“I’ve always rooted for the Reading trio, enjoying their blend of NOLA-inspired sludge and bluesy hard rock. Ultimately, there is little changing about Morass of Molasses’ third attempt at greatness. Aptly molasses-thick sludge grooves meet bluesy melodies and wild drumming, while a bearded bro shrieks into the mic. Inject a lil stoner vibe, and you’ve summed up everything to expect.” Down with the thickness.
“Just look at that cover! I didn’t quite care what it ended up being when I saw that brazenly bright, composite-faced figure with its many mouths open in… anguish? Excitement? Both? Of course, I knew it had to foreshadow noise to some degree—something so frighteningly stitched could only be the result of frequencies scraping the boundary between pique and pleasure.” Horse show.
“By my own admission, post-metal – especially where it crosses into sludge – is not my typical jam. So much is it not my jam that CERTAIN INDIVIDUALS on staff receive much hate for their love of sludge. But a favorable, if not effusive, word from the elusive but expressive Kronos is all I need to take a band seriously, and so it was with Poland’s Entropia.” Filthy recommendations.
“Apparently, I’m the only one ’round these parts who gets excited to see the band Dirge in the same sentence as “post-metal.” I’m like, “they’re back, baby!” and I lose my goddamn mind. The French masterminds of such classics as Elysian Magnetic Fields and Wings of Lead Over Dormant Seas were a force to be reckoned with, but then I realize: this is the other Dirge, the one from India.” International doom.
“Treedeon is a trio based in Berlin, having released two full-lengths since their inception in 2013. Consisting of former Ulme vocalist Arne Heesch, ex-Jingo de Lunch vocalist Yvonne Ducksworth, and drummer Andy Schünemann, Treedeon is a disciple of the NOLA sludge scene, with a filthy and caustic breed that recalls Eyehategod’s ten-ton blues and a density that conjures Thou.” If a tree falls in sludge, does it make an abrasive noise?
“Act of ImpalementPerdition Cult offered each of their influences like a charcuterie board, Infernal Ordinance streamlines them for a maximum punishment platter.” Poke-e-man.
“They say you should never judge a book by its cover, so I didn’t. Even though the cover of Seum’s sophomore Double Double set off alarm bells in my head concerning the quality and style of the music contained therein. But garish as the art is, it might be the best thing about the album. Seum’s brand of stoner-sludge here is (almost literally) one-note.” Double over.
“Germany’s Obelyskkh have been knocking around for a while now, having dropped their full-length debut, Mount Nysa, in 2011. The Ultimate Grace of God is the band’s fifth album and comes five years after their last, with the intervening period seemingly beset by COVID- and cash-driven troubles that delayed it time and again.” Tardy but hardy?
“If you’re looking for thick-stringed pummel somewhere on the heady but heavy spectrum between Anciients and Today Is the Day with a kiss of Machine Head, you might be in the market for Turbid North. I know that sounds like mouthful, but these extreme metal frontiersmen make it a point to switch from Southern rock drones to chug-led beatdowns on a dime.” Trve north?
“Have you ever heard the story of Ahasver, a forsaken quasi-biblical figure who ignored Jesus somewhere along the line? Now, he gets to wander around undying until the big guy comes back. That’s just a bit petty if you ask me, but if you ask Ahasver, the story functions as a much more brutal parable—a man must walk the earth in the face of all the terrors he has witnessed and ever that will unfold. But worry not, this isn’t a 90 minute rock opera nor a 60 bpm post metal languishing. This pedigree of furious Frenchman (including Julien Deyres of Gorod and Zubrowska fame) prefers to pontificate with chunky grooves, textured vocal aggression, and… a Carl Sagan reading?” Grooves and Stars.
