We have an exception to the porous rule in our site’s title — sort of. The song we’re bringing you is a piece of moonshine-swilling devil rock by the Norwegian band Devil. “Cemetery Still” comes from the band’s third album, To the Gallows, which will be released by Soulseller Records on April 21.
The production quality of this new album may not be as rough as the band’s first demo, and the influence of classic heavy metal may be eclipsing doom to a greater extent than on the band’s first two albums, but as “Cemetery Still” proves, Devil are still a sure-handed source of highly addictive riffs — and sinful vocals.
(This is Andy Synn’s review of the new album by Germany’s Heretoir.)
“Post-Black Metal” is a funny old term. Its relatively amorphous nature means that no-one can really fully agree quite what it refers to, or quite what its defining characteristics are as a (sub)genre.
But, to my mind, in order to be considered “Post Black Metal” a band has to have at least some actual Black Metal in their sound (yes, I know that, strictly speaking, “Post” implies after/beyond, but no-one expects a Post-Metal or Post-Rock band to NOT have any Metal/Rock in them, do they?).
It’s not enough to just have a little bit of blackened DNA left over in your system, or just to count certain bands among your influences… if your music doesn’t contain at least some of the sonic markers of Black Metal, then why even bother referring, even obliquely, to it at all?
The reason I’m saying all this is that there are a lot of bands out there, particularly in these Post-Alcest years, who could be considered as Post- “Post Black Metal” at this point, and a full 666 degrees of separation removed from the genre from which they (supposedly) derive their sound.
And while there are those who still think/act like using the words “Black Metal” gives whatever they’re talking about a certain amount of instant credibility, the truth of the matter is that the over-use of terms like “Black Metal” and “Post Black Metal” has not only diluted their meaning in a frankly rather unhelpful manner, but also led to many otherwise worthwhile artists being judged (and found wanting) by a wholly inappropriate set of standards.
So please, don’t think of The Circle as a “Post Black Metal” album. It’s not. But if you judge it on its own merits, by what it is, rather than what you think it should be, I think you’ll find that it really is a great album on its own terms.
After releasing a demo and a debut album named Lightning Medicine in 2013 and a split LP with Goya in 2015, Seattle-based Wounded Giant have a new album headed our way via STB Records on April 1. The album’s name is Vae Victis, and that’s also the name of the song from the album we’re about to hit you with.
And make no mistake, it will hit you — hard. It simulates the experience of being beaten with a length of lumber at the same time as a psychoactive potion penetrates the blood-brain barrier and someone carves a message into your forearm with a razor blade.
It’s time once again for us to confuse the hell out of people who are visiting our site for the first time. And apart from the fun of sowing confusion and discord through defiance of our site’s title, we are finding our fun today in Black Magic, the new album by the Swedish doom band Alastor.
But it is a peculiar kind of fun, because the music itself is like a near-apocalyptic hallucination, a mesmerizing one that will stay in your head for a long time after taking the trip — and the trip is yours for the taking, because below you will find a full stream of the EP in advance of its March 18th release by Twin Earth Records.
This marks the third time I’ve written abut the music of Seattle’s Vermin Lord. The first time was a review of the project’s excellent 2016 album Anguish, and then I praised a new single that was released in January of this year, and now I’m happily premiering a new two-song EP: Visions Of A Cursed Warlock.
The two songs tell a story, which Vermin Lord’s sole creator explains as follows:
Here we are again, watering down the absolutist proclamation in our site’s name. Hell is clearly freezing over. Is nothing sacred any more? What has happened?
Yes, we are about to premiere an Exception to our Rule — a well-earned one that can’t be denied. What has happened is that the Greek band Disharmony have overcome your humble editor’s prejudices against clean singing in metal. How have they done this? Allow me to explain.
(Andy Synn reviews the new album by Boston’s Junius, followed by a full music stream.)
One thing I’ve observed over the years is how often people conflate the statement “I don’t like this” with the judgement that “this isn’t good”.
Sometimes it means that someone has decided that just because they don’t like something, that means it can’t be good… but it also often means that people get offended when you say you don’t like something, because they immediately think you’re saying it isn’t any good.
Which, obviously, isn’t necessarily the case.
Why am I saying all this? Well, it’s because even though I definitely do like this album (a lot), I don’t quite like it as much as 2011’s Reports from the Threshold of Death.
But… that doesn’t mean it isn’t just as good.
Saturday may seem like an odd day to open the flood gates on new music at our site. Page views usually drop precipitously, which I guess proves that lots of people are visiting our site at work or school rather than at home. Or maybe lots of people are just too hungover to put heavy music in their heads. Anyway, I do this as much for myself as for anyone else, so on we go….
I paired the two bands featured in Part 1 for obvious reasons, and in Part 3 I’ve collected new stuff from bands who have no trouble getting attention but I’d like to mention anyway. In this middle part I’ve picked more underground names, with a lot of variety in the sounds (though I’ve siphoned off the black metal for tomorrow’s Shades of Black post).
Actually, I don’t yet have any full songs to share from this first band, only a teaser, but I have high hopes based on the people behind the project.
(In this post Wil Cifer reviews the new album by San Francisco’s King Woman.)
King Woman’s full-length debut has the kind of thick, dream-like haze cast over it that makes the mood much darker and heavier than what we got from their previous EP. Like many albums that I sing the praises of, this one tickles the sweet spot of my taste buds, and once again proves you don’t have to adhere to typical metal trappings in order to be heavy.
Kristina Esfandiari allows some of her backing vocal tracks to move into more of a scream. And there is weight to the guitars, which often carry the dense distortion of doom. By the second song, it sounds to me that this album is going to take them to the next level of recognition.
(Today we present the premiere of a video and song from the Belgian band Marche Funebre, and Grant Skelton provides the following introduction.)
Belgian death/doom band Marche Funèbre (a name presumably derived from the Chopin composition of the same name) will release their new album Into The Arms Of Darkness on February 20, 2017 via Moscow Funeral League. Into The Arms Of Darkness was produced by Markus ‘Schwadorf’ Stock. The creepy, nightmarish cover art was created by Brooke Shaden Photography.
No Clean Singing is proud to present an exclusive premiere of a video for the album’s first advance track, entitled “Lullaby Of Insanity.”