Sludge Metal

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Sludge metal generally combines the slow tempos, heavy rhythms and dark, pessimistic atmosphere of doom metal with the aggression, shouted vocals and occasional fast tempos of hardcore punk.

Source: http://en.wikipedia.org/wiki/Sludge_metal

Post Sludge / Atmospheric Sludge metal This heavy metal movement takes influences from post-rock. While it is in many ways similar to post-rock, post-sludge metal tends to include lower-tuned guitars, darker themes and tones, and heavier drums. Post-sludge stresses emotion, contrasting the ambiance of post-rock with the weight and bombast of metal. Vocals are deemphasized or non-existent, and lyrics tend to be equally abstract: often thematic or philosophical in nature. It is a largely American phenomenon, but also includes some Japanese bands. Bands like Neurosis, Isis, Cult of Luna, and Pelican write lengthy songs (typically five or six per album) that can range from light and guitar-driven to extremely heavy, drum and bass-driven.

Source: http://en.wikipedia.org/wiki/Post-metal

Sub-genre collaborators:
  • Bosh66 (leader)

sludge metal top albums

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sludge metal Music Reviews

IRON MONKEY 9-13

Album · 2017 · Sludge Metal
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siLLy puPPy
Existing in the concrete jungles and unheard of for almost two decades, the Nottingham simians IRON MONKEY swing off their vines and onto the world’s stage once again. Having formed in the 90s when sludge metal was in its infancy, the band followed in the footsteps of Eyehategod, Acid Bath, Buzzov-en and Grief when they finally released their debut album in 1997. The band got their feet wet with their eponymous debut that displayed their primal ability to deliver the sludge metal treatment like the big boys with all the caustic fury and hypnotic distortionfests turned up to 11. After an initial positive response the sludge apes quickly pumped out their second release “Our Problem” which was not only met with critical acclaim but remains one of the hallmarks of late 90s sludge metal. As is too often the case, the band became plagued with personal and music industry disputes and soon the MONKEY go bye-bye leaving a mysterious void in the potential that seemed would never find a second life.

Having been almost forgotten as a mere footnote in the growing annals of metal history, IRON MONKEY has left the thick over-grown jungles and released an album of new material. Despite existing in a rather truncated history in their early stages, IRON MONKEY still had their share of lineup changes and with this resurrection there is no exception. This comeback was orchestrated by two of the original founding members: guitarists Jim Rushby and Steve Watson. This decision is somewhat of a gamble since original hardcore punk inspired vocalist Johnny Morrow surprisingly died in 2002. Also adding to this dubious reformation was that the original drummer John Greaves wasn’t invited to rejoin the new MONKEY spanking club. Undeterred, the band has reemerged as a mere trio with Rushby adding vocal duties to his resume and Watson trading in his guitar for bass. New to the mix and picking up the drumming duties is Scott Briggs who brings his hardcore punk sensibilities to the table from his stint with the crusty punkers Chaos U.K.

One of the most immediate head scratchers for those of us who accumulated IRON MONKEY’s mere two releases and the twofer comp release is that 9-13 uses the exact same album cover artwork as the 2-CD compilation “Our Problem / Iron Monkey” which is obviously going to cause great confusion and could possibly invoke a flurry of cursing in paragraphs for the uninitiated who happen to accidentally order the wrong product unknowingly. The product inside though is quite different than the two albums that precede it. This is the new IRON MONKEY that has grown out of the old. While incorporating the expected template of grinding sludge riffery and adrenaline fueled feedback frenzies all dressed up with misanthropic vocal tantrums, the band has certainly opted out of dirge doom drudgery and added a more hardcore punk infused energetic delivery that ultimately leads back to the days of such early birds like Discharge which is a welcome change since the early albums were lacking that extra ass burning drive that this one seems to have.

In fact, the opener “Crown Of Electrodes” misleads by insinuating that the band has gone hardcore and crust altogether. The following “OmegaMangler” does nothing to dispel that conclusion. Finally on the title track which is third on the queue list, the old IRON MONKEY begins to shine through as the punk infused drive yields to the distant sludgy jungle calls of the past with that unmistakable Sabbath-esque doom shuffle and high octane distortion cranked up for full pyroclastic feedback flows. On “Toadcrucifier - R.I.P.P.E.R” we’re treated to an extraordinary bout of feedback abuse before the energized bluesy sludge shuffle steals the limelight. “Destroyer” tears the roof off the joint as it delivers one of the most unrelenting and uncompromising heaviness of the band’s entire career and one that sounds like the ultimate crowd please in a live setting. Ditto for the following “Mortarhex.” “The Rope” is perhaps my favorite track of the lot as it delivers an instantly evil-as-fuck riff supplemented by Rushby’s more than adequate for the job vocal delivery. In fact, Rushby does an excellent job at replacing Morrow as he has perfect control over the gargling grunge and sludge mood setting management that this style of metal requires. “Doomsday Impulse Multiplier” continues almost by the numbers, the full sludge effect. “Moreland St. Hammervortex” takes a stab at creating a lengthy near ten minute closer guaranteed to leave a caustic acrid taste in your mouth with intended results delivered.

In the end, i understand why IRON MONKEY felt they had to leave the jungle and jump onto the world’s stage once again. As the internet allows older music to be exposed to a wider world audience, their first two albums have gained more recognition than they did at their time of release and there has always been a sense of unfulfilled destiny as the group mysteriously disbanded seemingly forever. Overall, 9-13 provides a platform for the two founders to uncork all that pent up sludgy rage that has been simmering for two decades and unleashes it in full metal fury and for once doesn’t sound overly derivative of early sludge masters Eyehategod or Acid Bath. Here they exude a volcanic explosive energetic release that in some ways blows away their 90s output. However, the whole thing still comes off as rather retro as countless sludge bands have long surpassed IRON MONKEY in their ability to perform their metal jungle gym routine. Despite the recycled album cover that is supplemented by recycled 90s sludge tricks of the past, these guys trimmed down to a trio do a surprisingly excellent performance of a nice modern punk infused retro sludge metal routine.

Although bands like Neurosis and Intronaut, for example, have long ago taken the sludge metal paradigm to more progressive pastures leaving the 1.0 version of the sub sounding a little one dimensional, IRON MONKEY nevertheless exudes a revitalized energy on their latest 9-13 despite not offering a great deal of variation in terms of compositional development. If old school feedback and fuzz coupled with crushing riffs augmented with the classic angry vocal effect is your poison, then 9-13 won’t disappoint but if you don’t exist in an anachronistic bubble of another era, then this one just misses the mark at finding a top tier status under the infinitely more sophisticated bar that modern metal bands have raised so high. In the end, 9-13 will ignite the pistons, grease the spark plugs and rev the engines and produce the full adrenaline effect that only this sort of raw, filthy and primal type of metal can induce, but after 18 years i would have expected some sort of upgrade in compositional development. As it stands 9-13 will have to serve as a decent but not outstanding slice of super heavy sludge metal from one of the underground classics of the 90s. Whether IRON MONKEY deserves a position in the 21st century as a contemporary sludge metal act remains to be seen, but i have to admit that i’m a sucker for this sort of primordial manic outburst of energy without the overly complex layering of effects at times.

WHORES Ruiner.

EP · 2011 · Sludge Metal
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aglasshouse
In 2016, VICE's Noisey proclaimed Atlanta's WHORES to be the "new kings of noise rock", a title that the band happily flaunts at the forefront of their self-description. Such a description though is very readily able to raise any self-respecting person's eyebrows, as the validity of it could very well be egregious at best.

Whores, or bluntly WHORES., have some credit that is needed to be given, credit that does give some respectability to Noisey's honeyed praise. The band piggybacked off of a very loyal fan-base that ate up their EPs and immense live shows, eventually gaining enough underground traction to score a debut LP in October of 2016. This is, undoubtedly, an opportunity any group of poor saps wanting to make a mark with their music would dream for. The question then remains, I suppose- what made Whores as lucky as they are? What lit the fuse, started the boulder rolling, oiled the machine, and kick-started their career with any other stupid analogy? For the answer, we'll have to go back to the beginning.

Ruiner was the first EP ever delivered by Whores, and was the first peep from the studio to be served to a public forum. Ruiner, with a cover of a sleek .45 with the band's title in brash, unrelenting capitals and a title that invokes destruction, is bound to make an impact even before the music starts. But as the music starts, you quickly discern the source of Whores' success. Their sound. A monumental drum entrance and guitar screeches welcomes in the crushing vigor of 'Daddy's Money', the opening track. Every element present on this track gives credence as to how Whores has appealed to the metalhead market. Right off the bat it makes it clear that they are distancing themselves from the scores of Crowbar and Melvins imitators with the noise rock style Noisey praised them for being the kings of. It almost makes Whores seem like a reincarnation to their Southern brethren in Florida, such as the aforementioned Floor, Cavity and others- all bands who also play sludge with hefty dollops of wrenching feedback dolloped on to evoke a certain amount of rage and distortion not seen by most other metal bands. The whole EP flagrantly uses this heavenly technique, but with each song having a unique hook that propels it forward. Like heavy machine, Ruiner proceeds with a lumbering grace not unlike a titan from Greek mythos. The album stops just the way it begins, pounding staccato drums overlayed by heavy, feedback-laden riffs, wrapping this demonic automaton in a masterful bow.

Christian Lembach's larger-than-life person and voice, Travis Owen's dramatic fills and Jack Schultz's thundering bass-work all make Whores quite the fun equation, proving once again that the underground holds the best secrets. It's safe to say that, even in the fetal stages, Whores definitely warrants some sort of kingship.

BARONESS A Horse Called Golgotha

Single · 2010 · Sludge Metal
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FMOTP
Baroness is a band I like a lot. They create well-played, mostly interesting music. I think Allen Blickle's drumming should be singled out as a big part of what makes Baroness enjoyable. This short single is probably most noteworthy for the band's fun version of "Bikeage". As far as I know, it's not available on any other release.

I have one reservation with Baroness. They tend to write interesting riffs and then not stick with them, which gives their songs a disjointed quality. However, "A Horse Called Golgotha" is one of the band's most attractive songs. I think there are better bands in this subgenre of metal. However, this is still a terrific appetizer for Baroness fans.

ACID BATH When the Kite String Pops

Album · 1994 · Sludge Metal
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Warthur
Boasting Jon Wayne Gacy cover art and an incredibly appropriately dirty and sludgy production, Acid Bath's debut album offers up crushingly heavy sludge metal whose subject matter, as you might guess from the cover, combines the jocular with the morbid. (Dr. Seuss Is Dead is outright terrifying.) Dax Riggs' vocals can take the strangest subject matter and make it sound deadly serious, especially in the context of the doleful sonic territory explored by lead guitarists Sammy Duet and Mike Sanchez. At points it's almost psychedelic, a bad trip into dark territory. As far as the 1990s pioneers of sludge metal go, Acid Bath certainly don't deserve to be overlooked.

NEUROSIS Souls at Zero

Album · 1992 · Atmospheric Sludge Metal
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UMUR
"Souls at Zero" is the 3rd full-length studio album by US, California based sludge/post metal act Neurosis. The album was released through Alternative Tentacle Records in May 1992. It´s the successor to "The Word as Law" from 1990 and features one lineup change since the predecessor as Simon McIlroy (keyboards, tapes, samples) has joined Neurosis to make the band a five-piece on "Souls at Zero". Neurosis were formed in 1985 and initially played hardcore punk on their debut album "Pain of Mind (1988)". They continued playing hardcore punk on their sophomore album "The Word as Law (1990)", but on that album slower doomy elements began to appear, and it was obvious on that album that Neurosis were in a transitional process. No one at the time of course knew what they were transforming into, but that is revealed on "Souls at Zero".

Stylistically "Souls at Zero" still features hardcore punk elements, but it´s now only a part of the band´s sound and not the core of their music. The pace has been lowered considerably and while the music is often quite energetic and aggressive, the tempos are mostly slow-to mid-paced. One crushingly heavy riff after another, feed-back noises, samples and sound effect, and loads of adventurous rhythmic combinations are now some of the elements which make up the basis of the music. On top of that the shouting raw hardcore type vocals by Scott Kelly and Steve Von Till. The song structures are unconventional and occasionally even progressive in nature, and listening to the 10 track, 61:24 minutes long album is quite the musical journey.

For examples of the more experimental/progressive ideas found on the album take a listen to the subtle piano in the opening section of the title track, the violin and flute section on "Flight", the use of trumpet on "Sterile Vision", or "Stripped", which in addition to featuring crushingly heavy riffs and almost hypnotic tribal rhythms, also feature violin, orchestral keyboards, and a short medieval choir section. Interesting experimental/progressive features which ensure variation. The use of keyboards/sound effects/samples on many tracks also provide the material with a richer and more dynamic sound. The keyboards/sound effects/samples are not a dominant feature in the soundscape, but still an important part of creating the dark atmosphere of the music.

The album´s greatest strength, in addition to the strong musicianship and powerful and well sounding production, is how well Neurosis combine primal hardcore aggression with slow doomy riffs and rhythms, experimental/progressive ideas, and bleak atmospheric moments. It never sounds contrived. It just flows completely naturally and the many stylistic elements are used to great effect and they are used at the perfect moments throughout the album. Hour long album releases can sometimes be a bit of a chore to get through, and there are often filler material or tedious moments on releases that long, but "Souls at Zero" is one of the exceptions to that rule.

So upon conclusion "Souls at Zero" is a high quality release by Neurosis, which feels a bit like a new beginning for the band. It´s not like their first two releases aren´t worth listening to, but they pretty much sound like they were recorded by another band. "Souls at Zero" signals a new start and a new musical direction, but the journey had just begun, and Neurosis would evolve, and develop and add new ideas and elements to their heavy doomy core sound over the course of their subsequent releases. In that respect "Souls at Zero" is a relatively unique release in their discography. Not only because it´s the first release in their new heavy and experimental/progressive style, but also because it´s still immature and raw in many ways (or maybe stylistically "unfinished" is a better description), which is ultimately greatly charming. A 4.5 star (90%) rating is deserved.

sludge metal movie reviews

ISIS Clearing the Eye

Movie · 2006 · Atmospheric Sludge Metal
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Triceratopsoil
Probably only really for fans of ISIS (I mean, who else would buy a concert DVD than a fan of the band in question?), but an absolutely great experience. Witness an incredible band at their peak. The main feature here is the full 70 minute performance from Sydney Australia in 2005. Great cinematic camera work, a relaxing and overall fantastic performance of some of the best songs ISIS ever wrote. Top notch. No complaints here, though I'm a giant fanboy so take my opinion with a grain of salt or 10.

Most of the other live videos are curios, though they are quite good - not the same professional sound and video quality as the Australia concert.

I made my mom buy me this for Christmas a few years ago, ahaha

MASTODON The Workhorse Chronicles: The Early Years 2000-2005

Movie · 2006 · Sludge Metal
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Kingcrimsonprog
The Workhorse Chronicles is a must have for any fan of the band. Period. The DVD contains a huge documentary, their first four music videos and live performances of just about every song the band had written up until the touring for Leviathan. The documentary is incredibly informative, with details on how the band formed, inter band relationships, the witting process, touring, their personal lives and what inspires them. Footage from their old bands, their earliest shows and backstage is mixed with candid interviews to let you in on just about every aspect of the band you could think of.

The dvd displays just what a down to earth collection of musicians Mastodon are, never acting like rock stars and always feeling honored to be where they are. While the dvd is completely serious and professional, fans of the band will already know what a humorous bunch of guys they are and will revel in the joking, sarcasm, unusual dreams and even an interview conducted in the shower.

Then you get the live performances taken from several sources, One concert while the band was still a Five Piece playing material off of the then upcomming LifesBlood EP which is recorded by the audience so isn’t of high audio/visual quality. Another Concert is from The Leviathan Tour is a sold out club, with higher Audio/visual quality and a career spanning track listing. Then there are several professionally recorded one off performances for television with superb sound and looks, With songs like ‘Workhorse,’ and ‘Mother Puncher,’ played to the highest standard with crystal clear audio. Finally the music videos which are welcome. Overall this dvd is a must have; with a superb documentary, four videos and an astonishing 29 live songs.

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