Flaming Tusk

Astoria's Flaming Tusk wins the odd bird award here. I have no idea what to call this. You Fail Me-era Converge, but sludgier, proggier and with black metal rasps? It's messy, but melodic and strangely compelling. You can download it for free at the band's site. Try or die! - Decibel Magazine

Astoria's Flaming Tusk wins the odd bird award here. I have no idea what to call this. You Fail Me-era Converge, but sludgier, proggier and with black metal rasps? It's messy, but melodic and strangely compelling. You can download it for free at the band's site. Try or die! - Decibel Magazine

This five piece band from Astoria, New York plays an eclectic mix of death, black and thrash metal that draws as much musical influence from The Doors and Black Sabbath as Immortal, via Emperor and Deicide and Testament. The result is their EP, ABIGAIL which features four original tracks from this intrepid young band.

Singer Stolas mixes up tortured gurgles and screams with death roars to great effect, and the fact that I’m reminded of Schmier, Zetro Souza, Abbath and Glen Benton can only be a good thing. And it’s well worth you to taking the time to read their twisted lyrics, seeing as how ABIGAIL was inspired by the true story of Abigail Taylor (I won’t spoil it for you here but you can look it up on Wikipedia). - Metal-Rules.com

I spoke via email with the members of Flaming Tusk, a metal band from Astoria, New York on their new EP, ABIGAIL, available to download on their myspace site. I had reviewed ABIGAIL and found it a refreshing listen, and when talking to the members of the band, it is clear that they do love their metal and are not short on confidence in the potential of Flaming Tusk. Read on for a quirky and articulate take on themselves and metal in general...

Hi there, hope you guys are well and kicking. We appreciate you taking the time to answer some questions about your band and your EP, ABIGAIL.

History

Q: There’s very little information about your band on the internet, so give us the a bit of history – where did it all go wrong? How did you get inescapably sucked into this dark hole called metal? Who was/were the founding member(s) and how did it all begin?

A: We sort of fell into it. Xristophage has been a noted metal scholar for many years now, being long involved in the codification of a single all-encompassing metal tome, the Necromusicon (Ed: A half CD/half essay introduction to heavy metal for his curious friends). He was fucking around on the internet one day and the phrase ‘Flaming Tusk’ entered his head. He thought that sounded pretty badass and so when he saw Don Blood he said, ‘Dude, we should start a metal band called “Flaming Tusk”.’ Don actually decided to take him seriously, despite the notion that X might not have totally thought it through. Don quickly recruited his housemates Zosimus and Schneidaar — strictly speaking Schneidaar recruited himself — and within a couple days we had figured who was going to play what instrument. We had been playing intensively for about a month when we agreed we should get a vocalist, and when Xristophage remembered that one of his oldest friends — indeed, the one who introduced him to metal many years ago — was in fact a master metal vocalist. Stolas Trephinator came to “audition” which is to say, pick up the mic, and start screaming into it, at which point everyone was thoroughly satisfied.

Q: What are the backgrounds and musical influences of the other members?

A: Funny story. 60 years ago an iron worker died in the basement where Flaming Tusk currently practises. His spirit, restless, and seething with resentment towards the waking world, is the biggest single influence on Flaming Tusk’s music. Xristophage and Stolas have been metalheads since way back, and the rest of the group has extensive musical experience, including various non-metal genres. Collectively they have played or are playing pop/rock, indie-pop, hip-hop, electro-hip-hop, country-rock groups, to various degrees of satisfaction. Flaming Tusk is a well-oiled metal death machine, and as soon as those members picked up their instruments the metal of a thousand years began to flow out — mostly in the form of copped Metallica, Mastodon, High On Fire and Burzum riffs. Xristophage likes to imagine that Gene Hoglan is his biggest influence. Flaming Tusk plays a customized Secret String Gauge, and Don Blood plays the least metal guitar in America: a cherry-red Fender Stratocaster.

Q: Are roles delineated clearly within the band, ie everyone writing their own parts? How are contributions made? From the press release, it sounds as if Don Blood is the main man, so to speak, but you’re welcome to correct me if I’m wrong.

A: Our general songwriting process is actually a little looser than that. “26 Legions” and “My Red Sun“ (to be released) were actually written by Xristophage, before the band had formed, and formed the proverbial grain of sand in our metal oyster. After we got those songs together, Don Blood, as lead guitarist, took up the greater majority of the songwriting duties. Most of the songs have been looser collections of riffs or parts, which the band then collectively hammers into shape. For the non-guitar players, everyone writes their own parts; and pretty much everyone also contributes riffs or structural suggestions. Nearly all the lyrics are written by Stolas, often with thematic suggestions from the rest of the band.

Q: What is the origin of and meaning behind the band’s name?

A: It popped into Xristophage’s head one day, as is his wont (see above). The listener can imagine an actual mammoth tusk — or pair of tusks — on fire, or also a kind of overdone phallic symbol.

ABIGAIL

Q: As you know, my review for ABIGAIL is online. Here’s your chance to reply to any praise or criticism I’ve made, or any points you take issue with.

A: We actually think your review is pretty right on. It’s definitely true that this record is not super-clear and polished, and some people don’t like that. If a listener is going to balk at a record that doesn’t sound like Nightwish, they shouldn’t be listening to Flaming Tusk. One of the things we were aiming for is to apply the dirt and grime of classic black metal and black-thrash to a more eclectic writing style. We do have to tak - Metal-Rules.com

This five piece band from Astoria, New York plays an eclectic mix of death, black and thrash metal that draws as much musical influence from The Doors and Black Sabbath as Immortal, via Emperor and Deicide and Testament. The result is their EP, ABIGAIL which features four original tracks from this intrepid young band.

Singer Stolas mixes up tortured gurgles and screams with death roars to great effect, and the fact that I’m reminded of Schmier, Zetro Souza, Abbath and Glen Benton can only be a good thing. And it’s well worth you to taking the time to read their twisted lyrics, seeing as how ABIGAIL was inspired by the true story of Abigail Taylor (I won’t spoil it for you here but you can look it up on Wikipedia). - Metal-Rules.com

The debut EP _Ab[i]gail_ from NYC metal-heads Flaming Tusk seems to be a solid piece of music, incorporating, with ease, musical styles from a wide range of metal genres, from dashes of hardcore through to some gloomy doom. A particular stand out track is the closer song "26 Legions", a great show of all the influences the band have, in a single song, and just over nine minutes. All three of the other songs show some quality heavy metal. With great but not overdone production, the band delivers some catchy riffs... - Chronicles of Chaos

The Flaming Tusk Myspace page lists them as “Metal/Metal/Black Metal,” but that equation can't possibly be accurate. In fact, dissecting the influences here may be computationally intractable, and that is a wonderful thing. Flaming Tusk have a truly unique sound.

My first point of reference on Flaming Tusk has to be Enslaved. I get the same satisfying sense of weirdness that emerged the first time I listened to Mardraum. Those feelings of curiosity, groundlessness and amazement are rarely invoked for me by metal these days. Old, Blackened Century has violently appropriated my attention, much like Cobalt's Gin did last year.

I'm in the middle of reading Richard Dawkins' incredible “The God Delusion,” and I've got Darwin on the brain. Flaming Tusk's music is so interesting that I have to wonder at the evolution of their sound. Tracks like “Anathema” possess the riff aesthetic of early Mastodon, but with more focus on the NWOBHM melodics (a la “March of the Fire Ants.”) At other times, I get the demented vibe of recent Darkthrone. The hoarse guitar tone and strange rhythms evoke hardcore in ways I can't articulate. A more well-rounded listener might be able to delve into the hardcore lineage of these tunes.

Old, Blackened Century never moves faster than a mid-paced lumber, with no blasting in sight. The drumming is perfectly adapted to the odd rhythms and is curiously uninterested in speed. The lack of velocity intimates that there must be some doom influence at work, but I can't pin that down.

The two guitars rarely seem to agree, and it sounds fantastic. There are all sorts of memorable riffs in here, along with some nice pseudo-bluesy and bizarre solos. The guitars don't sport spectacular crunch, but the product is still satisfyingly heavy. These riffs will almost certainly burn themselves into synapses and make your head bang. The fully audible and driving bass is integral to the songs. The excellent bass sound shows how great the mix is; I love the production. It doesn't sound like there are any overdubs on the guitars, adding to the pleasantly undercooked atmosphere.

The charismatic vocals come from the Grutle/Abbath school of froggery, with some deeper gurgling to be found throughout. After listening to this a few times, my throat starts to hurt out of sympathy for the shredded vocal chords.

The songwriting is superlative and certainly one of Flaming Tusk's greatest assets. The lyrics are great; it's typical death metal imagery, but flavored with a poetic sauce and hints of hardcore disgust. When was the last time you heard someone scream “HO CHI MINH KISSINGER” in the middle of a black/death metal song? “No Smiles” is a fucked up and enthralling tune; its 8 minutes just seem to fly by. Most of the tracks are long, but diverse. Amazingly, nothing sounds out of place here, and the songs manage to hold my attention well.

My only small gripe with Old, Blackened Century is that the last track, “Icy River,” kind of degenerates into a free-form jam. While not a big deal, it sufferers the same lack of focus that pervades the most recent Enslaved albums. Thankfully, the cool hammered-on riff that develops part way through stops the song from completely losing me.

Flaming Tusk are distributing their album through Bandcamp, the same way From Exile did last year. For all the discussions going on about digital distribution of albums, I think Bandcamp is the only site doing it right. First off, you can listen to a stream of the entire album. Then, you can download the album and pay whatever you want, with no minimum. This completely eliminates the desire someone might have to seek out an illegal download of the album. Lastly, and most importantly, Bandcamp allows you as a consumer to choose any format for your download, including lossless (FLAC). This is the only way I'll spend money on a downloaded album – I can burn it to CD with no loss of quality and convert it to any compressed format I desire (I use the open source OGG format for portable music). So congratulations to Flaming Tusk, you chose your distribution channel wisely, and I paid $10 for your album.

Old, Blackened Century is sparse, raw and just what I need at the moment. Most new bands these days sound like poorly stitched Frankenstein monsters of metal methodology. Flaming Tusk are a fully evolved beast with a distinct and appealing sound. This shit just rocks. Old, Blackened Century is definitely worth checking out.
86/100
(The only appropriate score for a band from my homeland of Astoria, - Sunyata: Mindful of Metal

Time to face facts. Metal is such a massively oversaturated realm, with many thousands of artists stacked into each of its constituent genres, that even the majority of artists exploring its most extreme wings feel tired and conventional these days, unless a band is simply superb at what they do. Black, death, doom, grind and sludge have all come and gone, come again in endless cycles, and it's left to a newer, younger generation of bands to transcribe some novel translation of their influences. Some do this by attempting to tread grounds so extreme that others simply haven't dared them. Others fuse styles beyond the norm. And a third category simply take a bunch of their favorite metal genres and soak them together in an acid bath.

Flaming Tusk is a young New York band that fall into this last group, but they do it fairly well, fusing together sludge, thrash and classic doom metal influences into a tireless riff-o-rama dowsed in the gasoline of grunts blunt enough, and snarls cutting enough to sate most entities and extremities. The entire band use strange stage names like vocalist Stolas Trephinator, drummer Dumnorix Xristophage and bassist Scheidaar. I don't get it, and you don't need to. They've here written a pretty tight debut showcasing their potential, which rests heavily on the killer riffing of Don Blood and 'Zosimus'. Seriously, these gentlemen can groove, and though many of their riffs recall the primal, morbid ascensions and declensions of an old Slayer, or the more creative sludge of The Ocean, Cult of Luna or the later Isis records, I'd say on the whole what they evoke is quite an original trip, worth taking even if the vocals require a little adjusting (unless you're already into extreme sludge like Soilent Green or Eyehategod).

Flaming Tusk is capable of both morose, spatial composition and a more savage veneer. Tracks like the melancholic, droning "Icy River" or the flowing, post-hardcore of "My Red Sun" exhibit the band's slower, tumbleweed mode, ridden with bombastic bass pomp and effective, drudge riffs that feel like an endless day of toil as some backwoods swamp logger. The band can also kick up a dusty haze of glory as through the melodic winding of "Anathema", or the dark, lurching rock of "Instability". But I found myself drooling most over the heavier, crashing thrash and burn of "Cillaightfearn" or the crushing, abysmal-tongued power groove of "No Smiles", which plays out like an armada of hellbilly circus freaks as they burn the goddamn Earth to ashes, 'Stolas Trephinator' going overboard at 2:30 with an insidious spoken word fill that had me both laughing fiendishly at the absurdity and clawing my own eyes out in terror. "I Nap in Blood" is another harrowing tune with its bright, leering dis-chords and surges of dire speed.

The band will probably be pigeonholed most into the sludge category, but I feel like they could hold an appeal to fans of bands as wide as Mastodon, Rosetta, Baroness, Isis and the obscure Kinghorse, though the vocals here resemble only the heavier on that roster, and in fact, feel far more organic and extreme within this band. I'll admit, Trephinator took a little getting used to, despite a long history listening to and enjoying a great many rasped and guttural front men, but in time I grew to accept them alongside the mesmerizing riff patterns, and it seems this would be pure horror in a live setting. At any rate, the band is offering this album with a 'pay as you will' option, so there's no excuse not to check out a few samples. If you're seeking a relatively fresh alternative to any of the bands I listed above, they may just have your ticket.

Highlights: Icy River, Cillaighfearn, No Smiles, My Red Sun

Verdict: Win [7.5/10] - From The Dust Returned

Time to face facts. Metal is such a massively oversaturated realm, with many thousands of artists stacked into each of its constituent genres, that even the majority of artists exploring its most extreme wings feel tired and conventional these days, unless a band is simply superb at what they do. Black, death, doom, grind and sludge have all come and gone, come again in endless cycles, and it's left to a newer, younger generation of bands to transcribe some novel translation of their influences. Some do this by attempting to tread grounds so extreme that others simply haven't dared them. Others fuse styles beyond the norm. And a third category simply take a bunch of their favorite metal genres and soak them together in an acid bath.

Flaming Tusk is a young New York band that fall into this last group, but they do it fairly well, fusing together sludge, thrash and classic doom metal influences into a tireless riff-o-rama dowsed in the gasoline of grunts blunt enough, and snarls cutting enough to sate most entities and extremities. The entire band use strange stage names like vocalist Stolas Trephinator, drummer Dumnorix Xristophage and bassist Scheidaar. I don't get it, and you don't need to. They've here written a pretty tight debut showcasing their potential, which rests heavily on the killer riffing of Don Blood and 'Zosimus'. Seriously, these gentlemen can groove, and though many of their riffs recall the primal, morbid ascensions and declensions of an old Slayer, or the more creative sludge of The Ocean, Cult of Luna or the later Isis records, I'd say on the whole what they evoke is quite an original trip, worth taking even if the vocals require a little adjusting (unless you're already into extreme sludge like Soilent Green or Eyehategod).

Flaming Tusk is capable of both morose, spatial composition and a more savage veneer. Tracks like the melancholic, droning "Icy River" or the flowing, post-hardcore of "My Red Sun" exhibit the band's slower, tumbleweed mode, ridden with bombastic bass pomp and effective, drudge riffs that feel like an endless day of toil as some backwoods swamp logger. The band can also kick up a dusty haze of glory as through the melodic winding of "Anathema", or the dark, lurching rock of "Instability". But I found myself drooling most over the heavier, crashing thrash and burn of "Cillaightfearn" or the crushing, abysmal-tongued power groove of "No Smiles", which plays out like an armada of hellbilly circus freaks as they burn the goddamn Earth to ashes, 'Stolas Trephinator' going overboard at 2:30 with an insidious spoken word fill that had me both laughing fiendishly at the absurdity and clawing my own eyes out in terror. "I Nap in Blood" is another harrowing tune with its bright, leering dis-chords and surges of dire speed.

The band will probably be pigeonholed most into the sludge category, but I feel like they could hold an appeal to fans of bands as wide as Mastodon, Rosetta, Baroness, Isis and the obscure Kinghorse, though the vocals here resemble only the heavier on that roster, and in fact, feel far more organic and extreme within this band. I'll admit, Trephinator took a little getting used to, despite a long history listening to and enjoying a great many rasped and guttural front men, but in time I grew to accept them alongside the mesmerizing riff patterns, and it seems this would be pure horror in a live setting. At any rate, the band is offering this album with a 'pay as you will' option, so there's no excuse not to check out a few samples. If you're seeking a relatively fresh alternative to any of the bands I listed above, they may just have your ticket.

Highlights: Icy River, Cillaighfearn, No Smiles, My Red Sun

Verdict: Win [7.5/10] - From The Dust Returned

I HEAR FLAMING TUSK from three houses down, which is good since Astoria is a foreign country to me. I stand in front of the porch in the rain and listen to the band blast through “Ichor,” a song off the new album Old, Blackened Century. The singer sounds like the meanest motherfucker in the world, scratching out lyrics about the horror of Vietnam including the line that’s been stuck in my head for weeks: “Ho Chi Mien Kissinger!” The guitars seamlessly alternate between doom riffs and classic death metal with a solo that’s best described as Fast Eddie Clarke from Motorhead. The sidewalk shakes. I’m in the right place.

I get inside the band’s basement lair and instead of meeting the metal demigods I imagined to be making this noise, five nice-looking fellas greet me. They don’t look scary at all. They introduce themselves as Andy, Keith, Zach, Chris and Eric. I expected Schneidaar, Antipope Zosimus, Dumnorix Xristophage, Stolas Trephinator and Don Blood, the names listed on their music. I expected Dethklok in the flesh. Hell, they only have one Slayer tattoo between the five of them! I’m shocked. And then we start talking shop. An hour talking metal with these gentlemen and let me tell you dear readers, I actually learned something: metal is not always what it’s supposed to be.
The band started with the name.
Drummer Dumnorix Xristophage was on his computer and “Flaming Tusk” popped into his head. He told his guitarist friend Don Blood as a joke that it would make a great metal band name. Blood took him seriously and recruited his roommates Schneidaar for bass and Zosimus for second guitar. For vocals, Xristophage got his old friend Stolas Trephinator, AKA Chris Krovatin, the author of two successful novels Venemous and Heavy Metal and You. Flaming Tusk was born.
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Each of the members has a different musical background. Collectively, they’ve been involved with hip-hop, electro, rock, indie-pop and country-rock. When they told their friends about Flaming Tusk, some of didn’t take them seriously.
“Everyone thought we were kidding, like, ‘Ha, ha, you’re gonna have a metal band—that’s funny guys,’ and then they would actually hear what we were doing and go, ‘Holy shit, they’re not fucking around.’”Since some of the band was not as well versed in metal as Dumnorix and Stolas, Dumnorix created the Necromusicon, four CDs of metal and an accompanying essay on what he calls “the foundational building blocks” of metal.
The CDs were split into four metal categories: thrash, death, black and doom. I’m no expert, but I would find it hard to place either of the band’s first two records, the Abigail EP and Old, Blackened Century, in any of these categories. And the band agrees.
“We’re very much dedicated to trying to do something that isn’t done that often. Our love of metal is a lot of times our love of things that are incredibly metal even though they’re not commonly used in metal song imagery,” says Trephinator, who writes all the lyrics with thematic input from the band.
The band’s first EP is titled Abigail after a six-year-old girl from Minnesota who had part of her small intestines ripped out by the suction of a pool filter in 2007. The EP was released digitally for pay-what-youwant with all proceeds going to the Abigail Taylor Foundation for the Advancement of Pool Safety. Their new album Old, Blackened Century, released with a similar pricing format, has a song about undergoing surgery titled “No Smiles” as well as a tale of five guys on a raft in the middle of the ocean deciding who they are going to eat first titled “Instability.”
“There’s one part that’s where they’re drawing straws to see who’s gonna get eaten, and then there’s another part that’s the same thing but faster and that’s the second time that happens,” says Don Blood about how the band tries to meld lyrics to the music.
Flaming Tusk seeks to find things that are metal but may not be completely accepted by the metal community as metal.
“We have a no vampires rule,” says Zosimus.
“No Germans and no vampires,” adds Don Blood.
You don’t need a reaper, an elf, a dragon or a serial killer to be metal. A pool ripping out the intestines of a little girl or a soldier going mad in a Vietnam jungle is metal, too. Scream that over some heavy sludge and pounding drums, forget about what a metalhead is supposed to look like, get a name from something bad ass like a mammoth’s tusk and, hey what he fuck, light it on fire. That is metal.
>>FLAMING TUSK May 17, Lit Lounge, 93 2nd Ave. (betw. E. 5th & E. 6th Sts.), 212-777-7987; 9, $6. - NY Press

I HEAR FLAMING TUSK from three houses down, which is good since Astoria is a foreign country to me. I stand in front of the porch in the rain and listen to the band blast through “Ichor,” a song off the new album Old, Blackened Century. The singer sounds like the meanest motherfucker in the world, scratching out lyrics about the horror of Vietnam including the line that’s been stuck in my head for weeks: “Ho Chi Mien Kissinger!” The guitars seamlessly alternate between doom riffs and classic death metal with a solo that’s best described as Fast Eddie Clarke from Motorhead. The sidewalk shakes. I’m in the right place.

I get inside the band’s basement lair and instead of meeting the metal demigods I imagined to be making this noise, five nice-looking fellas greet me. They don’t look scary at all. They introduce themselves as Andy, Keith, Zach, Chris and Eric. I expected Schneidaar, Antipope Zosimus, Dumnorix Xristophage, Stolas Trephinator and Don Blood, the names listed on their music. I expected Dethklok in the flesh. Hell, they only have one Slayer tattoo between the five of them! I’m shocked. And then we start talking shop. An hour talking metal with these gentlemen and let me tell you dear readers, I actually learned something: metal is not always what it’s supposed to be.
The band started with the name.
Drummer Dumnorix Xristophage was on his computer and “Flaming Tusk” popped into his head. He told his guitarist friend Don Blood as a joke that it would make a great metal band name. Blood took him seriously and recruited his roommates Schneidaar for bass and Zosimus for second guitar. For vocals, Xristophage got his old friend Stolas Trephinator, AKA Chris Krovatin, the author of two successful novels Venemous and Heavy Metal and You. Flaming Tusk was born.
Related content
Locally GlobalThe Doctor Is InGym Class HeroesGet The ShakesThe Hills Are AliveHella Rubella
Related to:
metaltuskbandflamingaboutthatsbloodwhat
Each of the members has a different musical background. Collectively, they’ve been involved with hip-hop, electro, rock, indie-pop and country-rock. When they told their friends about Flaming Tusk, some of didn’t take them seriously.
“Everyone thought we were kidding, like, ‘Ha, ha, you’re gonna have a metal band—that’s funny guys,’ and then they would actually hear what we were doing and go, ‘Holy shit, they’re not fucking around.’”Since some of the band was not as well versed in metal as Dumnorix and Stolas, Dumnorix created the Necromusicon, four CDs of metal and an accompanying essay on what he calls “the foundational building blocks” of metal.
The CDs were split into four metal categories: thrash, death, black and doom. I’m no expert, but I would find it hard to place either of the band’s first two records, the Abigail EP and Old, Blackened Century, in any of these categories. And the band agrees.
“We’re very much dedicated to trying to do something that isn’t done that often. Our love of metal is a lot of times our love of things that are incredibly metal even though they’re not commonly used in metal song imagery,” says Trephinator, who writes all the lyrics with thematic input from the band.
The band’s first EP is titled Abigail after a six-year-old girl from Minnesota who had part of her small intestines ripped out by the suction of a pool filter in 2007. The EP was released digitally for pay-what-youwant with all proceeds going to the Abigail Taylor Foundation for the Advancement of Pool Safety. Their new album Old, Blackened Century, released with a similar pricing format, has a song about undergoing surgery titled “No Smiles” as well as a tale of five guys on a raft in the middle of the ocean deciding who they are going to eat first titled “Instability.”
“There’s one part that’s where they’re drawing straws to see who’s gonna get eaten, and then there’s another part that’s the same thing but faster and that’s the second time that happens,” says Don Blood about how the band tries to meld lyrics to the music.
Flaming Tusk seeks to find things that are metal but may not be completely accepted by the metal community as metal.
“We have a no vampires rule,” says Zosimus.
“No Germans and no vampires,” adds Don Blood.
You don’t need a reaper, an elf, a dragon or a serial killer to be metal. A pool ripping out the intestines of a little girl or a soldier going mad in a Vietnam jungle is metal, too. Scream that over some heavy sludge and pounding drums, forget about what a metalhead is supposed to look like, get a name from something bad ass like a mammoth’s tusk and, hey what he fuck, light it on fire. That is metal.
>>FLAMING TUSK May 17, Lit Lounge, 93 2nd Ave. (betw. E. 5th & E. 6th Sts.), 212-777-7987; 9, $6. - NY Press

Flaming Tusk {sounds like] High on Fire and Immortal mud-wrestling in a blackened sludge pit filled with blood, bile, lava and more blood. - Revolver

Flaming Tusk {sounds like] High on Fire and Immortal mud-wrestling in a blackened sludge pit filled with blood, bile, lava and more blood. - Revolver