To those of you who will be celebrating Thanksgiving today, Happy Thanksgiving and best wishes for a deep and restful tryptophan coma (though data show that dining on sea lion kidney would get you a bigger dose of tryptophan than turkey). For those who treat this as just another day, Happy Just Another Day.
We’re not planning a lot of posts today, just the premiere we launched a bit earlier and this round-up of new sightings and hearings from my interhole excursions over the last 24 hours. Here we go…
In mid-October we reported that Poland’s Hate will be releasing a new album named Crusade: Zero on January 15, 2015, via Napalm Records. I was excited about that news even before hearing a note of the music. Now that I have heard many notes, I’m even more eager for the album. You shall hear those same notes in this teaser reel, which excerpts parts of several new songs:
Those vicious Canadian purveyors of Total Death, Vault of Dried Bones, have been preparing once again to open their bomb bay doors and rain destruction from the skies, and their new weapon of choice is a Sri Lankan band appropriately named Genocide Shrines. This new release from the Vault Cult’s label will be the band’s first full-length album, and its title is Manipura Imperial Deathevokovil (Scriptures of Reversed Puraana Dharmurder).
As an introduction to what this album holds in store, we bring you today the premiere of the album’s third track, “Subterranean Katacomb, Termination Temple (Henotheistic Primal Demiurge)”. Those who may be familiar with the band’s 2012 Devanation Monumentemples EP or the Mahabharat Terror Attack split with Manifestor released last spring may still not be prepared for what it will do your peace of mind (it will leave it in pieces).
Iceland’s Svartidauði are perfecting the mechanics of tearing apart interdimensional membranes, exposing our ears to emanations from alien domains, while rocking very damned hard at the same time. Their latest offering, which will not be confused with the work of any other band, is a forthcoming two-song release from Daemon Worship Productions and Terratur Possessions entitled The Synthesis of Whore and Beast, and today we give you the chance to hear one of those two tracks: “Impotent Solar Phallus”.
Calling this music “black metal” feels unsatisfying. It’s too meager a description, and may in fact be misleading. “Impotent Solar Phallus” radiates reptilian menace, its exotic chords both disturbing and otherworldly, its booming/tumbling drumbeats conjuring images of a tribal ritual, as practiced by a tribe not found on this planet.
(We welcome Wil Cifer to NCS with this review of the debut album by Unfathomed of Abyss of San Antonio, Texas.)
Like everything else in Texas, Kevin Price thinks big, so he employed Kevin Talley of Dying Fetus / Daath fame to provide the drums. Price forsakes the organic approach taken by the flux of American Black metal bands to weave his own path. This path is filled with discordant geometry and angular atmosphere.
Opening with the 14-minute, piano-inflected “To Unequal the Balance of the Cosmos”, the album has an oddly uncertain beginning. While Kevin Talley is certainly not shabby as a drummer, he is not a black metal drummer and a drummer more versed in the genre would know where to throw in the appropriate blast beats to create the desired sound. Nevertheless, Talley does more than dial it in, adding a few creative accents of his own.
This year the Greek melodic black metal band Lord Impaler are celebrating their 16th year of life. In that long stretch of time they’ve released four demos (the first one in 1999), two split releases, a full-length album, and an EP. I’ve previously reviewed both the album (2011′s Admire the Cosmos Black) and the EP (2013′s Babylon Whore) — both of which are very impressive — but I’ve never heard any of the earlier demo recordings. Now all of us are about to get a taste of them in new form.
On December 7 Lord Impaler will release a special anniversary EP entitled The Serpent Seal – Το Αρχέγονο Σκότοσ Επιςτρέφει, which includes re-recorded versions of four songs from their first three demos, and today we’re premiering one of those tracks: “Final Gates”.
(Andy Synn reviews the new album by Ireland’s Primordial, with a new video from the band at the end.)
If the world were a fairer place, then I have no doubt that Primordial would be one of the biggest metal acts in the world by now. If the world rewarded raw passion and creativity the way it should, they’d be playing arenas and selling albums by the bucket-load, bringing their majestic brand of misery and majesty to all corners of the globe.
But the world isn’t fair. It seems most metalheads prefer to regress towards the lowest-common-denominator wherever possible, and that most popular music fans prefer things served up to them in lightweight, easily digestible chunks.
And that’s just the way things are. Sex sells, and so does simplicity. But it’s not really adding anything real, or particularly meaningful, to the world, is it? It’s been said many times that “pop will eat itself”. Well pop has eaten itself so many times now that all we’re left with is an endless cycle of eat-defecate-eat-regurgitate that’s sapped whatever little value from the music that it originally had.
We continue to consume, unaware that we’re starving ourselves to death.
It’s why I’m thankful for bands like Primordial. Bands who write and perform not for fame and fortune, and not to please some imagined audience, but for themselves, for the message, for the sheer cathartic joy of creation.
For four days I’ve been on the other side of the country from my home in the Seattle area, and I’ll be working here for 10 more days. It’s one of those projects that engulfs me periodically, a night-and-day kind of thing that squeezes my blog time down to acorn size. I did make room late last night for some exploring and found the following new music I thought you might like. I sure as fuck did. Presented in alphabetical order by band name.
The German black metal band Dysangelium have a new album on the way from W.T.C. Productions. The title is Thánatos Áskēsis, it’s due for release on December 24, and it’s available for order here. I haven’t yet listened to the entire album, but I did catch Decibel’s premiere of one of the new songs yesterday, and have really been enjoying it.
(Andy Synn wrote this post.)
I’ve been thinking about beginnings a lot lately. With NCS hitting its fifth anniversary, and with my own four-year anniversary at the site having come and gone a few months ago, I’ve obviously been thinking back on where we’ve come from, where we’ve been, and how all those strange, chaotic choices and coincidences have led us to this point.
I’ve also been thinking about my own musical history, all the bands I’ve discovered, all the bands who’ve fallen by the wayside and, in particular, the bands which started me off down this road…
So settle in, loyal readers, it’s story-time.
(Guest writer Grant Skelton has discovered a new single by a Swedish band named Crimson Moonlight that he wants you to hear.)
I may have spoken too soon about my list of 2014’s Most Infectious Extreme Metal Songs. I made my list before hearing the new song by Sweden’s Crimson Moonlight. The song is called “The Suffering,” and comes from the band’s new album Divine Darkness (TBA 2015 via Endtime Productions.). This is the band’s first new material since the In The Depths Of Dreams Unconscious EP in 2007. The new album will be the band’s first proper album since 2004’s Veil Of Remembrance.
For those unfamiliar with Crimson Moonlight, they formed in 1997. Along with bands like Extol, Admonish, Antestor, Slechtvalk, and Immortal Souls, they were an integral part of their scene, sometimes referred to as “unblack metal.” This tune might appeal to fans of A Hill To Die Upon, 1349, Dimmu Borgir, Mayhem, or even The Black Dahlia Murder.
(Austin Weber reviews the new album by Baring Teeth.)
The time has finally come for renowned quirky Texas death metallers Baring Teeth to show the world another plane of terrifying sounds and squalor. As if their first album, 2011’s Atrophy, in all its demented brilliance, was not enough of a jaw-dropping testament to their skill and uniqueness, they set their aims at a higher and different place on Ghost Chorus Among Old Ruins, giving us is a wide range of dynamics within each song — like a massive fight for control between frenetic, entrancing splinters and the colossal depths of quicksand, whose power ultimately derives from its slow, suffering burn.
Not only have they moved further from the realms of their Obscura-influenced debut, they’ve managed to expand their sound. It would have been easy and standard for a metal band like this one to keep the same blazing tempo and stylistic formula the second time around. Yet this time Baring Teeth offer more cesspools and sinkholes to drop into, sucking up more of the music like a slow-draining black hole, while also offering full-scale onslaught the likes of which will make your face melt just a bit too much to recover from in one sitting.