Extreme metal fans are so familiar with the term “sludge metal” at this point that the subgenre, like so many others with similar niche appeal, often risks self-parody. This isn’t a diss either – it’s a kind of inevitability with any musical movement that will stand the test of time. Take black metal for example: it’s easy to forget that this genre of music created by Norwegian teenagers was at one time the most divisive and, dare I say, extreme thing going on in metal as we are now so far from black metal, early metal, that the concepts of corpse paint, booming voices and screeching trains have become a kind of expected uniform rather than the shocking statement they once were. It happened!
So with that in mind, we see the same evolution in sludge metal over the years. Just as the words “black metal” tend to conjure up a very specific image in the mind of the average metal listener, the mention of sludge metal to almost anyone with a passing interest in metal conjures up an equally distinct mental image. Abuse of just about every recreational and prescription drug under the sun, riffs tuned with a vaguely “southern” feel, tempos that range from mosh-friendly to darkly slow, and band members who look like they stepped out of -a Cretaceous tar pit. before entering the stage. It all comes from somewhere, though, and there’s one band that embodies the complete sludge metal archetype more than any other: Buzzov*en. And when you want a true sludge metal experience, one that’s so emotional and wildly underwhelming that the idea of parody doesn’t even exist in your universe while the band is playing, you want … In Loss.
… In Loss It was the North Carolina band’s last album before their 10-year breakup in 1999, and it’s hard to imagine how they could go on after releasing something that exists as such a profound statement on the band’s clearly slippery grasp of their own health. While the metallic mud bands in the post-Buzzov*en universe took the band’s drug-abusing tendencies and smoothed the edges to create something of a cartoonish coming-of-age celebration nowhere to be found in … In Loss. The addictions featured on this album are violent and raw, diving into the basic nature of drive and compulsion and making a home in those murky depths for the entire hour of the album. Travis Bickle begins the record by warning us that “someday a real rain will come and wash the trash off the streets,” but that rain never comes. There is only misery. And about a minute later, a mocking laugh.
Music found in … In Loss it is as dark and menacing as its subject. Vocalist Kirk Fisher moans and screams to blasts of feedback from their guitars and a man named ‘Sleepy’. Bass singer Dixie Dave (who knows weed eaterwhich began to follow Buzzov*enseparation from) and drummer Ramzi Ateyeh provides the backbone of the registry, establishing a foundation of Skynyrd– shuffling debts under each discordant bombardment from the other half of the band. And all the while, samples drawn from the entire spectrum of human suffering are scattered far and wide. Police chatter, crying women and children, street fights, drug dealing gone wrong – every clip serves as an emphasis on cruelty Buzzov*enuniverse of.
Many (probably even Buzzov*en themselves) indicate Melvins as a cornerstone for what would become modern sludge metal, but I have a strong opinion that everything is coming Buzzov*en. It’s all there, and has been there since the beginning of the band’s decade-long underground reign of terror. My highest possible recommendation.
Source : dial.news