intense and quite painful at times as Legion Of Andromeda play very aggressively with different sounds noises combining that will take time to fully understand. However, it seems the drums are being hit with sledgehammers and guitars with Freddy Krueger's razor sharp gloves. Many people will be very scared to listen to this album and I do not blame them. It even scared me at times especially with the vocals.

Legion Of Andromeda are the new harbingers of death and they are here to collect a few souls along the way. I need a rest after listening to this. Only listen to this if you are feeling brave enough.”

I have been given the chance to interview M and R who make up this deadly and dangerous duo. So it's time to hear what Legion Of Andromeda have to say to us!!!

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

Hi Steve, thank you indeed. Pretty busy with the album release and stuff and listening to Cop Shoot Cop right now. Holy fuck, what a band that was.

For people not in the know, can you give a brief history of how the band came about and where it is today.

Our wives are colleagues and a few years ago they discovered we listen to the same music (which they hate) and then decided to introduce us. After listening to loads of records and going to several shows toghether, -M- later proposed me to do some shit together and I accepted.

Iron Scorn cover art

Why did you choose the name Legion Of Andromeda. Any particular reasons for this name.

I love to use the sound of words, carefully choose between them and combine them together to create something that sounds powerful. In this regard the word Andromeda sounds extremely evocative: it’s enormous, roaring, menacing…it’s quintessentially onomatopoeic, it’s dark, alien, utterly bombastic. Fusing it with the word Legion (which is of course a cliche word often abused in metal, to which we also want pay homage) resembles an anti-entity devouring galaxies and sprawling total destruction moved by the sole, primal, bestial feel of hate. It’s cosmic hate, literally.

By no means we endorse hatred as some idiotic fascist ideology, neither we “fight” for some foolish, politically-correct hope to change the world with peace and love and blah, blah. Fuck that weak shit. Instead, hate for us is a nihilistic way of intend existence, a catharsis to sublimate consciousness. In this regard the name Legion Of Andromeda is majestically psychedelic. Being the world a place populated by that scourge called humanity, Legion Of Andromeda is a massive beam aiming at that scum. It’s a reaction, a necessity, a constant state of mind. Ultimately, it’s our interior battle against the constituted order.

How would you describe your own sound as it falls under many different categories, Noise, Sludge, Doom, Ambient, Drone, Death, Black.

Brutal, minimal, primitive metal. Or brutal, minimal, primitive noise. We don’t really know. Maybe The Velvet Underground playing Godflesh.

When you created the band, did you already know you wanted to create a nightmarish sound compared to other bands.

We didn't necessarily want to create a nightmarish sound, instead we started with the idea of forging that minimal, extremely repetitive, torturing psychedelic trance in order to induce ourselves and the derelicts who listen to it in totally altered states of consciousness.

Legion Of Andromeda (demo 2013) cover art

You released a stunning debut EP back in 2013. Very dark and violent. Did the acclaim you received for that EP surprise you a great deal.

Yes, we are positively surprised, being the demo long sold out and praised by many outlets, still one of the best comments came from a fan saying that he typically listen to LOA while doing heroin.

Looking back would you change anything about your debut EP.


Was it a hard or easy EP to write and record for.

Natural, smooth and efficient for both the situations.

Now you’re back with your even more depressing and crushingly loud debut album – Iron Scorn. Can you tell our readers what they can expect from that album if they’re feeling brave enough to listen to it.

A sharper, more focused approach fuelled by a truly monster production. Trance inducing repetition. Abandon all consciousness, embrace disintegration, fuck off.

I found it a very hard and challenging album to review. As the structure and tone of the album doesn’t really change a great deal. It feels the album is one 46 minute song instead of 7 individual songs. Was that your intention when recording the album. To keep the tone and structure basically the same throughout the album.

While we get your point and in part agree, we still feel the album as 7 distinct songs, while of course sharing the same atmosphere. Let me explain it better: we want our albums to sound extremely cohesive, dense and coherent, the key of minimalism for us is to take a single sound, a single vision, a single approach, even a single riff and penetrate it as deep as possible and in every possible implication, way and perspective. And from this process creating separated, individual songs.

The result, to profane ears, is all that you have is only this apparently identical, monotonous, monothematic, uninspired, static music. Paradoxically, it’s more challenging (and for us more rewarding) to understand this kind of approach than understanding, for example, intricate, technical progressive rock. Progressive music is often annoying to us (with many exceptions of course) while minimal and repetitive music is instead exciting. Take as an example Ildjarn, early Sunno))), Von, Ride For Revenge, Shellac, the first Om album: when those records came out nobody gave a shit, instead a lot of posers blamed them as boring and lazy but then praising them later only because they got hyped by some random journalist.

You worked with Steve Albini on this album. How did you guys become involved with Steve.

We simply contact his studio and booked the session. Big Black is one of our main influences, it’s 20 years that we listen to them along with Rapeman and Shellac. Ultimately, we felt that Albini’s extraordinary engineering skills would have been perfect to encompass our vision.

What was the recording process experience like with Steve. And did he offer you any words of wisdom.

Recording at Electrical Audio has been a massive achievement for us and the whole experience was astonishing. Steve’s wisdom and precious advices were addressed to the technical aspects of the recording process, while the artistic decisions were totally up to us, as he consider himself a pure sound engineer, not a producer. In this perspective he has great respect for the band’s music without letting his personal taste interfere, a modus operandi that we totally support.

What is the song-writing dynamic in the band? Is it down to one individual or a group process?

It’s totally a group process: we share the same distorted mindset so writing is always smooth and linear.

M – you deal with all musical instruments. R – you deal with all the vocals. Do you both have an equal say on how each person plays there part in the band. Or do you just focus on your own role within the band.

While we focus primarily on our own instrument, we often exchange suggestion on how this or that part could sound better on our respective roles. It’s an enriching and complementing development as we always struggle to reach the top within every song. We do not tolerate to settle on music.

Which bands or musicians influence you to become a musician? Any particular albums that stand out.

If I (-R-) had not heard Iron Maiden (Killers) when I was 9 I would not be here, same goes later for Naked City (Torture Garden-not a minimalist band, indeed!) Big Black (Songs About Fucking) Fugazi (Red Medicine) Rollins Band (The End Of Silence) Cop Shoot Cop (Ask Questions Later) Morbid Angel (Altars Of Madness) Darkthrone (Transilvanian Hunger) Godflesh (Streetcleaner)…the list goes on but these were the most important bands in my formative years, between elementary and high school: I don’t want to say that they played a decisive role in forging LOA’s sound (being Big Black, Darkthrone and Godflesh the obvious exceptions) instead they gave me an immense perspective on the way I look at music (and even life) as a whole and played a fundamental role for me to became a musician.

For -M- there was Big Black (Atomizer) Thought Industry (Mods Carve The Pig) Unsane (Scattered, Smoothered and Covered) Neurosis (Through Silver In Blood) The Jesus Lizard (Goat) Slint (Tweez) and loads more that I cannot remember.

How important is a physical product (CD/Tape/Vinyl) to you as a band.

It’s primary. The physicity of the product, the artwork and layout, even the credits and the thanks list, everything contributes to the whole vision. It’s mandatory as a band. Thinking about the artwork for Iron Scorn was like writing a song as it involved the same energies.

Which musical formats do you listen to and own the most – CD, Tape, Digital or Vinyl.

We prefer vinyl, but we’ve got more CDs than vinyl: that’s because most albums are recorded in digital and then get transferred to’s a total no sense and in this case the CD sounds obviously better and costs a fraction. Only albums recorded and mastered directly and entirely on analog tape, (like our debut album!) are the real thing and sound really good, the rest is hipster bullshit.

What is your musical setup when playing live or recording in the studio? Do you have a basic setup or advanced setup?

Just a gtr/bass amp+cab combo for guitar, the drum machine and the vocals going through the PA. Vocals are not effected (even on the album), just delay and a little reverb.

What is the scene like in your home town and country. Are there opportunities for you to perform gigs on a regular basis? Or do you travel further afield to perform regularly.

Japanese scene, while fragmented, has always been variegated and extremely creative. It’s an extremely exciting scene, even from a sociological perspective. And it’s not so difficult to play gigs in Tokyo.

So apart from the album release what other plans do you have for in 2015. Anything exciting you can tell us.

We’re already writing new tunes that sounds even more minimal and brutal. I think the next album will be a punk one and probably inspired more by Ramones than Godflesh. The Ramones, what a great band.

Well guys, thanks for doing this interview. Do you have any last words of wisdom for your fans?


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

I want to thank Nathan T. Birk for arranging this interview and Legion Of Andromeda for taking the time out to talk to us here at Sludgelord HQ.

Iron Scorn will be available to buy on CD/DD from Feb 20th 2015 on At War With False Noise and Unholy Anarchy.

Words by Steve Howe and Legion Of Andromeda

For more information


OWNER - Shame Face (EP Review)

Shame Face cover art

Album Type: EP
Date Released: 21st January 2015
Label: Self Released

Shame Face – Track Listing

1.Cryptocrat 05:37
2.Beef on the Hoof 08:47
3.Fad Quiz 03:04
4.Gulch 06:20


We've known each other since before puberty. Well...except Ben. We think Ben was born post-pubescent. But, we've all been friends for a long time. Been in a bunch of bands together and been in a bunch of fights together. One by one, we all found ourselves in the same city again. We've been playing as OLD HAND for the last few years with different players, but now have found our forever home as OWNER. We're a little obsessive. We're a bit awkward. We play the songs that we want to hear.


Dylan Regier (guitar/vocals)
Ben Sorensen (bass/vocals)
Ray Hughes (drums)


OWNER is a very peculiar kind of Stoner Rock band as they include elements of Noise Rock, Post-Punk, Goth and even Fuzz Rock for one groovy different kind of riffs. Their debut EP – Shame Face – feels it was recorded in the legendary Goth/Post-Punk Scene as the vocals aren't you're usual kind for a Stoner Rock band. I feel OWNER are a Dark Alternative Stoner Rock band with a truly original sound of their own.

Opening track – Cryptocrat – has all the hallmarks of a band saying a big FUCK YOU to convention and playing by their own rules. OWNER become Stoner Rock outlaws bursting with dark violent ideas where it feels good to be different. Hints of Blues Rock interlaced with Fuzz Rock appear towards the end with bleak vocals that come from the Nick Cave school of hard knocks. Dylan and Ben perfectly capture the bleak existence of life itself. And then OWNER throw a Truckfighters style curve-ball to the mix. I did say these guys were different.

Second track – Beef On The Hoof – is an epic almost 9 minute affair with OWNER blending depressing blues rock with slabs of heavy fuzz. The vocals take a more a Satanic turn with OWNER providing a thrilling tale packed full of mysterious riffs. The song has a superb slow-paced blues rock feel that gives OWNER the chance to play with your emotions and still surprise you with each passing moment.

Third Track – Fad Quiz – is a more straight forward Stoner Rock offering with OWNER still adding different sounds you wouldn't expect for a Stoner Rock song. The last track – Gulch – starts off with a creepy intro before bleak vocals add a more painful vibe compared to the EP's previous tracks. It's a slow paced affair before OWNER slowly start to add different noises for one final hurrah of experimental Stoner Rock.

Check it out for yourself as Shame Face is available to buy now on BandCamp Buy Now Download.

Excellent and Highly Recommended.

Words by Steve Howe

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Slowjoint - Up Shit Creek (Vinyl Review/Album Review)

Slowjoint - Up Shit Creek cover art

Album Type: Album
Date Released: 01st November 2014
Label: Self Released

Up Shit Creek – Track Listing

1.Pocket Wool 07:52
2.Brown Cheese 04:07
3.Pull My Finger 05:10
4.Beer for Bongwater 03:27
5.Cheap Red Wine 03:06
6.Up Shit Creek 03:11
7.Which Hunt? 05:00
8.Dr. Jekyll and Mr. High 04:14


"Pocket full of nothing, head full of weed"

Slowjoint is an American inspired sludge metal trio from South Jutland in Denmark. They're all about loud amps, beer, bourbon and not giving a fuck! Simple blues driven sludge with a sense of humor and a lot of riffs.... and weed!

After only four months of existing, the band recorded the three track demo "Retarded Blues Anthems" live in the studio with Christian Bonde @ CBstudios (DK). It was recorded in only one day on May 3rd, 2012 and was released on cheap ass secondhand tapes in a very limited edition, all copies recorded by the band itself. In 2013 they once again visited Christian at his studio to record their first full length "Up Shit Creek" .


Stinky Pete I Patrick Lazy I Sticky Ricky


So it's my turn to review Slowjoint's dirty and down-tempo offering – Up Shit Creek. Though technically I reviewed this back in November 2013 when the guys let me review an unfinished version which I rated very highly. I know the album has been released for a few months and Stinky Pete has not only convinced me to review the album again but also to buy the FUCKING VINYL as well. Good psychological tactics my dope-smoking/guitar riffing friend.

So I bought the vinyl and HOLY SHIT – How great does this album sound on vinyl. The first thing that smacks you in the face with the power of 1000's bongs being used as deadly weapons is how clear and loud it all sounds. You can hear this album on BandCamp but trust me, it sounds way better on vinyl. The riffs are heavy and I mean HEAVY!!! - Wait until you hear the heavy bass from opening track – Pocket Wool. Fans of Weedeater, Bongzilla and every other Weeidan based band are gonna get a kick out of this record.

I've featured Slowjoint on the blog on multiple occasions as we're huge fans of them here at Sludgelord HQ. Up Shit Creek is one of the best undiscovered Sludge/Stoner Metal Albums waiting to be discovered within the Sludge/Stoner Metal world.

The heavy as hell riffs of – Brown Cheese, Beer For Bongwater, Up Shit Creek and Which Hunt? - matched with Stinky Pete's pissed off as hell, grizzled dope-fuelled vocals only add to the great atmosphere. Yeah it can be bleak at times but you will be laughing your ass off at times as Slowjoint know how to have fun and write some humorous lyrics to match the great music.

I've already reviewed this album. I just want to promote Slowjoint's vinyl as it's an exceptional sounding slab of wax. I don't have the most advanced vinyl system but damn it sounded so good. It's heavy and brooding with murky hints of Sludge/Stoner Metal.

Whatever you do, hunt this album down. Buy it on BandCamp Buy Now DD, cassettetape or Vinyl

Awesome Stuff.

Words by Steve Howe

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Summit - Remnants (EP Review)

Remnants cover art

Album Type: EP
Date Released: 09th January 2015
Label: Drown Within Records

Remnants – Track Listing

1.Adrift, Sideral Abysm 06:56
2.Fields of Tulips on Pluto 08:01
3.Remembrance is a Celestial Path 03:46
4.Remnants 06:00


Gabri: Guitars, Keys, Bass, Post-production.
Red: Bass, Keys, Post-production, Graphics.


Italian Post-Metallers – Summit – have released a stunning debut EP that is filled with emotional post-metal riffs and ambient post-rock interludes that combine for one intelligent offering of heavy music. Fans of Pelican, Neurosis and Mogwai will get a kick out of Summit's music as they play intelligent music with a hefty sideline in ambient space sounds that takes you to the far reaches of space itself.

Opening track – Adrift, Sideral Abysm – captures a band lost in the wilderness of space and trying to find their way home. The music has a very tragic quality to it as it firmly lies in the more sombre and depressive side of Post-Rock/Post-Metal. For a duo, Summit, have created some stunning sounds that you would expect from a much bigger band. It ends with a gloomy ambient feedback noise getting louder and louder by the second before it finally ends devouring everything in it's wake.

Second track – Fields of Tulips on Pluto – carries on the cosmic theme with a haunting post-rock sound adding different layers of noises and soundclips for another sombre tale of wonder and regret. The drums finally start to appear around the 1:45 minute mark with the song becoming ever more heavier by the second. Summit can be called an experimental band as they a lot of different sounds to give their music added depth and dimension.

Third Track – Remembrance Is A Celestial Path – is more of casual post-rock affair for the first 90 seconds or so before Summit explode into life with sounds that remind me of ISIS created back in the day. Summit wisely add vocals to the mix as this song stands out as one of the EP's strongest tracks. A highly intelligent and thought provoking style of post-metal to get your teeth stuck into.

Finally we have the last track – Remnants – and it's where Summit unleash their heavy arsenal of riffs upon to the masses as the EP comes to a crashing end. Remnants features a more lo-fi style of post-metal riffs compared to the other EP's tracks and it allows Summit to build upon heavy layers of doom and gloom style noises. It's the perfect way to end the EP as Summit have crafted a stunning musical odyssey with a beginning, middle and end. And what a way to end the EP with.

Remnants is an excellent EP that will hopefully lead to bigger things for Summit. As they have a huge world of ideas to impress you with. I'm quite excited of what Summit can achieve in the future.

Words by Steve Howe

Thanks to Chris at Drown Within Records and Summit for the promo. Remnants is available to buy now.

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Thursday, 29 January 2015

Haut&Court - Troffea (Album Review)

Album Type: Full-Length
Date Released: 2/2/2015
Label: Via Basement Apes industries,
 Eardrum terrorism Records,
 Grain of Sand Records,
 Swarm of Nails
 & Wooaaargh records

Troffea CD//DD track listing:

01.Sea of Shit
02. Putin
03. Caligari
04. Meursault
05. 1518
06. Ostinator
07. Chosta
08. Hienes
09. Swing
10. Feed the Fat
11. Goetz
12. JMLP

Haut&Court is:

Benjamin ‘Merko’ Simon | (bass and vocals)
Ravindranth Saint Jean |  (drums)
Arnaud Diemer |  (lead vocals)
Bernard ‘Skud’ Zurletti |  (guitar)


This stuff is filthy. The drums are alive, the guitars are probably a little too distorted to be completely audible, and the vocalist is actually angry. The short songs (12 tracks, 22 minutes) are on par for a grind band, but close listening leads to more than just blast beats and tremolo picking. There are high-pitched dissonant blasts of guitar and sludgy, dirge-like moments (~0:30 of Meursault is a great example) that seem to be put there just to make sure things don't get too comfortable in any one genre.

There are a few angular, mathcore-influenced grooves (the end of 1518, especially) and an occasional dissonant sweep flurry for good measure. The voice that provides most of the vocals is guttural and saturated, bringing to mind a little bit of early Coalesce (which is always a good thing) and there are several places where a more manic, less “trained” sounding voice adds to the correlated chaos this band produces.

The frantic, frustrated feeling the music creates is helped immensely by the incredibly live-sounding recording quality. The drums pound, maybe even pulling against the tempo a little, forcing the rest of the group along. There is a somewhat claustrophobic feeling in the record until the track “Swing” (track 9) which features eerie feedback-laden guitars that sound like they might have been recorded in a cave.

These guys aren't trying to build spiral architecture, but they will make you bang your head until your dizzy, and probably wanna circle stomp with your buddies in a warehouse. A solid grind-ish record, with enough variety to warrant multiple listens. 

Words: Ian Smedbron

You can pick up a DD/CD here from 2/2/2015

For more information:

The Sludgelord News: Wells Valley's Debut Album Now Streaming At Decibel Magazine

With the release of Wells Valley’s debut album “Matter as Regent” just one week away, the Portuguese sludge/post-metal trio have teamed up with America’s leading extreme metal magazine Decibel to give fans a chance to hear the entire album before it is released.

Listen to “Matter as Regent” HERE.

The band recently released a music video for the song "Star Over a Wheel". The video was shot byAndré Godinho for StopWorking&GoOutside and you can view it here.

The forty minutes long, 6-track album is an incredibly unpredictable and evocative release, blending the monolithic heaviness of sludge/doom with the intricacies and atmosphere of dark post-metal. The trio have crafted an organic, intriguing and crushingly heavy sound that falls somewhere between the suffocating atmospherics of Neurosis and Cult of Luna and the complexities of Voivod and Ved Buens Ende.
Co-released by Raging Planet and Chaosphere Records"Matter as Regent" is a fascinating release that sets Wells Valley as one of the most promising and innovate bands emerging from Portugal in the last couple of years.

Source: Viral Propaganda PR