#sludge-metal — Public Fediverse posts

Oh my, Apple Music’s recommendations coming in huge today.

I’ve never heard of the band The Body before but this is massively up my street. Sludgy, screamy, lovely. Shall be picking some stuff up.

https://music.apple.com/gb/album/cop-killer/1895681565?i=6764198550

https://thebody.bandcamp.com/music

#Metal #AppleMusic #SludgeMetal

Τι ωραία συνεργασία είναι τούτη;

(Είναι safe και για πιο ευαίσθητα αυτάκια, παρόλα τα φωνητικά που ξεπετάγονται από εδώ και από εκεί :P)

Oaken x BORU - Coalescence (2026)

https://boru.bandcamp.com/track/--2

#PostMetal #DoomMetal #SludgeMetal

Mastodon - Marrow Deep

https://web.brid.gy/r/https://theneedledrop.com/album-reviews/mastodon-marrow-deep-album-review-j0tvp7j5pxy/

Who is this man who bears a pentagram and drapes his horse with astrological signs? Why does he carry a scythe, and why is he wearing armor? What does he see in the distance beyond the farmland? As the face of Armageddon Scars—debut LP of Louisiana sludge-doom duo Fane—he stands as a symbol for its contents, “[e]xploring themes of endurance, damage, and aftermath” by referencing an old world perhaps not so dissimilar from the present one. We may not get answers to our opening questions, but Fane’s musical expression can speak for itself. But in this genre epitomised by down-tuned dourness, is what it says any less vague and unanswerable?

Armageddon Scars sounds exactly like you think it does: a bit fuzzy, a bit wobbly, steady, sometimes groovy, but all in moderation. It finds some middle point between the promo’s advertised YOB, Primitive Man, and Crowbar, which manages to be quite listenable despite how that may sound. There’s a consistent atmosphere of stoicism, formed through the variously soft and spikey aspects of stoner-adjacent guitar drawls and grittier sludge chugs, that’s more than endearing. As opener “Flatline” fades in through the chirping of crickets and muted chords, this feeling starts to increase, augmented by the biting gutturals that take the lead and the tempo upshift that is echoed in the consistent turns of the album’s remainder.

Fane come into their own with a textured hook and the coalescence of passion with rhythmic delivery. It takes a while to get there, but “Flatline”‘s lead refrain hits a satisfying groove in its blended stoner-sludge riffs and crashing cymbals; “Poisoned Crown” fares better in delivery speed and general quality, but you do have to wait until the end of the album to reach its syncopated percussion and drawling soloing. This percussion is consistently enjoyable to listen to, but hits best when the album steps out of the template just a tad and messes with patterns (“Flatline,” “Passages”). Likewise, while Armageddon Scars remains melodically driven by simple yet effective riffing—and the theme in “Mariner” stands out particularly here—it’s usually when Fane mix in a little more dissonance or complexity that their solid base feels strongest. A guitar line whose twisting dissonance (“Dead Shepherd”), or high mirroring of another (“Flatline”) adds welcome urgency and intrigue. The bouts of atmosphere in the mix—to bring in the sounds of the sea, introduce the opening chords, or cloak the album’s only true solo—also contrasts nicely with the more solid foundation. When screams pitch above the fracas for vicious (“Passages,” “Mariner”) or agonised (“Dead Shepherd”) emphasis, they successfully pull their sober surroundings up with them, whose weight then lends these moments the punch they need.

Yet despite such signs, Armageddon Scars falters in large part because it fails to distinguish itself. There’s a fine line between a reassuring familiarity and staleness, and Fane fall on the bad side more often than not, with the bulk of the riffing and rhythms occupying that middle Venn diagram of their influences. It’s seemingly not for lack of imagination or skill, as the above indicates the band are experimenting a little and adding at least some layers and elements of darkness, atypicality, or poignancy. What’s there is just not enough to counteract how quickly the admittedly good rhythms and refrains lose their vivacity, and sometimes it even goes badly, as with the spoken-word (“Mariner,” “Passages”) that comes across as bland and non-committal. Perhaps the album’s greatest compliment just is its commitment to a singular sound and the fact that Fane have still made it just that bit more modern, but it feels like a shame in the face of their evident efforts beyond this.

Armageddon Scars is a strong album buried in a forgettable one. There’s enough to it that any fans of this sludge-doom sound will likely find something to believe in, even though it doesn’t convince me personally. Fane may have a brilliant journey and mysteries to unravel ahead of them, but currently there appears to be only unexplained adornments on a well-trodden scene.

Rating: Mixed
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Argonauta Records (Octopus Rising)
Websites: Bandcamp | Instagram
Releases Worldwide: August 28th, 2026

"Honey Bucket", de Melvins (1993)

#musica #music #rock #alternativerock #stonermetal #sludgemetal #grunge #90s

https://www.youtube.com/watch?v=3RMmIJn_4FA

🔴 LIVE NOW ON VORTEX
📻 Vortex Indie 🎸 (Indie pop, indie rock, classic rock)
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🎵 Mastodon - Barbarians Blood

▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net

💬 Join us on Discord:
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#VortexWave #Mastodon #HeavyMetal #SludgeMetal #2000s

Mastodon - Marrow Deep. Die Entstehungsgeschichte des 12. Mastodon-Albums wirft einen derart langen Schatten, dass man sich ......
#JoshHomme #Mastodon#Alben #ProgressiveMetal #ProgressiveRock #SludgeMetal
https://www.musikblog.de/2026/08/mastodon-marrow-deep/

Umbersound.bandcamp.com — to purchase the album “”Tracks From The Slither”

https://youtu.be/FvQAVchXuR8?is=HL2xLDMAPxX6WnsR. —to watch video.

Hope everyone is having a good day!
#umbersound #doommetal #music #metal #sludgemetal

Free download codes:

Splendidula - Splendidula

"A mix of traditional doom and alternative rock with sludge grooves and psychedelic drones."

https://getmusic.fm/l/puXYWK

#doommetal #sludgemetal #music

A year ago to the day, the metal community tragically lost Brent Hinds. Three weeks from now, metalheads can observe a joyous anniversary involving Hinds: Blood Mountain turns 20. The convergence of these anniversaries must be disorienting for the remaining members of Mastodon, who recently released a tribute to their fallen brother. In the video, Brann Dailor, Bill Kelliher, and Troy Sanders narrate the rise and fall of their camaraderie with Hinds, culminating in a public dispute after his dismissal from the band. Watching old studio footage of his deceased bandmate recording Blood Mountain, however, puts Dailor in a happier mood; he claims Hinds was reaching the height of his creative powers on album three.1 I snagged a copy of Blood Mountain from Best Buy the day it dropped, and it quickly presaged for me the metal giant Mastodon could become. Only now can I appreciate the giant within the giant.

Like most Mastodon fans, I eagerly anticipated Blood Mountain. The “March of the Fire Ants” video on Headbanger’s Ball introduced me to the band, and Leviathan convinced me that these Atlantans were running perpendicular to the New Wave of American Heavy Metal (NWOAHM) they were lumped into. Signing to Reprise Records put major pressure on the band, which they mitigated by keeping Matt Bayles behind the board.2 Mastodon ended up following Leviathan with another concept album, this time with originality: a protagonist ascends the titular mountain to crown its peak with a crystal skull, facing physical, psychological, and mythical tribulations along the way.3 Upon finally hearing it, Blood Mountain struck me as a step up for the band. Kelliher’s off-kilter guitar work felt more consistent, Sanders’s bass choices felt more impactful, and Dailor’s drum-kit clinic felt more purposive. But the album also struck me as structurally similar to Leviathan. An early lyric in “The Wolf is Loose”—when a screaming Hinds likens the protagonist’s predicament to ‘the belly of the whale’—seemed to confirm this similitude.

It was obvious, however, that Blood Mountain’s vocals separated it from previous outings. A making-of documentary shows Hinds exhausted by the lengthier recording process yet energized by the unique blending of his voice with Sanders’s.4 If “The Wolf is Loose” and “Crystal Skull” loosely mimic Leviathan’s raucous opening, Mastodon distinguish Blood Mountain’s one-two punch through Hinds’s voice, shifting between scathing snarls, creepy whispers, and soulful croons. On melodic centerpiece “Colony of Birchmen,” Hinds warbles eerie verses and belts a powerful post-chorus with posthumously poignant lyrics (‘Gone away / My heart’s gone away / Taking everything’). And “This Mortal Soil,” the prog-rock curveball, contains one of Hinds’s most moving choruses. The NWOAHM left me callous to the harsh/clean vocals formula, and Hinds himself jokes that Mastodon sold out with their singsongy major label premiere. Despite my NWOAHM skepticism, Blood Mountain didn’t strike me as vocally formulaic. Hinds’s voice in particular gave Mastodon a weirdo quality that had the band riding its own wave.

Hinds is primarily a guitarist, though, and Blood Mountain contains some of his most expressive playing. He does, of course, lay down tasty solos (“Crystal Skull,” “Colony of Birchmen”). But for my money, Blood Mountain soars when Hinds adds melodic color to kinetic jams with Kelliher, Sanders, and Dailor. The frenetic bridge in “Capillarian Crest” comes to mind, as does freak-out instrumental “Bladecatcher.” Closer “Pendulous Skin” shows Hinds at his most singular on Blood Mountain, guitar-wise. He cites Led Zeppelin as an influence, and it’s hard not to hear the song’s roving acoustic chords as Stairwavian, its solo as Pagean. With “Pendulous Skin,” it’s almost as if the rest of Mastodon handed off Blood Mountain to Hinds, confident he could craft a classic conclusion.5

Blood Mountain stands as a transition between the sludgsterpiece of Leviathan and the more palatable Mastodon to come. Calling it simply a ‘transition album,’ however, would be unjust. Standing tall on its own, Blood Mountain showed me something familiar yet new in 2006—in hindsight, Hinds was responsible for much of this invigorating novelty. Indeed, the album’s classic- and prog-rock flashes excited me for the band’s future. Speaking of the future, Mastodon will be releasing Marrow Deep, their first album without Hinds, a week from now. Today is the day to mourn the loss of a metal giant, and August 28th will be the day to see what Mastodon can create without this giant. September 12th, however, will be the day to celebrate Hinds’s giant contributions: to one of Mastodon’s finest albums and to metaldom more broadly.