https://www.high-endrolex.com/18

Ol Scratch Make Short Work of Whatever Itch You’ve Got

Artwork by Seldon HuntAs an act of full disclosure, I admit to a deep respect for Sunn-amped Virginia destroyers Ol Scratch, who, two and a half hours from the Richmond scene in Leesburg, have helped foster a strong group of bands leading a charge for a new generation of Southern aggressive doom. Having outlasted quality acts like VOG and Lord, Ol Scratch and the likes of Durga Temple, Admiral Browning and Valkyrie have helped ensure that high grade riffs and unique approaches to classic sounds won’t disappear when Erik Larson hangs up his spurs once and for all.? On their debut full-length following numerous demos, splits and EPs, The Sunless Citadel (Oppressive Sound System Releases), the five-piece maul listeners through 10 tracks of brimstone-stinking sludge and come out of it on the other end with nothing to do but pick their audience from out their teeth.

The Sunless Citadel begins with the heady dronefest title track, starting and ending with classic sludge samples and setting a tone of fuck-you-doom-out that persists the whole album long. Drums don’t actually appear until the malevolence of “Infernal Judgement” (sic) gets under way, a heavy as balls slow sludge turning Sourvein swamp boogie at around a minute and a half. The guitars of “Will-Kill” Rivera and “King” James Haun are so thick it’s easy to lump them in with “Dreamy” Steve Payne‘s bass as one noisy, distorted morass. They’ve moved from fuzzy to downright hairy.

A sample of a truck starting is an appropriate beginning for “Redneck Deity,” on which vocalist Andy “Ghandi” Murray screams his way through an apocalyptic zombie nightmare while a chuck steak stoner riff sizzles over top. The darker, slower “Draconian March” is less groove-based and more in line with the opener, and Murray throws down Hail somebody or other.some of the most agonized, tortured throat-ripping to be found on The Sunless Citadel. Just when you think your lungs are going to fill up and you’ll actually drown in guitar, the pace picks up after four minutes in and drummer Larry “Canary” Grimes moves the song to its bristling conclusion. To contrast, “Bottom Basement” feels like drunkard’s regret with sludge crunch. A high vocal wail makes an appearance here and at several other points throughout the album that straddles the line between silly and effective but comes down on the right side in the end. It’s a classic metal influence (Mercyful Fate is an obvious but not necessarily appropriate reference point) that links Ol Scratch to an ancient heavy bloodline.

Intimidating. And not just because of the amps behind them.I don’t mind saying that the acoustic “Tree of Woe” caught me off guard, inconspicuously placed as the sixth track was. With a jam feel — whether or not bongos were there, I heard them — and fingers audibly sliding on the strings of their guitars, Alice in Chains-style harmonies meet with Anselmo moans (screams come later) and a clean bass tone that warms the whole affair. A solo and big riff combo after 3:30 in makes the song stand out even more, although structurally, you just know The Sunless Citadel‘s heaviest moment is bound to be next. Sure enough, “Last Charge of a Dying Race” comes on sampling Vincent Price and chugging acid-laced death sludge like Animal House in another dimension. A guest solo from Admiral Browning‘s Matt LeGrow is especially welcome.

The pace again slackens with “Brink of the Maelstrom,” which introduces the back third of The Sunless Citadel by throwing in female vocals from guest Helena Goldberg that come on mixed a little too high to fully accomplish the intended ambience, but nonetheless aren’t overused, overproduced or over-dramatized. Antonia Galuzzi‘s cello adds an unexpected and classy touch that the band gleefully squanders by stomping into “Wizard Smoke,” affirming once again their viscous leanings. Leading directly into closer “The Goatbridge,” it’s probably one of the more forgettable tracks on the record, but ultimately harmless. “The Goatbridge,” on the other hand, uses all of its 11-plus minute run time to play out a huge drone riff and some ultra-slow doom. A far off bluesy solo shows even in their last moments, Ol Scratch still have some surprises in store.

From the guests to the striking Seldon Hunt artwork to the noted complexity of the song and album structures, it’s clear Ol Scratch are taking their craft to the next level on their first LP. How this whole damn thing is going to play out is anyone’s guess, but if they keep working at the same echelon or push themselves even further, there’s no telling how important they could be to the next-gen doom underground. Highly recommended.

Ol Scratch on MySpace

Oppressive Sound System Releases

Tags: , ,

Leave a Reply