Posted in Whathaveyou on September 26th, 2012 by H.P. Taskmaster
You’ll note I didn’t tag this as part of the UK special, because the Republic of Ireland isn’t in the United Kingdom. Kind of a touchy subject, historically. Doesn’t mean they don’t enjoy a bit of doom, however, as the Mother Fuzzers Ball demonstrates. Italian sludger Blood Red Water — who released the Tales of Addiction and Despair EP earlier this year (review here) — will take part in the festivities alongside the likes of Electric Taurus and Triggerman, among others. They sent along the following word, and I went ahead and grabbed a couple flyers:
Blood Red Water will join the Mother Fuzzers Ball for two concerts in Dublin this November
These will be our first dates ever out of Italy and we are proud to play our sludgy music with bands such as Electric Taurus, Triggerman, Chocolate Love Factory…and more!
Posted in Reviews on May 15th, 2012 by H.P. Taskmaster
Deeply embroiled in the downer druggie haze of doomly sludge, Venice foursome Blood Red Water beat a slow march of victory in defeat on their debut EP, Tales of Addiction and Despair. Comprised of five self-released tracks that offer little by way of hope and much by way of riff, the EP is the band’s first and finds them plodding heavy-footed through lumbering grooves and a tonal morass of sludge, more weighted (in a metal sense) than a lot of the genre, but still clearly using that as its influence base, alongside a considerable dose of doom. Blood Red Water – whose lineup has already changed but who on Tales of Addiction and Despair were vocalist Michele, guitarist Volt, bassist Lorenzo (since replaced by second guitarist Dodi) and drummer Fiorica – meet squarely on “Considerations/Commiserations” with the Eyehategod comparison that comes with occupying even the smallest of spaces within sludge, but there’s a considerable Saint Vitus homage as well that starts off the release on opener “Ungod,” the central riff of which is almost a direct port of that band’s classic “Born too Late,” and that immediately communicates allegiances to more than just the American Southern tradition of pill-popping riffs and chaotic streams. Michele comes from the more extreme end of metal – grindcore, specifically – and his approach shows it, never losing its edge of aggression even in the cleaner-sung verses of centerpiece “Avoid the Relapse.” His screams are throaty but comfortable over the music, and one gets the sense that he’d be even more at home screaming all the time, which would be fine if Blood Red Water were grinding out, but these songs call for more breadth of approach. Still, this being the band’s first release, they’re still pretty clearly testing the ground for where they want to be sonically and getting their bearings as a creative unit. A debut EP is a good way to do that when you want a project to embark on a natural evolution.
That’s basically what Blood Red Water seem to be doing here. “Avoid the Relapse” veers into some more rocking territory, but the majority of Tales of Addiction and Despair finds the four-piece well in their sludgy element – even the Vitus-isms of “Ungod” are reworked into that context. I won’t speculate as to any of the band members’ personal experiences with either of the EP’s titular afflictions, but at very least the music sounds genuine in its nastiness, “Considerations/Commiserations” bouncing ideas off Sourvein and Acid Bath as Michele tries to work a moaning clean line in here and there. Volt’s guitar is suitably vicious on the three-minute track, taking a descending riff into a more chugging break about halfway through to give a touch of classic metal to what’s already not entirely sludge but not entirely anything else either. What ties all the material together is the aggression, and that never really subsides enough to be completely gone. Even “Avoid the Relapse” shifts to a guttural feel in its chorus. What might be straightforward stoner rock in another context remains metallic tonally in Volt’s riffing, and Lorenzo and Fiorica keep a grooving beat, but it’s not so much of a departure from metal as an adaptation of it. The fourth of the five tracks, “Modern Slave Blues,” begins with caustic feedback and a sample talking something about dopamine, once again covering some familiar territory made more individual when Michele’s vocals kick in on the post-Entombed straight-ahead rocking progression. Things get really interesting when the song cuts to a quiet break and has to rebuild itself, but a snare lead-in from Fiorica keeps the transitions smooth. The groove is viscous and repetitive, but that’s the point, and it’s a point Blood Red Water make well as they build the song to its apex and that of the EP.