(Comrade Aleks returns to NCS with this interview of Luther Veldmark of the multinational group King Heavy.)
It started for me with Hooded Priest’s album Devils Worship Reckoning – I like good old-school doom metal, and this record had enough catchy riffs to make me wait for new release. This record also is remarkable for me because of the really possessed and expressive vocal lines performed by the band’s frontman Luther Veldmark. The new album isn’t ready yet, but at least I got King Heavy, as Hooded Priest has been keeping silent up to now.
King Heavy is the product of a collaboration between Luther (based in The Netherlands) and three members of the Chilean bands Procession and Mourners Lament. King Heavy recorded the EP Horror Absoluto in 2014, so it’s time to ask that will come next. Luther Weldmark himself is here today!
Hail Luther! How are you? How much longer did your beard grow since we talked last time? It was in 2011!
Hello Alex, great hearing from you again. The slower my music the faster time flies!
Since you asked, I suppose my beard is a bit longer than last time, actually I don’t think it’s that extremely long, but yeah right, I don’t go that often to a barber. I do cut my beard on the sides from time to time, that’s about it.
One thing leads to another. On April 27 we announced our sponsorship of a tour by West Virginia’s Byzantine with Mobile Deathcamp from Ohio. That led to our May 8 announcement of a follow-on tour by Mobile Deathcamp with support from Massachusetts-based Carnivora. And that led to what you’re about to hear — our premiere of a Carnivora song named “A Vision In Red” from their new EP The Vision.
The Vision is a four-track offering that follows the band’s 2013 full-length debut, Eternal, and “A Vision In Red” is the EP’s opening song. The song blends together riffs that alternately swarm and jab, a flurry of pugilistic drum strikes, and a couple of flickering, spiraling guitar solos that really light up the song like a Roman candle — not to mention a nimble, thrumming bass line and some bleeding-edge vocal excretions.
Valborg definitely march to the beat of their own drummer, and perhaps nothing could more clearly prove that point than the new song and video we are premiering today. The music is “Sulphur Vitriol Angel” and it comes from the band’s new album Romantik, which has just become available digitally and is due for release next month on vinyl via Temple of Torturous.
I recommend that you listen to the song at least twice — once while watching the video and once without watching. The video was created by German artist Soheyl Nassary, who also made a video for another Valborg song, ”Under the Cross”. As the band explain:
The French black metal band Vortex of End made their full-length debut in 2007 with In Satan and Plutonium We Trust, and they are now following that up with a second album entitled FVLGVR.LVX.TERROR, to be issued by Deadlight Entertainment. Today we provide a poisonous taste of the new album via our premiere of a track called “Goatphalanx“.
It would be tempting for me to sum up the song as a lethal strafing run of black metal warfare, because it does indeed include its fair share of slashing riffs, furiously blasting drums, and booming bass notes, together with enraged, tyrannical howls. But that would be an oversimplified description, because there’s more to the song than a goat-phalanx assault — which is a big reason why it’s so good.
I’ve got a fairly large collection of new songs that I want to recommend, but I unfortunately don’t have the time to write about all of them now. Rather than just throw up my hands and surrender, I decided I’ll at least mention two of them now. To be more accurate, I’m recommending one and Grant Skelton is recommending the second. Me first…
Almost exactly four years have passed since I last wrote about Berlin’s Ära Krâ, reviewing their powerful debut album Ferne Tage, and then interviewing the band not long after that. Until yesterday they hadn’t released anything new since then, but yesterday they did — a song named “Strang und Schwert”. It’s the first release from a forthcoming self-titled EP, and I sure like it. It begins in intense fashion, a black metal flash flood of basting drums and swarming riffs with howling hardcore-styled vocals. And then it changes dramatically…
Next Monday Unspeakable Axe Records will begin shipping the debut self-titled demo of Delaware death metal band Scorched, and in advance of the release we’re bringing you a music stream of the entire album — which is available for digital download as of today.
Scorched consists of four full-length songs along with a brief intro track and two atmospheric interludes. On those four songs, the band more than live up to their name, delivering a scorching conflagration of feral death metal with style. The music has an old-school tone and viciousness and mixes full-throttle rampaging (with elements of crust/punk in the mix) with slower, staggering, doom-saturated lurches. There’s a skull-crushing rhythm section at work, along with riffs that thrash, chug, and eviscerate with equal potency.
(In this first part of a mammoth two-part essay, our Russian contributor Comrade Aleks explores a variety of spiritual rituals and their connections to doom metal.)
All right now! Tonight we’re summoned for a divine cause!
Mankind started the basis of society since its primordial childhood. Many old and good traditions have been lost to the ages, yet ritualistic aspects and traditions were set very deeply in the turns of our brains. Certain traditions and ceremonies have been transformed into religious acts or became social rituals during our evolution, but most of them remain alive in modern days. Something took the form of the Christian Eucharist, something else developed into the form of the Easter Rabbit or the bacchanalia of a metal gig. These rites have provided new trappings to the symbolism at their core, but some people still seriously follow and perform its archaic elements. Let us take a look at which forms of religious rituals live their new life in the sermons of modern priests of the doom cult.
This text is a reworked, renewed, extended, and a bit rude translation of an article that I wrote for a Russian e-zine (here), but I and some of the bands who were discussed thought it would be a good idea to have an English version as well. Of course, it’s not really as much of a scientific or anthropological work as it could be, but if there’s someone who’s ready to make a proper investigation then let me know — I have an idea or two.
Here I’ve used some of my past interviews or just asked some bands straight question about their vision of certain rituals.
Don’t take it too seriously! And don’t try to perform it at home!
And as I’ve mentioned above — tonight we’re summoned for a divine cause!
(Austin Weber provides this introduction to our premiere of a new single by the band Terminus Est.)
One of the coolest things about getting to write here at NCS has been Islander’s graciousness in allowing me to alert the metal masses to all the weird and new bands I know about that perhaps most people don’t. In the vein of this ongoing tradition, we are proud to bring you the debut single and first recorded song by newly formed international death metal supergroup Terminus Est.
The band was founded by Canadian native Edward Gryn, who plays guitar and performs vocals in the band. The group started out as a collaboration between him and drummer extraordinaire Hannes Grossmann (Alkaloid, ex-Obscura, ex-Necrophagist, etc.), and they had originally locked in Dominic “Forest” Lapointe (Augury, Teramobil, ex-Beyond Creation, Atheretic, etc.), but he had to bow out before writing his parts. So they recruited another highly skilled bass player, Oliver Pinard from Cryptopsy.
While the band is set to record their debut album this year, they wanted to show the world what they’ve been working on, and so today we premiere for you their debut single, “Harbinger”.
(Austin Weber introduces our premiere of a new song by Sein zum Tode.)
South Carolina based tech-metal mental grind patients Sein zum Tode are about to drop a new EP called Siamese Second Cousins Never Removed. To paraphrase how I formerly described them in my review of their 2013 debut beeep, imagine a fucked up merger between Psyopus and Mr Bungle’s creepier dark moments with some of their trademark carnival twists, and you arrive somewhere within the sonic realms of Sein zum Tode. As far as three-piece bands go, they create one hell of a ruckus, and it’s the interesting kind of ruckus if you weren’t able to piece that together from the preceding words.
Now that Siamese Second Cousins Never Removed is about to drop on June 2nd, we offer up a caustic sampling of it to you in the form of, “White Supremacheese”, and it’s a divine aural meeting between insanity and creative genius.
(It’s Sunday, and therefore Father Synn returns with another Metal Confessional, ready once again to hear your sins and mete out the penance.)
7 days… 7 days of sin, scandal and sodomy… oh my children, what have you done?
Yet perhaps there is still a chance, a chance to be saved, a chance to be forgiven, a chance to free yourselves from the fiery chains of damnation!