Skip to main content

REVIEW: Cowardice - "Without Condolence"

This review first appeared on The Sludgelord on 26 April 2017.

I missed the release of Without Condolence at the end of last year. Cowardice is not a name I have seen about too much, either, but it should be. Somewhere between the despairing chug of Arizona’s gone-but-not-forgotten Wellington and the searing angst of His Hero Is Gone, this debut is the collective effort of some New Jersey scene regulars. It was recorded last summer and it moves like a soot crusted diesel-electric freight train leaking oil and coughing a dark brown carcinogenic fume.



The drumming is a thing of beauty. It slinks and slouches; explodes, shimmers and tinkles. The vocals have that clawing desperation that perfectly exploits the emotional weight of the music which sways between melancholic, gritty, picked melodies and fully blown out chords as evil as pitch-shifted black metal. The whole tone of the album is so well judged that the acoustic number sandwiched in the centre doesn’t feel like a break from it but rather it attacks the target from a fresh vantage.

The overall recording reminds me of those classic 90's underground bands and I absolutely adore it. It sounds like it was taped off a friend’s record player and has a scratchy quality like the back of your throat right before a heavy cold. This record is as grimy as it gets, but in the moments when the guitar is cleaner, peeling back the layers to reveal the bedrock of reverb, guitar buzz and snare rattle, I get an intoxicating whiff of a becalmed Dystopia, which is a perfect invocation for any sludge band.

This isn’t the NOLA sludge sound we rightly love. This apple falls on the other side of the tree. The melodies are not so indebted to delta blues. Nor would I say they are forbidding in the way you would expect doom to be. Instead the sound is relatable and as tender as a fingernail wrenched from its bed. It drifts between aching sadness and violent bouts of self-disgust. This stratum of emotional, chemical and physical self-destruction is the calling card of genuine, heartfelt sludge, and Without Condolence is definite rap on the door.


http://thesludgelord.blogspot.co.uk/2017/04/album-review-cowardice-without.html

Comments

Popular posts from this blog

INTERVIEW - TarLung

Within six months of forming back in 2013, TarLung had recorded their debut release, seven tracks of fuzzy self-confessed Eyehategod and Church of Misery worship. Yet it took until late last year before the next instalment of tectonic shamanism and their Void EP, emerged. Now, after the release of their full-length Beyond the Black Pyramid , with a sound so fat it is in danger of not being able to squeeze through your speakers, I threw some questions at Marian , Rotten and Five about what they had been up to in the interim. Marian [drums]: [The debut] was received very positively, so we just continued with writing stuff, playing shows, and testing the new material in the live setting. It happened quite organically that the tunes got longer, darker and more refined, while of course maintaining the love for the gritty, fuzzy and noisy approach.  So we found ourselves with an extensive bunch of material a year or so after the first release and thought “an in between EP might ...

REVIEW: Gurt - "Skullossus"

This review first appeared on  Broken Amp  on 24 May 2017. Identifying genre is often contentious, especially when a band’s membership comes from diverse musical backgrounds or has consciously decided to bridge the conceptual gaps between. But far from narrowing the artistic potential of a band or solo musician, genre tags can be useful tools with which to find and select musical preferences, providing they remain adaptable and are descriptive rather than prescriptively laying down what music ought to sound like. But this freedom also risks their most useful function being undermined. ‘Sludge’ as a label for a style of heavy rock and metal is in danger of depreciation. As more and more bands of vastly disparate styles are tagged with it, its usefulness as a label and filter grows ever more uncertain. We learn to mistrust it. In such a treacherous and unstable landscape, London’s Gurt appear as a reliable if more recent landmark, ticking many of the boxes you would expect ...

INTERVIEW: Boris

This interview first appeared on The Sleeping Shaman on 9 June 2014. It is a warm afternoon. Bright sunlight piles into the Lexington on Pentonville Road through large windows set in two adjacent walls. The pub is quiet, almost dead, save for the jukebox which crunches out some indie rock, presumably for the benefit of the largely untroubled barman. Last night Japanese rock nobility, Boris, headlined the Electric Ballroom and helped to bring Desertfest 2014 to a climactic close. They are now comfortably installed in a corner booth, and though coffee is laid before them, they appear fresh and alert, well-groomed and seemingly unburdened by the pitfalls traditionally associated with rock musicians on the road. Yet some other shadow is disquieting them. “I hate cassette.” The verdict is delivered slowly, unequivocally and in English. Up until now, Atsuo, Takeshi and, theoretically, Wata have had their words recast from their native Japanese to English by an interpreter p...