Look, we've got a lot of stoner metal to get through today. Rather than bore you with a vaguely tangential introduction, let's just get to it, shall we?
earthdiver's Leave Something Witchy is one helluva EP, taking the smudgy groove of stoner metal and infusing it liberally with the glorious devil-may-care vivacity of punk. The entire 3-track is delightfully raw, rough-edged, and nearly feral in its execution--like if Pan, the God of the wild things, decided to throw away the pan pipes and start a garage band. Angsty vocals and slightly goofy samples are upheld by the loosest and otherwise grooviest bass I've heard in a long damn time. This thing grinds and bounces around with a deliciously organic bent, keeping the low end moving forward with an egregiously thunderous confidence. Indeed, the bass forms the backbone of earthdiver's approach, with the uber-distorted guitar appearing more as embellishment to the groove.
It's seldom that I encounter a fresh-faced band with such jubilant energy behind them. Doom benefits greatly from a swift kick in the ass, and earthdiver might just be the ones to deliver. If you like a little zest and zeal in your stoner doom, this particular Villager highly, highly recommends you check this one out. Listen to the title track here:
Sometimes, an album I place on frequent rotation for review simply...well, never leaves rotation. It becomes so integral to my listening habits that the notion of writing a review becomes almost antithetical, because to write a review is often an admittance that it's time to wrap up my thoughts, take a break, and move on to other releases. Where Light Goes to Die, the sophomore effort from Atlanta's hard-rocking HOT RAM is, needless to say, such an album.
This power trio have been waiting a long damn time for this write-up, so let's get to it!
In many ways, HOT RAM appears to hit the ground running as a fairly prototypical doom/stoner rock outfit. Thick and bluesy grooves. Relaxed and expansive vocals, with just enough pent-up aggression to merit that sweet sludgy association. Fuzzy riffs that stretch and wind with a laid-back mentality and an exploratory spirit. That's all well and good--I mean, honestly, what else are we really here for. But alas, HOT RAM conquers the expected tropes with ease, and, fairly immediately, demonstrate that they have much more in store.
Where Light Goes to Die is, at heart, a hard rockin’ album, and it is this quality that took me most by surprise. HOT RAM fire on all cylinders with marked consistency, performing with the braggadocious air of a demin-clad classic rock outfit, without delving into the airy arena of radio-friendly singles. It’s like if Accept or early Judas Priest were converted by the Church of Misery. This mix of high energy riffage, pounding drums, and bass with ‘tude on one hand, and psychedelic meanderings on the other, is pretty damn potent.
The guitar feels fairly staple and straightforward in its approach, but it becomes apparent quite quickly that mere amp-worship ain't necessarily the name of the game. Take, for example, the frantic scale climbing that marks the finale of "Tribes of Titan," or the delightful sidewinding riff on (psych standout) "Petra," or the grinding aggression of "Nova Caesari," or the earnest rollicking of "Snake River." It is to their great credit that these tracks, and indeed every song here, feels like a very unique entity in the album's overall fabric. There's nothing here that should be cut, or refined, or even trimmed. As much as I love the genre, we all know the truth of the matter: in the hazy confines of stoner rock, sophistication and brevity aren't always the qualities most sought. HOT RAM throw that stereotype in the woodchipper, delivering six massive (yet varied) bangers.
I just listened to this album in full for the sole purpose of determining which track is my favorite. In conclusion? I genuinely cannot make that determination. Yer just gonna have to grab this HOT RAM by the horns and experience it in full unadulterated glory. Be part of the reason these guys get a little more attention. If it isn’t obvious thusfar, Where Light Goes To Die comes highly recommended. But yet, the question remains: will it leave constant rotation as a result of this review finally being unveiled?
In the ‘verse of metal bloggers, there are many small establishments doing cool stuff, and despite the grizzled, ink-splattered, and decidedly misanthropic appearance of our scribes, we here at the Sleeping Village are, on occasion, cordial folks. As the inhabitants of our extensive grave pit will tell you, it’s an undeniably violent world out there. When the marauders return once more to our homely township, we certainly appreciate our allies mettle (and, well, metal. In a manner of speaking). It’s good to have friends.
This is all to say that Alternative Control, out of the wildlands of Connecticut, is one such blog doing cool stuff. As you may recall, we ran a review a while back for their Volume Doom compilation, which featured some truly excellent tracks of the low ‘n’ slow variety. This spring, Alt Ctrl is back with a seasonal sampler--a collection of songs from bands who have appeared on the blog, in some fashion, over the past few months. While the genre cohesion is nonexistent in this case, the general trend is not. To quote site proprietor extraordinaire Jessie May, this sampler contains "no garbage tracks," plain and simple. Sign me up.
There are eight great songs on this compilation, ranging from hardcore, to depressive black metal, to stoner. Each is highly enjoyable in it’s own right. Things kick off with a killer track from German dark metal progenitors Bethlehem--"Niemals mehr Ieben," which features Yvonne "Onielar Wilczynska on haunting vocals, comes from their forthcoming May release. I know the alphabetical nature of the tracklisting makes this a happy coincidence, but if we're going the thematic route, Bethlehem form an excellent bridge from winter's depressive side to a lighter--err, springier--soundscape. From there, Blind Scryer's doomy treatise and Dread These Day's hardcore approach should, on paper, clash, but both are such solid singles that any lost continuity is a complete non-issue. The same can be said for the remaining 5 tracks herein. London's groovy-yet-rockin' Gramma Vedetta, the avant-garde and deliciously bass-heavy Laster, and the ever-provocative Necrosexual all deliver in spades. Owl Maker contributes the penultimate track, the experimental Lizzy-esque "Owl City" from their recent 2-track EP, much beloved by our humble Village. The standout track, however, is the closer--Scabby Ghouls deliver an upbeat and punky Misfits-esque romp. "Knife Fight" is a whimsically horror-themed ditty, and the delightfully bombastic chorus has been stuck in my head for the better part of a month.
All told, this Spring Sampler is a first-rate collection of equally first-rate tunes. Alternative Control is hitting it out of the park with these compilations, and we're very excited to see where this trend takes them. Summer awaits!
1. Bethlehem - "Niemals mehr leben"
2. Blind Scryer - "Delta V"
3. Dread These Days - "Eldfell"
4. Gramma Vedetta - "Address Unknown"
5. Laster - "Haat & bonhomie"
6. Necrosexual - "Trust No One"
7. Owl Maker - "Owl City"
8. The Scabby Ghouls - "Knife Fight"
As a sobered collective of secularists, the Sleeping Village wouldn’t typically welcome a High Priest into our midst. But here we are: praising, with undisguised zeal, the latest effort from these Chicagoan doom-slingers. Such is the power of the riff. High Priest's forthcoming Sanctum is a wondrously enjoyable release, and we’re honored to spread the good word.
Sanctum is an addictive 4-track slab, a well-conceived coagulation of influences. Promo material cites Alice In Chains, Pallbearer, and Trouble, while additionally recalling the group’s genesis at an Electric Wizard show. These are bold comparisons for an untested crew...but comparisons with which I am very much inclined to agree. While the downtrodden AiC style vocalizations and the swirling Wagner-esque compositions are spot-on, I’d argue that High Priest occupy a surprisingly subtle spot in the doomverse. While undeniably (and characteristically) riff-centric, no track here even begins to feel weighed down or drawn out. While melancholic and sorrowful, Sanctum never wallows or loses its delightful dynamism. And while approaching, at times, NWOBHM’s trademark melodic drive, it never feels excessive, nor does it fly off the rails with reckless abandon. In this sense, High Priest demonstrate the genre-melding abilities of Valkyrie, or perhaps even Desolation-era Khemmis. It’s hard to bring something new to the doom game, but High Priest feel remarkably unique in their tempered approach. Bottom line: this EP displays a very modern edge while simultaneously illustrating a variety of sounds that helped define doom and sludge. Not, my friends, a bad place to be.
Sanctum kicks of with the excellent Descent, which remains, to this Villager’s ear, the best thing these guys have ever written. Here, High Priest is firing on absolutely every cylinder. Militaristic drums, decidedly soulful vocals, expansive-yet-immersive riffs that weave and meld with confidence. The twin guitar approach rips with power and precision, and the chorus is an absolute beast. Descent is on course to become a contender for most played track o’ the year, and for good reason.
Beyond this unabashed display of prowess right outta the gate, Creature and Paradigm reinforce initial assumptions. That is, High Priest know how to write a compelling song. As alluded to before, there is little space for stagnation. The tastiest licks and most rollicking riffs are afforded the perfect amount of time in the spotlight. And while that’s all well and good, the latter track, in particular, displays some notably fantastic work in the percussive department. For a band and genre that inherently places such (deserved) emphasis on the guitars, it’s genuinely wonderful to hear such a strong showing from the drummer. Truly a standout performance. Closer Offering, while displaying a certain Troubleing vibe and strong dynamism in the vocal delivery, does feel a tad long. Given otherwise impressive fat-trimming chops, the back half here does feel slow in comparison. As a whole, however, we’re left with a very well executed package.
As riff-worshipers, you and I are walloped with a lot of doom on a daily basis. Keeping that in mind, it’s fair to say that High Priest are going places. Sanctum comes highly recommended. If you need some convincing, listen to Descent below:
Robots of the Ancient World. If that moniker--and the accompanying artwork--doesn’t conjure a spaced-out and otherwise smoke-afflicted ethos, I urge you to back away from this decidedly cosmic Kyussian watering hole before it's too late. That's right. This impressive debut is comfortably tied to the generator rattlin’ desert rock of terra firma, yet brings enough psychedelic and astral gravitas to give credence to their cosmos-trawling identity. An appropriate Carl Sagan sample only adds to the ambiance--but really, isn't that an inevitability?
Before this particular scribe gets too mired in the nitty-gritty, let’s make two facts abundantly clear: 1). Cosmic Riders is a highly enjoyable album, quite possibly one of the genre’s best this year, and 2). as an up-n-coming stoner/desert/doom crew, Robots of the Ancient World can hang, quite comfortably, with the best of ‘em.
Instrumentally, you’ve undoubtedly heard something of a similar ilk--although perhaps without such a defined sense of nuance. Robots of the Ancient World’s are rockers through and through--pounding drums, groovy bass, and a hard rockin’ pedal-to-the-metal mentality keeps them grounded in the desert department. In terms of the general ambiance called to mind, tracks such as “In My Head” and the aforementioned “Sweet Lady” recall blazing sun and burning rubber, more so than psychedelic starlit soul searching. Given the album as a whole, however, neither “thick” nor “hefty” feel particularly apt, as the riffs remain expansive. Undeniably fuzz-ridden, yet delightfully light footed. Typically an album that actively encourages mind wandering, rather than constantly demanding attention, will fall under my spit-shined critical lens. Not so here. The (comparatively) relaxed second acts of “High and Drive” and the titular “Cosmic Riders” don't constitute mere background noise in the slightest, but their expansive and subtle nature demonstrate a very calming effect. Surely the modus operandi of these interstellar Robots, if the intro to “High and Drive” isn't enough of a hint.
A true highlight of the guitarwork is the solos--few and far between, but excellent nonetheless. See the back half of “Sweet Lady” for a particularly sweet lil’ fretboard diatribe. These exploratory guitar-centric moments work incredibly well to draw the listener in. While the central riffs never feel stale, the solos serve as glimmers of particular interest. The issue with the majority of stoner rock of the astral variety is a tendency to fall too far into the abyss. Robots of the Ancient World are quite proficient at letting you drift, but occasionally reeling in the tether.
This quality is only strengthened by the fantastic vocals, which I've seen compared, interestingly enough, to both Danzig and Jim Morrison. The former is certainly apparent--look, for example, to the self-assured gruffness on “God Particle/Oblivion Stone.” In terms of the latter, while Mr. Mojo fanboyism is, quite possibly, my greatest pet peeve, I'm frankly inclined to agree. A certain chiller-than-thou poise proliferates the entire package, adding a level of emotion that has been unfortunately lacking in the genre’s recent deluge of shout-into-the-void delivery. That said, rather than residing in languidity, he's capable of turning it up a notch--an expansive, distant, and at times mournful howl. When this is pushed to the limit, he tantalizing walks the line, stretching each note to a frayed edge. It suits the tone and shape of Cosmic Riders quite well.
Again, this is an impressive debut. In fact, the only vague misstep in sight is the penultimate “Five Eyes,” which feels overly long given its position in the album's mesh. At six and half minutes, this is an excellent track carrying some unnecessary baggage on burly shoulders. Otherwise, Cosmic Riders remains compulsively listenable and relentlessly enjoyable. It’s a noticeable step up from their self-titled debut, which frankly says a lot on its own. More than representing maturity, however, Cosmic Riders serves as a declaration of Robots of the Ancient World’s intent: to join the impressive entourage of PNW bands toiling to reinvigorate the spirit of rock. To this end, their debut credits the genre’s foundational elements, but doesn’t turn tail when prompted to deliver music that feels just unique enough to spark interest. Cosmic Riders comes highly recommended.
Robots of the Ancient World's Cosmic Riders was released March 26th, 2019.
A certain groggy-eyed, highfalutin' peasantry