If long-running North Carolinian sludge outfit Sourvein are anything, they’re uncompromising. Those familiar with their work know what’s coming, but that doesn’t make the impact of their music any less devastating or abrasive. Led by frontman T-Roy Medlin, they began in 1993 and have seen numerous lineup changes from members who’ve gone on to play in bands from Electric Wizard to Bongzilla to Saint Vitus. But Sourvein – closely related to Buzzov*en both ethically and through Medlin – has persisted nonetheless, and following a slew of EPs and splits since 2002’s Will to Mangle, nine years later finds them releasing Black Fangs (Candlelight), their third full-length. Medlin is joined for the album by guitarist “King James” Haun (Ol’ Scratch), bassist Ahmasi O’Daniel (Earthride’s Dave Sherman filled in on tour) and drummer Jeffrie Moen, and though the personnel in the band seems to be on a regular rotation, the mindset is the same as it’s ever been: Dirty sludge from the dirty South. Where their sonic and geographic countrymen in Weedeater peppered their latest offering with excursions into addled swamp psych and (eek!) brighter melodicism, Sourvein is all misery, all the time.

Were it not for the fact that anyone who’s going to hear it is likely already to have an opinion on Sourvein one way or the other, Black Fangs would be the kind of record you couldn’t put on for company. It begins with “Fangs,” which is among the riffiest tracks, with Haun’s guitar dominant in the mix and Medlin’s raw-throated screams buried underneath. This is to be the course for just about all of the album, but the rhythm section of O’Daniel and Moen isn’t to be counted out. Moen’s cymbals fill out the high end while O’Daniel drops the low like his arms just can’t hold it anymore, and a song like “Society’s Blood” – or really any of the tracks present – is that much stronger for their work. It’s amazing that Sourvein at this point should sound so potent as a lineup, since it’s been proven over and again that all the members around Medlin are interchangeable. Nonetheless, Sourvein in 2011 distinguishes itself simply by releasing a full-length album – four splits and an EP trilogy have marked the years since 2002 – and the dedicated fanbase that’s followed the band over that time will be much pleased with the feedback-soaked nastiness served up on these 10 cuts. For dank, hateful Southern sludge, Black Fangs is second to nobody.

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I’ve been fortunate enough to interview Orange Goblin three times. The first was a cross-continental phoner with frontman Ben Ward about the band’s 2007 album, Healing Through Fire, that never ran in the magazine it was supposed to. The second was a backstage in-person chat with all four members of the band, who had flown over from their native London to play the Planet Caravan festival in North Carolina in 2009, and the audio recording from that was so atrocious that I couldn’t even transcribe it (someone was playing on stage on the other side of the wall — I kind of saw it coming).

So, needless to say, when the chance popped up to once again speak to Ward about Orange Goblin‘s first American tour in half a decade and the recent release of a five-disc CD box set comprising all of their catalogue but the aforementioned 2007 offering, my only hope was that I came out of it with something usable. Third time, as they say, is the charm.

Orange Goblin in about a week’s time are set to begin that run of US dates, with Indianapolis trad doomers The Gates of Slumber and Brooklyn psychedelic outfit Naam in tow. It might seem like odd timing for a band to tour four years after their last album came out, but as Ward — who’s joined in Orange Goblin by guitarist Joe Hoare, bassist Martyn Millard and drummer Chris Turner — explains in the interview, there was a little while there where they weren’t sure they were going to do anything at all, let alone travel across an ocean for a tour. Given that and the semi-ironic collapse of Sanctuary Records, I’m not about to argue.

Ward, who stands a full 18 meters in height (perhaps I exaggerate), is one of the most imposing frontmen in doom while on stage, but over the phone, he was both cordial and accommodating in our discussion of Orange Goblin‘s new beginnings, their recording plans for their long-awaited next album, coming back to the States, when Rise Above Records might do a round of vinyl reissues, life’s simple pleasures and much more. We talked about the band’s love of Pabst Blue Ribbon and their upcoming performance at Maryland Deathfest, where they’ll be joining the likes of Cathedral, Neurosis, Coroner and Voivod on one of 2011’s most eclectic bills.

Complete Q&A is after the jump. Please enjoy.

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Sourvein don’t put out an album all that often, but when they do, you can pretty much bet they mean it. Black Fangs follows a trilogy of EPs and a host of splits with the likes of Church of Misery, Rabies Caste and Blood Island Raiders, and is the North Carolinian band’s first full-length since 2002’s Will to Mangle. After more lineup changes than I think anyone can count behind frontman T-Roy Medlin, Sourvein 2011 is a lethal sludge force imbued with all the recklessness of the Dirty South in which the band makes its home.

Joined on bass by Dave Sherman of Maryland doomers Earthride for the first time for the pre-release supporting tours (see comments below), Black Fangs is a feedback-caked melee of crusty aggression. Flooded with riffs and dirty groove, the band sounds more stoned and more pissed than ever, Medlin leading the charge from far back in the mix with his disenfranchised screams.

Candlelight Records, the label bold enough to unleash such a monster, and Earsplit PR were kind enough to allow me permission to premiere the song “Night Eyes” from Black Fangs, which you’ll find on the player below. Hope you dig it:

[mp3player width=460 height=120 config=fmp_jw_widget_config.xml playlist=sourvein.xml]

Sourvein is T-Roy Medlin (vocals), King James (guitar), Dave Sherman (bass) and Jeffrie “Kong” Moen (drums). Black Fang is out June 21, 2011, on Candlelight. More info at Sourvein‘s Facebook page.

Score one for the miserable bastards out there anytime Sourvein hits the road. The band, who’ve released numerous splits and EPs in their nearly 18 years together but only have two full-lengths under their belt (2000’s Salvation and 2002’s Will to Mangle) have had more lineup changes than anyone can count and have somehow still come out of it with a reputation as a must-see live act. Vocalist/founder T-Roy Medlin — long since the only original member left — is nonetheless leading the charge into a 2011 that will see them release a third LP and tour Europe with a stop at Roadburn‘s Afterburner show on April 17.

Before that, though, they’re doing a run of dates on some of which they’ll be joined by Jucifer. For those who would pick up what the PR wire’s putting down:

North Carolina doom metal heathens, Sourvein, will kick off a short US tour this March. Dubbed the “Disturbing the Peace Tour 2011,” the band will be joined by Jucifer on select dates. Said vocalist/guitarist T-Roy Medlin of the upcoming jaunt: “Can’t wait to hit the road with Jucifer, bring the doom and unleash some new songs’!”

Sourvein Disturbing the Peace Tour 2011:
03/01 Sonar Baltimore, MD
03/02 Volume 11 Raleigh, NC
03/03 Cadelonia Lounge Athens, GA
03/04 Wormhole Savannah, GA
03/05 Checkpoint Charlie’s New Orleans, LA
Jucifer joins tour:
03/06 Rouge Fayetteville, AR
03/07 Hi Tone Memphis, TN
03/08 Exit Inn Nashville, TN
03/09 JJ’s Chattanooga, TN
03/10 Soapbox Lounge Wilmington, NC
03/11 Tremont Charlotte, NC
03/12 Hideaway Johnson City, TN
03/13 Krug’s Place Frederick, MD w/ Iron Man (no Jucifer)

Sourvein are readying to release their third studio full-length, Black Fangs, this June via Candlelight Records [cover art above].

The only question I have is where the hell is Solace when you need them? Every winter, Orange Goblin treat the UK to a booze-fest like none other with Solace in tow, and now they’re finally coming Stateside and their partners in crime are nowhere to be found. Not even on the New York show? I like The Gates of Slumber and Naam as much as the next guy, but come on.

Nonetheless, this will rule, because that’s what Orange Goblin do. Quoth the PR wire:

Orange Goblin, the heavy-hitting British metal band that has inspired a generation of up-and-coming rock acts has announced a US headlining tour. The spring trek will kick off on May 28 in New York City and will also see the band perform as part of the 2011 Maryland Death Fest. Support on the tour will be provided by The Gates of Slumber and Naam.

Special guests on the Orange Goblin tour include Indianapolis doom metal heroes The Gates of Slumber (who will also be touring in support of their forthcoming album) and Brooklyn‘s Naam, who have turned heads with their unique bass-heavy brand of psych rock. The routing for the Orange Goblin 15^th Anniversary US Tour is shaping up as follows:

05/28 New York, NY Santos Party House
05/29 Baltimore, MD Sonar (Maryland Death Fest)
05/31 Charlotte, NC Tremont Music Hall
06/01 Atlanta, GA The Earl
06/02 New Orleans, LA One Eyed Jack’s
06/03 Austin, TX The Scott Inn
06/04 Albuquerque, NM The Launchpad
06/05 Tempe, AZ The Clubhouse
06/06 Hollywood, CA The Troubadour
06/07 San Francisco, CA Bottom of the Hill
06/09 Portland, OR Dante’s
06/10 Seattle, WA Studio Seven
06/11 Chicago, IL Double Door (Orange Goblin only)

It suddenly occurs to me that I never reviewed The Atlas Moth‘s Candlelight debut, A Glorified Piece of Blue Sky. What a dick. While it’s a little late, I may or may not rectify the situation sometime soon (that vague enough?). While I’m weighing out the pros and cons, check out these tour dates from the PR wire:

Cerebrally pulverizing Chicagoan quintet The Atlas Moth will be blazing a good chunk of the East Coast and Midwest on the road this March with Coalesce and Harvey Milk. The low-end triple-guitar thunder the band are well-known for creating on stage is as massive as it is mesmerizing, as witnessed on their 2009 live with Dark Castle, Wetnurse, Black Cobra, Nachtmystium, Pentagram, Javelina and countless more.

The Atlas Moth w/ Coalesce, Harvey Milk:
3/05/2010 Rex Theatre – Pittsburgh, PA
3/06/2010 Kung-Fu Necktie – Philadelphia, PA
3/07/2010 The Ottobar – Baltimore, MD
3/08/2010 Le Poisson Rouge – New York, NY
3/09/2010 Middle East [Downstairs] – Boston, MA
3/10/2010 Il Motore – Montreal, QC
3/11/2010 Wreckroom – Toronto, ON
3/12/2010 Smalls Bar – Hamtramck, MI
3/13/2010 Subterranean – Chicago, IL

The Atlas Moth at SXSW 2010:
3/18/2010 East End Tattoo – Austin, TX @ Chronicyouth.com showcase
3/20/2010 The Metropolis – Austin, TX – early show
3/20/2010 21st CO OP – Austin, TX – late show
3/21/2010 Red 7 – Austin, TX – Goodbye Southby

Oh sure, I’ve serenaded the dusky welkin with the occasional anthem, I’ve been disciplined in fire and demise, I’ve enjoyed the periodic nightside eclipse and even [insert something clever about the self-titled Emperor album here], but there is a fandom cult league for highly influential Norwegian black metallers Emperor to which I simply don’t belong. Not that I can’t or don’t appreciate the records, I just don’t salivate like a Pavlovian dog at the mere mention of their titles.

Accordingly, I feel in some strange way qualified to review After, the third post-Emperor solo outing of frontman Ihsahn (né Vegard Sverre Tveitan). I’m familiar with his work, but not masturbatingly so; having heard both 2008’s angL and 2006’s The Adversary, it’s possible to have some sense of what he’s done since Emperor’s disbanding and what exactly he’s changing up with After. You know, other than throwing in some free jazz saxophone and that kind of thing.

Ihsahn, who also recorded After in his Symphonique Studio, still plays with the melodies and progressive death metalisms he showed on angL, it it’s not until the title track, third of the total eight, that that side really shows up. The first two tracks, “The Barren Lands” and “A Grave Inversed” — the latter featuring that aforementioned free jazz saxophone — are righteously heavy and nearly if not completely blackened metal. Even on “After,” Ihsahn’s vocals morph into his trademark throaty approach, although they do so over an angular Opethian riff with single notes layered before shifting back into a melodic chorus. Nothing’s ever the same.

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As if it wasn’t well established by then, the poetry reading that shows up in “Mired” — track three of the total eight that make up Forest Stream’s sophomore outing, The Crown of Winter (Candlelight) — more or less confirms that, yes, you’re listening to Euro doom. But wait, there’s a twist! Forest Stream aren’t British or Scandinavian, they’re Russian! And if there’s one group of people on this planet who know about feeling cold and sad, it’s the Russians. So off we go.

The usual Euro doom elements show up — the distraught melodic vocals peppered with deathly growls, the extensive synth work, the pervading sense of misery, etc. — but Forest Stream temper this, as on “Bless You to Die” with a discernable Emperor influence, adding black metal grandiosity to their already complex approach. After “Intro,” the nearly 12-minute-long title track and the aforementioned “Mired,” it’s a welcome and somewhat unexpected change of pace. Another twist! It’s hardly M. Night Shyamalan, but hey, in a subgenre where aping Paradise Lost records from 18 years ago is the encouraged norm, any evolution is cool by me.

Forest Stream could easily open for Swallow the Sun with Katatonia headlining and I’d go see the tour. People would be cutting their wrists in the aisles and it would be a marvelous exercise in audio depression. The Crown of Winter achieves what must have been its desired aim — to both rock and bum out — and on a snowy day here in the valley, I’ve a hard time thinking of a more appropriate accompaniment to the scene outside the window, whereby the sun, struggling to shine through the cloud cover, has at last failed and relinquished the day to the ensuing precipitation. So it goes.

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