Skip to main content

Iron Pike – II

Iron Pike – II
Unsigned – 2017 

Labels, if you're out there – Iron Pike is cheap gold. Seriously, sign these men and send them on tour, it's cold in Sweden. Hardcore/Sludge act straight out of Malmö, Iron Pike takes influences from both scenes, then paints on a grimey veneer and puts it in the freezer overnight. Ethereal, hope-filled chords clash with heavy riffs, the latter taking the best of the hardcore and sludge worlds, while the drums put you in a ritualistic trance, not dissimilar to that of nodding opium-den lowlifes.

An opium den would be a good descriptor for the studio this was recorded in – muffled by the thick gray smoke, II sounds like what happens when the police finally show up, and bodies scramble upon bodies to escape, blinded and uncoordinated. There's something so inevitable about their riffs, as if they warned of unavoidable pain and death, and all you could do is watch the events unfold.

While some chords give breathing space, the basslines under finally breaking from the root note formula, you quickly fall back into the abyssal rage of Iron Pike, their singer spilling his guts in some of my favourite raw sludge vocals of this year. The hardcore influences are most apparent in the riffs and the singing, with raspy barks and angry screams aggressively punctuating songs – but only with exclamation marks.


There's something gritty, nasty and dirty between sludge and hardcore. Heavy but still angry and aggressive – rabid, actually. If there were ever two genres which need to be mixed more, it'd be these two.





Giuseppe Fitzsimmons

Comments

Popular posts from this blog

Sulphurous - Dolorous Death Knell

Sulphurous – Dolorous Death Knell December 2018 – Dark Descent Records 90s revival and cavernous death metal started gaining popularity about two years ago, with bands such as Phrenelith and Pissgrave being propelled into quasi-mainstream success thanks to a couple of public figures introducing their audiences to an otherwise relatively underground facet of death metal. Dark Descent Records have certainly capitalized on said revival, signing giants of the genre like Blood Incantation, Spectral Voice, and previously Chthe’ilist (and Mitochondrion to a certain degree). As with any other cavernous death metal record, the production is the first thing you’ll notice – it’s all suffocated, as if the amps were draped in thick curtains. Few effects and no triggers are applied to the drums, giving the whole package a very live/practice room aspect. Despite the apparent muddiness of Dolorous Death Knell, everything’s quite audible – even the lower registers somehow retain ...

Five the Hierophant – Over Phlegeton

Five the Hierophant – Over Phlegeton Dark Essence Records – 2017 There's a rare breed of album which instantly becomes a cult classic, and I can confidently say Over Phlegeton is one of them. Experimental, weird, bizarre, none of these words come close to describing just how extraordinary and interesting this record is. If I had to draw parallels with another band, I'd say it's a heavier, more mature version of Mamaleek, with many similar elements such as the ethnic percussions or non-traditional scales, but with a much darker visage and more detailed composition. There have been incredible avant-garde metal albums using unconventional instruments, but none have been so tactfully used as the saxophone is on Over Phlegeton. Played as a full instrument and not a token nod to some jazzy experimentation, Five the Hierophant explore the extremeties of what the sax can do – from screaming leads floating above the guitars to wailing voices in the wind, passing by hear...

Crawl – Necrotic Fear

Crawl – Necrotic Fear April 2019 – Anomalous Mind Records Crawl is a one-man project I stumbled upon in 2018, after the release of their split with Leviathan, opening with the irate At the Forge of Hate, which might have been the heaviest side on any Leviathan split ever. Necrotic Fear continues the tradition of whipping the listener in the face with bass strings, but for pacing's sake the album is broken up by sinister lulls like the alcoves on the cover, providing refuge from the wind tunnel that the other songs seem to imitate. Everything from the art to the drums is distorted, almost feeling like a more noise based project than a metal one, and we're in the territory of the non-riff, where feedback and drone are how hatred are expressed. Let's go with blackened sludge. The opener and closer are similar in that they both showcase a more subtly menacing approach, akin to dark ambient, but in different ways. Paralyzed, I Awaken... is a melancholic dirge, th...