Vyrju began as the one-man project of Norwegian musician Jan F. Lindsø, but Vyrju’s debut EP Black also features session drums and clean vocals by Tim Yatras (Germ, Austere, ex-Nazxul, ex-Woods of Desolation). I’m a fan of Tim Yatras, and it was his participation in the recording that originally attracted me to it — well, that and the three big skulls on the EP’s cover, of course.
In a word, Black is captivating. The melodies in each of the four songs, with the exception of the short instrumental piece “Gone”, have a sombre and even depressive air, but they’re memorable and often beautiful in their own grim, ravaged way.
Happy Saturday to one and all. It’s not exactly a happy Saturday for me because I’m away from home for the old fucking day job and won’t get back to Seattle until December 6 or 7. While toiling away in distant environs I do hope to continue posting at least one new thing of my own each day, in addition to contributions from others.
This morning I had the chance to check out some new songs, from which I sifted the following three that I recommend to your earholes.
Grafvitnir are a three-man occult black metal band from Sweden who describe themselves as “the faceless emanations of primordial chaos”, and based on the new song I heard this morning, I can believe that.
(DGR reviews the debut EP by Kunstzone.)
There are a couple of names that I expect to see whenever an industrial metal project slides across ye old NCS promo desk. If it comes from one of those names, then I immediately start looking for the other batch — because if the name Alex Rise seems familiar to you and you’ve been following NCS then you know of his Tyrant Of Death project, and there’s a circle of musicians around him that seem determined to crossbreed into as many different projects as there are available combinations, most of which tend to be heavy on the electronic noise and programmed drums.
One of the more commonly observed names is an enigmatic entity named Candy — who has gone to tremendous lengths to hide its identity — responsible partly for President Streetwalker (which to this day remains the earliest I have ever gotten in on the ground floor for a band), the noisy as all hell Khaozone, and a myriad of other works including contributions to T.o.D vocalist Lucem Fero (Omar)’s own solo releases.
(TheMadIsraeli reviews the new third album by the Israeli band Prey For Nothing.)
First, you should go check out my previous article on this band where I gave an overview of their music, as well as band-authorized downloads of their first two albums. I’d like to not waste time on the typical introductory shit today.
Melodic death metal nowadays really does need to be two things if it wants to be relevant and interesting. It needs depth, and it needs songwriting. While we’ve definitely seen this in the doom-driven aspect of the scene, every other approach to it has been more often than not done rather halfheartedly, much to my disappointment. Prey For Nothing definitely have the depth and the songwriting, taking their brand of Schuldiner-drenched melodic death-dealing proficiency to a new level of intricacy.
Well, here we are. The blessed day has arrived. NO CLEAN SINGING is five years old today. We made our first post on November 21, 2009.
As a five year-old, we still poop our pants, scream at the top of our lungs for no good reason, have a growing fascination with what’s between our legs, and throw our food against the wall because, fuck, you only have a brief time when you can get away with shit like that.
Last year at this time I wrote that there’s a word for metal blogs who are still around as long as we’ve been: They’re called “survivors”. “Stubborn” and “too dumb to quit” are still good alternative labels. I can’t promise you we’ll be here this time next year — because no one can count on being around for another year. So we rejoice in the fact that we’re still here, as you should, too — you have also survived another year.
(Comrade Aleks returns to NCS with an interview of Luciano Marchisio, bass player for the Argentinian band Montenegro.)
Montenegro is a psychedelic stoner band from Argentina who mix a bunch of unusual musical and conceptual elements in their songs. Their first full-length album Confusos Recuerdos Después Del Coma has shown the band’s best as of 2013, but a few months ago Montenegro took part in split-album with Russian psychedelic band The Grand Astoria that reaches new heights in their explorations.
Their new epic track “El Matadero” (“Slaughterhouse”) perfectly holds the main motive of this split-release, complementing the musical conception of their Russian mates and evolving their own ideas in new ways. Luciano Marchisio (bass) represents Montenegro today for our readers and tells us the story of four gauchos from Argentina.
EDITOR’S NOTE: The new album by Sweden’s Just Before Dawn is a killer. Its name is The Aftermath and I reviewed it here. It’s out now on Chaos Records and you can order it here. It’s also available on Bandcamp, and there’s a full stream of the whole tasty thing at the end of this post. But first, enjoy KevinP’s Q&A with Just Before Dawn’s main man Anders Biazzi.
1. So, you’re back for round two. Tell us what is different this time around?
This time the album is more well-written, I think. There are more people working on it, around 24 guys laid down their shit for this album. Otherwise there are no changes: war and steamrolling devestation.
2. What was your favorite collaboration and why?
I think it would be “Lightning War”. It’s a really powerful track with great vocals from Dave Ingram and great whammy leads from Rick Rozz. A real steamrolling track, Bolt Thrower style!
I need to whine for a couple of minutes. Yes, even I, with my usually sunny disposition, need to whine every now and then.
First, I’ve been getting so little sleep lately that my eyes are as red as a baboon’s ass. Second, I inflamed a muscle in my arm from curling massive amounts of weight at the gym, the kind of crushing weight that’s comparable to a grocery bag loaded with a single loaf of bread. Third, and most egregious of all, my fucking day job has been making me run the gauntlet the last two days, with no end in sight, leaving me no time for my usual self-appointed NCS duty of scouring the web for news and new music.
I do know about a bunch of song and album premieres that appeared over the last 24 hours, but only because of messages received from my co-writers and some sharp-eyed readers. I’ve collected streams or links to them in this post, but don’t have time to write about them or even provide album art or helpful links. Shit, I haven’t even listened to all of them. How embarrassing.
(Here we have DGR’s review of the highly anticipated new album by Bloodbath.)
There is a knee-jerk reaction provoked by the name Bloodbath, an impulse to instantly want to like what the group are putting forth. At this point, there is a part of me which loves that Bloodbath have as much hype surrounding them as they do, while likewise also recognizing that the group have become something of an institution.
For some people, they were the first real deep introduction to traditional death metal — especially if you were one of those listeners who checked out the band because a bunch of Katatonia and Opeth band members were in the mix. Not only that, but as something of a tribute act, Bloodbath were also stunningly consistent with their sound. They’re experienced professional musicians already, so there’s none of the sense that they have been stumbling into what they’re doing — they know already.
They know how to write it, and because of that, when you’re listening to Bloodbath you’re hearing a group who are really good at throwing us back to the past when death metal was a dark and disgusting monster that people were scared of — the type of music that was a horror movie incarnate.
Musical inspiration comes from a wide array of sources. Taken as a whole, it reflects all life experiences, emotions, and thoughts, from the most mundane to the most mystical. In the case of the Greek black metal band Thy Darkened Shade, the music emanates from a desire to invoke Chaos through the unleashing of Lvciferian energies.
It exists as a spiritual devotional, as a path toward self-realization, as a channeling of dark, liberating powers to listeners enslaved by a materialistic world, with each song — the music and the lyrics — constituting a ritual for the summoning of arcane forces. Thy Darkened Shade is a bringer of Promethean fire, the stunning music a means of achieving transformation.
To be clear, I’m not saying I personally know all of this to be true (though the ritual character of the album, beginning with its brief introductory track, is hard to miss). Instead, I’m trying to summarize what I’ve read in interviews of Semjaza, the man who created all the music on their new album Liber Lvcifer I: Khem Sedjet (with others participating in the vocals and the drums) — one interview we published (here) and an even more involved one here. These explanations manifest the inspiration for this music.
As for the music itself, one need not be as serious a student of the occult as Semjaza (and he is quite serious indeed) to appreciate the remarkable achievement of Liber Lvcifer I. You just need ears to hear, an open mind, and a lot of time — because there’s no way you’ll be satisfied listening to this 78-minute opus just once.