Sometimes great metal is great just becasue it’s simple.
No, I’m not talking about Six Feet Under level of simplicity. I just mean hard, heavy punishment dished out by lads that mean it. So it is is with Lord Dying.
They make their straight out intention to bludgeon crystal clear right from the start of ‘Poisoned Altars’. It’s just nothing short of a mammoth track, and I can well see why they put it right up at the start. The chorus is just gold.
It’s like a sludgy mix of Crowbar, Eyehategod and Obituary somehow.
The question is, can they sustain this kind of cool over a whole album? This answer is by and large yes.
Portland, Oregon has been a rich scene for leftfield and challenging bands, and Lord Dying certainly seem to take a leaf or two from compatriots Yob’s book in this regard. Not least from the title of ‘The Clearing At The End Of The Path’ intimates (ref Yob’s “Clearing The Path To Ascend”) – and indeed the music has more than a few references.
‘A Wound Outside Time’ is another memorable riff, courtesy of a really cool dark bend that forms its main motif. Sludgey, doomy, dark and atmospheric before lumbering down into the tune. It all gets a bit more Doom from this point on, with nods occasionally to Cathedral as well (‘An Open Sore’).
The impeccably named ‘Sucking At The Teat Of The She Beast’ has a sort of militaristic feel, pushing forward on that initial snare beat, and with a nastier take on things generally.
Alright, so no other track on here lives up to the absolutely massive opener. Yet Lord Dying still impress with the diversions in their songs which often take unexpected and unpredictable turns.
In that respect there’s even many nods to Death’s ‘Leprosy’ in here, albeit in a much more scuzzed up and gnarled fashion.
They’re intriguing anyway, and heavy as a bag of spanners.
3.2 / 5 – Earl Grey ::: 25/03/15