Druglord - Discography (2010-2015)

The presumably self-titled demo from Richmond, Virginia, stoner doomers Druglord – aptly named for the sonic haze they create – contains just about no info regarding its origins or those who made it. Literally on the inside of the cover, it has the band’s name, the list of the three tracks, and “Recorded in Room 13 September 2010.” What that recording entailed, who helmed it or where Room 13 might be (probably in Richmond, but you never know) is anyone’s best guess. This might seem like an annoyance, but screw it, in this age of instant connectivity with artists, via social networking, Twitter and the like, it’s kind of fun not knowing how Druglord’s demo was made. Until I searched out their Facebook page, I didn’t even know how many people were in the band or where they were from. I only had the music to go by, and every now and then, I think that’s refreshing.

To sum the 13-minute, self-released demo up in one word: Stoned. Guitarist/vocalist Tommy (Druglord is on a first name basis) has a dank level of distortion on his guitar, crudely captured on lumbering Druglord opener “Smell Your Disease” and thickened – as if such a thing was possible – by Greta’s earthquake, mix-engulfing bass. If you’ve ever listened to Bongzilla, you know the kind of bass I’m talking about. Tommy’s vocals are a drawl, not screamed or shouted, delivered clean, but with that ‘90s-style drugged-out fuck-all that so few can pull off at this point. “Smell Your Disease” handles its evil groove well, and though Bobby is credited on their site (again, nobody’s credited with anything on the disc itself), I’d have sworn Tommy and Greta were backed by a drum machine. It’s demo production, but I’ll be damned if the ultra-fuzz on Tommy’s drawn-out leads isn’t charm put to tape.

“Smell Your Disease” kind of falls apart, leading into the faster, more active “Misery Feeder.” The intro of the song (the first 35 seconds) feel like they’re referencing something, but I can’t put my finger on it. For what it’s worth, the rest of the song sounds like Entombed delivered via Relentless-era Pentagram, a dose of Sunlight Studios riffage still distinct through the cloud of smoke around Tommy’s guitar. I thought the song was a cover the first time I heard it, and I’m still not entirely convinced it isn’t, but whoever it belonged to first, Druglord have no trouble making it their own, caking on the aural moss and stonerly feel while also avoiding the issue of how to end the song – which seemed a stumbling block on “Smell Your Disease” – by abruptly cutting it off at 2:54, nearly a full two minutes shorter than the opening track and almost three shorter than the closer, “Lick the Wound.”

The thickness of Greta’s and Tommy’s tones is not to be understated. It’s a big part of what makes Druglord’s demo work so well, and on “Lick the Wound,” it comes across even more than on the opener or “Misery Feeder.” The track is laborious, plodding, doomly slow and powerfully executed. More “doom stoner” than “stoner doom,” and though from the cover art, the band’s moniker and the song titles, I expected Eyehategod-style sludge and abrasive hardcore influences, I find that with Druglord, I’m glad it didn’t turn out that way. Certainly Richmond isn’t short on sludge bands, and if this is just the beginning for this trio of players, they should have no trouble distinguishing themselves among the vibrant scene in which they dwell. Druglord don’t innovate, exactly, but they’re different (and dirty) enough to be distinct, and their first demo has all the elements of a killer starting point. Don’t ask too much of it, just nod and enjoy.

The American doom metal scene is evolving and changing, becoming an amalgamation of so many styles. Case in point, Richmond, Virginia's own Druglord. Forming a twisted mix of traditional doom and stoner vibes, this three piece is on the verge of exploding into the sea of distorted riffs and echoing drums. And with music that has all of the subtlety that the title implies, this four song offering, "Motherfucker Rising," may leave you with blunt force trauma. Better bring a helmet.

The opening track, the aptly titled "Motherfucker Rising," is a statement of intent. The sheer weight of the riffs, the bending of strings, and the crawling tempo is pure doom. Don't hold your breath waiting for a sudden burst of speed or precision. What you hear is what you get, right down to the echoing, airy screams. There is a resemblance to the signature Black Sabbath darkness to be had, though faint. An effects laden solo cuts through the murky mess, taking the track to a muddy conclusion. That brutal distortion continues right through into the second track, "Cleansed." It almost feels as though the room has filled with smoke by now, as a dusty melody may become lodged in your head. The riffs are simplistic, minus a bit of impressive solo work later in the track. But the groove of it all, the flow of the bass and drums, it all comes together. A track that stands at five minutes seems to coast by in seconds, a true test of songwriting.

A song that sounds like a doom jam, "Eternal Grave," is a standout. The vocals take a decidedly sludge orientation, with the raspy growls coming through the clouds. Each chord, each strum of the bass seems to reach lower and lower on the scales, until the density of each note begins to hold you down. The eruption of sound to close out the track is sure to be a crowd pleasure, taking downtuned guitars to near breakneck speeds. It's hard to call the lead guitar in this song a "melody," but it serves the purpose. The closer, "Whores Of The Reich," is everything you would want it to be. After three bruising tracks, this one may elicit the cry of "finish him!" The output could be mistaken for an unpolished early Sabbath demo. The tempo is slow, but the mode is dark. This is certainly the most versatile track, with a clear division of verse and chorus, each one having a distinct flow and feel. Don't wait to be amazed with musicianship here, but rather sit back and enjoy the hazy riffs and drum beats that follow.

As we have addressed before, metal doesn't need to be complicated to be good. And when you set foot into the realm of doom, you can leave your "look what I can do" shredding at the door. Druglord have taken traditional doom, added a healthy dose of the classic metal sounds, and made it into something entirely their own. Sure, they aren't going to reinvent the genre as we know it. But they have done enough to earn multiple listens, at the very least. Who knows, maybe they will catch on enough for the cry of "dead man walking," to be followed with "Motherfucker Rising."

8/10

Bands with names that contain references to drugs often fascinate me, especially with bands like Acid Witch being one of those with doom metal elements in the music that often leave me in a trance. Druglord, hailing from USA, takes away those innuendoes and indirect references and instead choose a more straightforward band name, with an equally straightforward title for their EP, Motherfucker Rising.

With a band name and a release title as such, it was almost hard to believe that the band was serious, resulting in some hesitation in taking the first listen to the EP, so imagine the surprise when it was soon realised that the material presented on Motherfucker Rising contains some top-notch doom metal. Opening track Motherfucker Rising instantly sees the band crushing listeners with heavy and fuzzy guitar riffs, and immediately reminds listeners of early Black Sabbath material with the dark and somewhat retrospective atmosphere. This influence is further emphasised through the painfully slow pace that the band goes at, with the band slowly biding their time, building up the tension and climax in the music.

The vocals of Tommy finally comes in only near the halfway mark of Motherfucker Rising, sounding like a cross between YOB‘s Mike Scheidt and Ozzy Osbourne in his prime. The guitar works on the album are also extremely enjoyable, and like their other doom metal counterparts, Tommy makes generous usage of various effects that result in the familiar fuzzy tone. That lead guitar tone towards the end of Motherfucker Rising is has an old-school and classic touch to it as well, and is backed by the heavy rumbling presence of bassist Greta. The drum work here by Bobby is also stellar, and while nothing particularly flashy or technical, he lets every hit on the skins ring out generously, further reinforcing the already thick and heavy atmosphere in the music.

Songwriting-wise, the band presents a nice variety of different styles, with opener Motherfucker Rising seeing the band have a slow buildup, and Cleansed having the band using the momentum gained to continue their aural assault, as perhaps the faster number on this release. Lick the Wound sees the band going into a heavier gear, and Eternal Grave closes Motherfucker Rising nicely, with the broody mood that the album started off with. What is also remarkable are the smooth transitions from song to song, resulting in Motherfucker Rising sounding almost like a single epic track rather than 4 separate tracks. That dense and almost suffocating atmosphere that the release is constantly shrouded in also almost leaves one with the feeling of being transported to a smokey bar, keeping up with that old-school feel of the music. Motherfucker Rising has certainly be a surprise, and definitely proves that the old-school is still extremely alive and kicking.

We've all been implored at some point in our lives to stop and smell the roses. And while sticking your snout into a bundle of thorny flowers might not seem like something you are anxious to do, it is the sentiment behind the saying that is most important. Every now and then, you need to slow things down and take a minute to appreciate the other side of things. No, this isn't the beginning of a long winded yarn about loving life. Instead, it is a cry to all of us who spend too much time on the fast and the furious styles, and miss out on the other side of our beloved metal genre. Druglord, a three piece band from Richmond, Virginia, already won us over with their debut release in 2012. But what "Motherfucker Rising" best was remind us that simplicity in music can be refreshing, and that down tempo songs can be just as mesmerizing. With their sophomore album, a four track balloon ride titled "Enter Venus," they give you every reason, and every opportunity to slow down, and smell the fucking roses.

It's low and fuzzy, early and often on Grievous Heaving, which should come as no surprise to anyone who has been witness to this band in the past. But don't mistake that choice of words to mean mindless or inept. What you hear below the peeled back layers of distortion and rattling speaker cages is a down tempo groove and howl that brings to mind the early days of doom metal, before the posturing and preening rendered many artists incapable of basic structuring. Bass heavy, but not drowned in it, as is evident in the masterful solo in the latter stages of the track. Segments like the opening to Feast On The Eye are good uses of extended track times, the slow cascading of guitars and bass pouring from your speakers like molasses or maple sap from the north eastern United States. No rush to get from point A to point B; yet somehow, they never overstay their welcome on any individual track. Perhaps it comes down to the way the tracks are built. Here, you have a main guitar groove to build off of, but the airy, spacey vocals provide a respite from the lower register assault. It is a combination that may, on paper, not seem dynamic; but in reality, it hits just right.

But there is bound to be a track that stands out above the rest. However subjective it may be, the title track, Enter Venus, is as good as Druglord as ever sounded. The depth of sound they've found here is incredible, but it is the manner in which they deliver this piece that resonates long afterwards. Hazy distortion rings through, punctuated with minimal drum interjections. But unlike the other tracks on the album, this one features a show of restraint that elevates everything that much further. Sandwiched between smoky verse passages lies a quiet, cleanly played interlude that does wonders. That small bit of contrast goes a long way, highlighting another deftly played solo before the final countdown. If there is anything to note about Let Us Bleed, other than it's obvious placement as the closer to any set list, it is the noticeable strain that comes from the vocal track, something that might actually be a major plus. But while you are busy taking in all of the subtle nuances the song has to offer, the clock seems to be ticking rapidly away. Try as you might to slow down time to enjoy it longer, the end draws near far sooner than you would expect, hastened by great instrumental work on all fronts.

Some bands can pull off fuzzy and clouded. Others can't. Druglord falls squarely into the former, making it a trademark of sorts on their first two releases. While others bands, some who inhabit the same genre, strive for pitch correction, tuned perfection, and a myriad of digital "fixes" along the way, this three piece is giving you something different. Guitar, bass, drums and vocals, pieced together with bits of string and wire, yet holding stronger than any overtouched, big budget mix could ever hope to. They get their sound, their way, and hand it to you on a silver platter; or a green and milky white one, if you are vinyl inclined. In a way, this album is a throwback to a simpler time, when it was about the writing and the music, instead of the overdubs, drum loops, and studio wizardry. But I digress; "Enter Venus" is a mindtrip through and through, sometimes bending you just like a set of guitar strings under heavy fingers. If you have the ability to, for once, sit back and take it slow, this is an album that might strike a familiar chord.

9/10