Formed by members of Sea Bastard, Landskap, Dead Existence and Throne, Grave Lines could be regarded as some form of UK underground supergroup. That pedigree should also give one an idea what to expect from début album Welcome to Nothing (Black Reaper Records), but there are elements of surprise. Continue reading →
There are two things that most definitely will not be missed when Manchester’s “Old Lady” is criminally levelled to make way for unnecessary and unwelcome redevelopment: the appalling quality of their draught ale; and the surly, unwelcoming behaviour of the corpulent head barman. Everything else about this wonderful little venue, from its weathered, ageing exterior to its intimate attic space, will be a terrible loss to the history and future of this proudly cultural city.
Barbarian Hermit, by Rich Price Photography
Battling against The Angus Young Quintet a mile up the road, tonight the S&G was treated to the second visit to the city in fourteen months from Denver monsters Primitive Man and their friends and touring partners, Brighton’s Sea Bastard. Repeating last year’s scenario, local Black Thrashers Satanic Dystopia dropped at the eleventh hour so it was left to fellow Mancunians Barbarian Hermit to blaze the trail. Though less sartorially striking than at the NOIZ All-dayer two months earlier, their Sludge-flavoured NOLA template woke up the room: charismatic frontman Si Scarlett’s roar carrying an incredible depth, his Ollie Reed-like features reinforced by the drama of his performance. With Scarlett and similarly-attired bassist Chris Wood launching their baker boy caps early doors, however, the lack of visual strike from this albeit powerful, entertaining band exposed the music which, despite the heavy groove and some electrifying leadwork from Adam Robertshaw, didn’t carry the intensity of the other bands.
Sea Bastard, by Rich Price Photography
As the first crushing chords came in, Sea Bastard frontman Monty looked as sleepy as his shirt. The south-east monstrosity came wading in, however, with the colossal weight and sluggish movement of a rudely-awoken Kraken. ‘The Hermit’, their massive contribution to the recent ‘split’ with their touring buddies, seemed so much more brutal live: Monty’s cavernous, blackened roar duelling with the sarsen-dragging rhythm section and Oli Irongiant’s crushing axe, entertainingly and expressively wielded as ever. The band are completely transfixing and, in this little room, the implosive, crawling portent made one feel physically sick in the most passionate, euphoric fashion. To witness Irongiant undertake the riff solo of the ensuing ‘Astral Rebirth’ and feel the pain of every chord was both moving, terrifying and euphorically ominous, foretelling the phenomenal crush that soon arrived and duly sent the rafters for cover. The subtle yet bewildering speed of bassist Steve Patton and touring drummer Sam Chase in the track’s quickening, meanwhile, displayed the gamut of skill possessed by this unit: one of the greatest from our shores and certainly responsible for one of the all-time great performances here.
Primitive Man, by Rich Price Photography
Primitive Man shouldn’t be here again, but thank fuck they are. Their sound is a hideous joy: Ethan McCarthy’s diseased, crazed delivery comes from one of the nicest guys around, his bulging eyes as terrifying as his roaring mouth, which gave the impression that his whole face was opening. Jonathan Campos’ bass, in turn, isn’t a bass: it’s 20,000 articulated engines crushing your soul with every pluck of the string. New drummer Joe laid waste to his kit, McCarthy eyeing the ceiling with the torment and belief of a guy who’s actually seen God. Suddenly, all of the musicians who’d appeared earlier were transfixed, videoing the performance as if we’d never see the Man’s like again. The pace switched whilst maintaining the horror, a stark isolation blending with raw emotion, and to do that with such pregnant hostility was utterly enthralling.
Primitive Man, by Rich Price Photography
The vicious, howling breakdown of the set closer (“Just a new track” McCarthy typically understated later) is the most harrowing expression of pain and hate I’ve ever witnessed, turning possessed devotees into shirt-ripping zealots with the sheer uncontrollable tension of it all. Shattered, spent, deaf, and grinning from ear to ear, I was by no means alone in caring not a jot for any damage done to my creaking body. It was a joyous surprise to see both of these bands so soon, and who knows how long it will be until the next time. When that does come around, there is quite simply no good reason for your absence.
Around the same time last year, Primitive Man and Sea Bastard released two of the most hateful – and well received – products of the year. The former’s vicious EP Home is Where the Hatred Is (Relapse) and the latter’s nightmarish split with Keeper (Dry Cough Records) were followed by a joint tour of the UK last spring and, with this split release (Dry Cough Records), the bonds the two outfits have forged now become indelible.
Primitive Man’s two tracks kick us off, and with a familiar feel: the band’s squalling, Blackened Sludge given added horror by the face-melting roar of Ethan McCarthy. The clanking, Low-end ferocity of ‘Cold Resolve’ is certainly augmented by some of McCarthy’s most fearsome barks to date, and the portentous squeals of the sinister drop are enough to collapse the nervous system. The resonance of bass and drums launching us into ‘Servant’ also have a primal minimalism which clears the bowels: its fizzing, sparing riff a tolling bell which flays the skin with each swing, McCarthy’s voice the scouring brush rubbing salt in the open wounds, the brief quickening a Deathly flash. It’s a terrifying assault: appalling, guttural, startling, physically affecting…and damn satisfying.
Another near-20 minute slice of snaking pummel from Brighton’s finest closes this tormenting platter. ‘The Hermit’ largely follows the Bastard template but unusually, so gradually you hardly notice, it gathers pace through a viscerally pounding, pregnant centrepiece. Oli Irongiant’s deep, singular, painfully slow riff sets the tone before the lumbering behemoth is brutally awoken by the pulverising rhythms of Steve Patton and George Leaver. Telling the tale of the persecuted Northern monk St Cuthbert, Monty’s screaming roar wraps itself around the mellow hundredweight like your favourite Serpentine villain, rising and falling with each line, carrying that Sabbath-esque quickening toward a low, nefarious final movement which is both torturous and earth-shaking.
This “split” has been in the pipeline for some time and, thankfully, it’s been worth the wait. Crushing and hostile, these are two of the most exciting Doom-centric bands around right now and to have them both on one plate is a horrifying bliss.
After bumping into three-quarters of Undersmile who by their own admission were now “on a band outing”, it was time for tea, and also to enjoy half an hour with our “Pressed out” esteemed UK Editor. As Diego Costa massacred a defender’s facial features (odd that…) on the big screen, the magnificent Old Bar provided wondrous sustenance in the form of a chilli dog, death burger and storming IPAs for just around £15.00.
This was all damaged in time to witness one of the final showings of the majestic Altar of Plagues, a band still vital, still relevant, always adored and fully compelling. The Blackened Industrial outfit caused the first real queue into Eyesore, testament to the appeal of the Irishmen who showed with mind-blowing creativity and a little more action (plus a real drummer) what C.R.O.W.N. could have achieved. It was almost impossible to see through the – yes, you guessed it – ridiculous light display, but the drama that the Boys infused into all by the inflections of their riffs was impossible to ignore. Leaning on the cabs of the mixing desk it’s staggering to see the calm yet assured way mixers Johnny and Harry help to make this all sound so dynamic: indeed, as the impossibly youthful James Kelly issues a subtle “cheers Leeds”, you’re nevertheless almost unsure who to watch next. Especially as there were no flashing lights emanating from the lesser-known duo…the swell of the closing coda was a fitting climax to a blinding set in more ways than one.
The second journalist to take the stage today, Nick Ruskell’s Witchsorrow plied forth their ElectricWizard-esque Doom which, though musically strong and ripping through the packed room, is not augmented by Ruskell’s limited vocal and rather unimaginative stage banter [PQ].
Solstafir at Damnation Festival 2015. Photo Credit: Rich Price
Last year, Icelandic post-rockers Solstafir walked away with all the (non-Bolt Thrower) plaudits, with the second stage unable to contain their emotive, powerful epics, punters locked out and the room filled to bursting. Invited back to sprinkle their magic dust over the main stage, once again Aðalbjörn Tryggvason holds Leeds University effortlessly in the palm of his hands, their beautiful, lapping, and pervasive striking hymns swirling and rapturously received [ST]
Amenra at Damnation Festival 2015. Photo Credit: Rich Price
Listening to Colin van Eeckhout, however, is like listening to a tormented angel. First harmonising in Benedictinestyle, then screaming in twisted agony. Barefoot and in shorts, he sprang as the incredible Amenra reduced the hall violently to tears in an instant; Eeckhout facing backwards, bounding and screaming maniacally whilst vast swathes of post-Black Metal crashed about him. There were few flashing lights here: just a black-and-white backdrop flickering between speeding clouds, rippling water and Flanders fields-style explosions. The drama, the mysticism, was as potent as the sparing chords shimmering from the guitars of the frankly alarming Levy Seynaeve: van Eeckhout’s head bowed, the aching wounds apparent in the ensuing screams. Halfway through ‘Nowena 9|10’, he spun and faced us ever so briefly, and the image was complete. Subsequently removing his t-shirt as he knelt toward the drums for the unnerving ‘Boden’, the tension and empathy could be touched. Shattered, spent bodies were somehow stood absorbing every last increase of sound. All bar the knelt, bowed body of the greatest living ball of intensity I’ve ever encountered.
Amenra were beyond moving and I’m unashamed to say that I was violently sobbing as I rocked back and forth with the troubling yet transcendent experience.
Robbie is in his fifties, and took his security role seriously yet with a degree of deadpan which endears him to the punter. “There’s never any bother here. Well, apart from it killing mi legs” he reflected with a cheeky yet droll sarcasm. Directing entry to both the Terrorizer and ‘Mine areas, it was an intense yet obviously enjoyable role for him.
Meanwhile, at ‘Mine, it was hard misfortune that saw arguably the UK’s best Occult Doom band slotted in between two of the best live draws in World metal, and clashing with High On Fire. As a result, the dungeon was half-full for a crushing set from The Wounded Kings. An atmospheric experimentalism married with a pulverising groove, Steve Mills’ solos were a real breath of air whilst George Birch’s oscillating vocal is almost unique, Pete Steele-like; his guitar squealing, his shapes mesmeric, the man has grown into a consummate frontman. It was great to see the two old friends duelling together in what is now a real unit, with closing track ‘The Message’ a whirling mass of pulsating noise.
Primordial at Damnation Festival 2015. Photo Credit: Rich Price
And so to the Greatest Band in the World™. Certainly, surely, the greatest frontman. It’s staggering that there’s room at all to get in to see Primordial, but thank the Heavy Metal Gods that there were a few slivers for a chubby dude to slip in to. “We meet again!” hollers Nemtheanga after a rapturously received ‘Where Greater Men Have Fallen’, and once more a rapt throng is in the palm of his hand – if there was ever any doubt. ‘Babel’s Tower’ saw a worshipping collective almost motionless as they dropped on every word, every dramatic itonation, every plaintive act of defiance, every indelible scream. “Everywhere I look I see old friends” uttered a typically effusive Alan Averill, subsequently leading the audience participation of ‘As Rome Burns’, a powerhouse which grabbed all in roared intonations. The euphoric yet moving ‘Wield Lightning to Split the Sun’ had Averill beckoning and clawing his belly with wrought passion, asking the usual question: “Are You With Us?!”
Primordial at Damnation Festival 2015. Photo Credit: Rich Price
As ever, as One, we were.
As is always the case, the closing band on the ‘Mine stage was half-attended. As always it was a big miss for the ovine hordes. Tonight 40 Watt Sun were minimalist, light yet crushing, and utterly heartbreaking. This band transcends Doom heaviness, Post musicality, Shoegaze emotion, and Folk personification, to create a chilled yet pained entity which simultaneously relaxed and tweaked every synapse and demanded to be heard and enjoyed. Patrick Walker delicately strummed his guitar, whilst his edgy Folk voice shattered the soul with its poignancy. And still, people didn’t shut the fuck up. The delight is that new songs were being played, the second of which – if Walker’s hushed whisper is to be correctly interpreted – was called ‘Beyond You’. It’s arguable whether such pared-back, Funereal balladry belongs at such an event, but not for the lachrymose souls like myself and what seems like most of the Belgian contingent, one of whom tells me to ‘Ssh’ quite vehemently as I’m instructing a fellow watcher to do the same; go figure… ‘Carry Me Home’ was received like a long lost friend and intoned lovingly and emotionally; there was a growing fear that the early finish was permanent before the trio returned to deliver a hackle-raising ‘Restless’ which, in true ’Queen in Rio’ fashion, was sung emotionally and lustily to Walker for the most poignant, tear-inducing end to a night I’ve ever been a part of [PQ].
The reason for the thinner crowd than deserved for 40 Watt Sun? A triumphant conquering from Swedish legends, and festival headliners, At The Gates; a barnstorming non-stop roil of jagged riffs and powerhouse anthems spilling forth in a slew of genuine metal classics. Liberally sprinkling the set with visits to last years At War With Reality (Century Media) showed the newest addition to their canon more than holds its own in the presence of greatness.
And if you wanted extreme metal greatness, you got it. ‘Death And The Labyrinth’ begat ‘Slaughter Of The Soul’ running headlong into ‘Cold’ in a set opening par excellence and par violence, matched only when ‘Under A Serpent Sun’ vomited into ‘Windows’ into a vitriolic ‘Suicide Nation’. Elsewhere ‘Nausea’ brought the sickness, and ‘The Book Of Sand’, amongst others, crushed as ATG delivered their strongest live performance on these sceptre isles since reforming.
As the beers (by now the in-venue piss of Red Stripe) flowed as quickly as the riffs, an encore of ‘Blinded By Fear’ and an unbelievably scything ‘Kingdom “Fucking” Gone’ devastated, before the fuck you of ‘The Night Eternal’ sent the throng home sated in HEAVY metal brilliance. [ST]
At The Gates at Damnation Festival 2015. Photo Credit: Rich Price
Damnation is always one big rush: for fan, organiser, band member, reviewer, and every one of those wonderful unsung heroes that help to run the day. That situation is made worthy by the realisation of the anticipation: all of the friendships forged throughout the day; the fan rubbing shoulders and glasses with the performer; the scribe meeting old friends in the form of fellow scribes, interviewees and Legends. For all of the magical days on a Metal fan’s calendar, there aren’t many to compare with the sheer enjoyment and camaraderie of this first Saturday in November. Amenra didn’t so much steal this one as clutch it to their fractured breasts for all eternity, but there were many more acts making this one so special. This has to be the greatest value-for-money exercise around right now, and the small but heroically dedicated band of organisers has left itself one massive, collective headache to work out how to match this for next year [PQ].
At The Gates at Damnation Festival 2015. Photo Credit: Rich Price
Half an hour after doors opened to the latest instalment of what is surely one of Europe’s premier indoor Metal festivals, my gig buddies and I witnessed a spotty oik giving lip to a (albeit somewhat intolerant) doorman; meanwhile, one or two of said security bod’s less experienced colleagues were being unnecessarily stringent in barring perfectly acceptable entries to the Leeds university Old Bar. Youth, it would seem, is not always the desirable status us old’uns seem hell-bent on recreating…
The King Is Blind at Damnation Festival 2015. Photo Credit: Rich Price
As if to prove a point, the experienced boys of Colchester’s The King Is Blind ripped the Terrorizer stage a new one with their Blackened Death Doom hybrid and, in doing so, gave Damnation2015 a fiery opening. The initial crowd had bred tenfold by the end of opener ‘Devoured’, and it was obvious from frontman Stephen John Tovey’s grinning visage that this was as enjoyable for the protagonists. Tovey threw horns with gay abandon and the band produced drops with the weight of a crash of rhino. New track ‘Genesis Refracted’ was lapped up by a crowd which needed a little time to get going, but eventually whipped up a small but vicious ‘pit’.
Undersmile at Damnation Festival 2015. Photo Credit: Rich Price
Undersmile had the crowd to themselves in the day’s only ‘non-clash’ slot on the Electric Amphetamine (referred to as the ‘Mine), third, stage, and every note of their shuddering Grunge Drone splintered bone. The screamed “Swim on” refrain of set opener ‘Atacama Sunburn’ disembowelled, the bewitching defiled dolls Hel Sterne and Taz Corona-Brown holding court whilst rhythm partners Olly Corona-Brown and Tom McKibbin waited to deliver the crush. A snaking, pulverising ‘Sky Burial’ concluded a hypnotising yet visceral set and surely gained this prepossessing quartet more fans in the process.
Wiegedood at Damnation Festival 2015. Photo Credit: Rich Price
The first offering of three from the Belgian ‘Church of Ra’, Wiegedood’s blackened assault packed out the second stage, no doubt partly due to the Amenra connection, but that doesn’t take away from the deeply meaningful assault; whereas our first visit to the Eyesore saw the fiddle-graced Post-Rock of Talons compel a sizeable throng, and my first encounter with the dreadfully affecting, strobing lights.
Beer was flowing freely in the University’s Terrace bar so it was somewhat surprising to see ‘Jack and Alice’s storming burger joint doing less well. Guys, the cheese and bacon special was to die for…!
Positively shocking was the crush to get to see relatively unknown Kent outfit Ohhms at ‘Mine: two minutes into their set showed the reason. Their bluesy, low-end Reef-esque workout was injected with added spice by vocalist Paul Waller whose mad barefoot ‘surfing’ was the Heavy world’s Bez / Ian Brown hybrid. Captivating, dangerous, infectiously active, the whole band created one of the festival’s most talked-about sets.
Voices at Damnation Festival 2015. Photo Credit: Rich Price
French duo C.R.O.W.N. sought to wrest that mantle but their nevertheless atmospheric, Industrial post-Sludge was lacking in movement. Their hypnotic beats graced by static imagery it was a creative and sonically violent set, lazy yet striking, and musically brilliant which almost switched attention from the lack of stage presence – and those fucking lights that also plagued a dramatic set from Voices, for whom the Akercocke spin-off tag was firmly banished by the incredible London (Candlelight); their technical darkness holding the room in its thrall despite missing a certain mobility. Over at Jӓgermeister the Church of Ra’s second offering was laying waste: Oathbreaker’s Blackened Hardcore onslaught drew a huge crowd; vocalist Caro Tanghe leading a frantic, animated delivery.
Sea Bastard at Damnation Festival 2015. Photo Credit: Rich Price
It would have been interesting to see if Sea Bastard would have filled the main room, as ‘Mine was utterly rammed for the eleventh-hour replacement for Black Tusk. This is a band of implosive power, Oli Irongiant’s lofty stature possibly the only thing to dwarf the power of The Riff, and let rip with the set of the day to this point. Oppressive, the shudders displaced vertebrae along with Monty’s coruscating rasp, while Steve Patton and George Leaver based rhythms that would have crushed Everest. Never has the world seen a guitarist who feels every chord like Oli: grimacing, building the riff with sways of his giant body, his roars needed no microphone. Monty’s dreadlocks hung from his face like the monstrous sea creature they portray during forthcoming track ‘The Hermit’, the rare faster sections still trampling most other acts to dust.
maybeshewill at Damnation Festival 2015. Photo Credit: Rich Price
In complete contrast to Vreid’s vicious yet occasionally inventive Black assault over at Terrorizer, Maybeshewill have decided they’ve been peddling their melodic heaviness for long enough and that’s a great shame. With more than a nod to the likes of Sigur Ros they packed out the notorious left upper room and left few dry eyes in the process: their sound icicle-cold yet sweet, nostalgic and heavy, their effusive thanks incredibly moving. Closing one’s eyes and allowing the pulses of light and utterly heart-breaking sound to wash over the head, it was easy to underestimate the fact that 40 Watt Sun was still to come.
The brittle beauty of the outgoing quintet’s melodic sweep seems apt for the story of Jim Willumsen, once of The Wounded Kings and the late, great Ishmael, now doing his fifth festival of the year as a fan. A protagonist of my favourite-ever gig, he is nevertheless happy with his lack of band involvement for now. “It gives me a chance to see loads of different stuff” said this quiet legend of the low-end. It’s also a fitting soundtrack for a meeting with Ian Davis, as former drummer of Grimpen Mire another crucial ingredient of that night and still mourning his former bandmate Paul van Linden, outside the room.
The Ocean at Damnation Festival 2015. Photo Credit: Rich Price
The Ocean came complete with cellist and a whole host of atmospherics, aided by my Bee 17 hybrid lager which, at £4:00 for a coke-sized can, seemed steep but it was a very pleasant change from the swill usually found at such events. This all embellished the German ensemble’s largely Prog effect but also contrasted superbly with the harsher elements of their sound. Jӓgermeister’s main stage was suitably packed, making it hard to believe there was a capacity cut for this year, but their set in 2013 benefited more from the vantage points of this year’s Terrorizer room. Ghold’s appearance at ‘Mine didn’t attract the numbers that previous bands had brought to that area but their darkened doom, like a Death-riddled Conan, rattled already battered heads. The inclusion of a guitarist gave their live presence another, more beneficial dimension to that on record.
Ghold at Damnation Festival 2015. Photo Credit: Rich Price
The calm, traditional setting of Manchester’s Crown and Anchor suits the affable off-stage demeanour of Primitive Manvocalist Ethan McCarthy, and Sea Bastard guitarist Oli Irongiant. Strange for two men whose bands purvey some of the most brutal, Sludge-based horror around today. Before resuming their joint UK tour in the City, we spoke candidly about the tour itself and their forthcoming dual ‘split’.
How did the tour come about?
Oli: We became good friends last year when my other band, War Wolf, supported Primitive Man in Brighton. Ethan stayed at our house…
Ethan: After I returned home Oli sent me some Sea Bastard stuff. We really liked it, so we talked about doing a joint tour.
Paul Quinn, Oliver Irongiant and Ethan McCarthy. Photo by Rich Price
You both have a pulverising, malevolent sound. How does that translate to the live setting?
Oli: It’s always more visceral live, and it fits really low in the mix which I love. It’s like hearing somebody screaming in a hailstorm.
Ethan: ‘Visceral’ is the perfect word to describe it. You definitely feel it a lot more than you would on a recording. I guess I reach those vocal levels because I smoke a lot! I’m just trying to make it sound how I’m feeling.
Both bands are pretty prolific, and it’s Primitive Man’s second visit to the UK inside a year. How do you afford it financially, and do you have time for a private life?
Ethan: All three Primitive Man members have regular day jobs, so we’re just saving our money to help us do this thing we love. The experience of getting out there, meeting people, sharing our art…
Oli: None of us will come away from this tour with any money to spend, even on new equipment. We’re doing it because we love playing music. We’re ‘Lifers’ I guess. With such negative music, it’s cathartic for us as well as the audience: getting rid of horrible thoughts in this impulsive, intense setting. It’s the best feeling in the world. I’ve been working hard all year, and this is my holiday!
Ethan: I get rid of all my frustrations playing live. It does mess with your private life though. Sometimes your employer’s not OK with the extended time off work. It’s a tricky thing to balance, although my wife is very supportive. But I have to do it. I couldn’t live my life without knowing that I had something like this coming up.
Oli: I’d go crazy without it. A lot of the guys suffer from different kinds of depression, and there are demons we all need to get out. This is our release.
Paul Quinn, Oliver Irongiant and Ethan McCarthy. Photo by Rich Price
When can we look forward to your joint ‘split’ disc coming out?
Ethan: We recorded our two tracks the week before we came out here. I feel they’re the most pissed-off things we’ve ever done. Our other stuff is angry and dark, but these songs are super-fucking-mad. I feel they’re a little bit different to much of our other stuff. They’ll be mastered within the month, so then we’ll start talking to some labels.
Oli: I’ve just heard the unmastered versions and they’re so fucking heavy, I can’t imagine what it’s going to sound like with the bass turned up! We’re contributing one track, but it’s going to be the longest thing we’ve ever done, with some of our heaviest, fastest and slowest sections yet. I can’t wait.
You both write some pretty nasty stuff. Where does it come from?
Ethan: A lot of my stuff comes from the American Experience: the police, being disenfranchised in coming from the slums, and personal issues such as depression. So I’m writing about life experiences really.
Oli: We use nightmarish fantasy elements to deal with some heavy shit; metaphors for how we’re feeling. We all deal with depression on a daily basis, and our music is our catharsis. I’ve been through a lot of shit in my life; I feel that contributes to me liking the heavy side of things.
Ethan: Who can’t relate to beasts and evil characters, y’know?!
Amen to that. Those live shows were utterly monstrous, and the forthcoming ‘split’ promises to further both bands’ reputation as fearsome, crushing purveyors of real issues that we all deal with.
Sea Bastard, Brighton’s kings of monstrous doom, have made a huge impression in 2014 with their sophomore full-length Scabrous (Mosh Tuneage / Dry Cough), and here they set out to reinforce their place in the murky backwaters of the psyche with the more than able assistance of Californian duo Keeper.
There’s a track each on this nefarious ‘split’, issued by Dry Cough in Europe and soon by Medusa Crush in the US and both are of the nastiest, most monumental evil imaginable, running to 35 minutes in total. Keeper’s contribution, ‘777’, is a mere bagatelle at fourteen minutes, but is the kind of blackened doom immediately evoking comparison with Indian and Lord Mantis,Penny Keats‘ hateful scream coating claustrophobic atmospheres and rhythms veering from sparing and slow to an oppressive swell. The pace of the verse structure is torturous, dictated by tolling riffs and Keats’ resonant percussion, really allowing the harrowing horror to wind freely around the gut. It’s gloriously uncomfortable and twitch-inducing, with the squalling lead feedback of the last few moments utterly nerve-shredding.
The ‘Bastard’s twenty-minute stroll through the swamps, ‘Astral Rebirth’, is a lumbering, jurassic behemoth stalking its prey. The intake of breath prior to Ian ‘Monty’ Montgomery‘s vocal commencement is as effective and portentous as the ensuing delivery, a murderously deep and slow growl which suits Oli Irongiant’s funereal riffs, Steve Patton’s bass prowl and George Leaver‘s fearful, summoning drums. The central riff section is about as downturned as it’s possible to get, with a wailing lead undercurrent, and when that voice kicks back in to introduce a tribal quickening it is both brutal and terrifying – that lead showing brief periods of frenetic explosion which add to the slow, chopping destruction in the latter stages.
There’s a controlled brutality here, heavier yet just as ominous, this is from a dark place which no soul should inhabit but thank God for us listeners they do. Nod majestically at the front, ye worshippers, this is a mighty, frightening split highlighting the best aspects of two bands whose diseased outlook is matched by their deliberate, tolling power.
The gardens of Doom have never been more fertile than in England’s gray and fetid lands in 2014. Conan and The Wounded Kings may head the pack with two of the best releases of the first quarter, but shuffling like battle-jacket clad Walkers, are a host of low-end, funereal paced dirtbags, headed by Brighton’s Sea Bastard.
With a guitar tone drenched in silt and dirt, the very elements of sludge, straining against the constraints of amplification turned to maximum, a crushing chord stab fighting feedback begins this extreme doom assault over a tempo that if a heart rate would mean near-death. Vocalist Monty spits turgid death metal growls before settling into his more trademark feral tones. And so Scabrous (Mosh Tunage) has begun, resplendent in bleak, violent, extreme doom.
Good doom works through being slab-heavy and repetitious, luring you into a zone. Great doom works through being slab-heavy and hypnotically repetitious, instilling a barren feeling of hopelessness over a drawn-out time period, where the first 13 minutes feels like 4, and this is opener, the excellent ‘Nokken’, which then explodes unexpectedly in a massive chugging riff-frenzy, leaving you pummelled and bloodied until it’s 17 minute girth has unfurled.
‘Nightmares of the Monolith’ follows in, bringing things back to a graveyard tempo and an early Peaceville UK doom feel, Oli Irongiant wrenching dark riffs and chords from the neck of his guitar, maintaining an ominous atmosphere before bringing things down to a twisted sludge. ‘Door Sniffer’ serves as a perfect lead-in to the megalithic 20 minute closer ‘Metamorphic Possession’, both enhanced by prominent bass-work from Steve Patton, the former espousing more traditional Cathedral (Forest of Equilibrium) tones, the latter a sprawling, horrific epic of endurance.
Sea Bastard are too vile to appeal to the hipster, which is to their credit and hopefully won’t stunt their progression as this is a sickness that deserves to spread. At times channelling Iron Monkey, at others Celtic Frost’s Monotheist through a heroin filter, at all times vitally and vibrantly intensely heavy British Doom, Sea Bastard are not an easy listen for the extreme doom newcomer, but for the initiated Scabrous is a beautifully sickeningly dark and filthy album.