The House of Capricorn from Auckland, New Zealand, describe their music as “apocalyptic devil rock”. To date, they’ve released two albums — Sign of the Cloven Hoof (2010) and In the Devil’s Days (2011) — and on November 7 Svart Records will be releasing their third, Morning Star Rise. As a sign of what’s coming, we bring you the premiere of “Ivory Crown”.
A site with a name like ours might not seem the most obvious match for The House of Capricorn, whose vocals are usually not the growly or shrieking sort, but I’ve been thoroughly captivated by this album, and “Ivory Crown” is one of my favorites in a collection that’s very strong from start to finish. Ironically, the clean vocals have much to do with the music’s appeal.
Relatively speaking “Ivory Crown” is one of the more subdued tracks on the album — if you’re looking for tracks that drive harder on the mayhem end of the spectrum, then I’d recommend “The Road To Hell Is Marked” or “Our Shrouded King”. But “Ivory Crown” is built around such killer melodic hooks that it’s powerfully addictive.
Here’s the second part of a round-up of new things that I began earlier today, collecting some of the news and music I discovered over the last 24 hours that I thought would be worth your time, because they were worth mine.
Where Greater Men Have Fallen is the name of the new Primordial album, due for release by Metal Blade on November 25. The title track premiered previously, and a couple of days ago Stereogum premiered another song, “Come the Flood”. It’s powerfully heart-wrenching and melancholy in its atmosphere, driven at first by heavy, thumping drumbeats and a flowing curtain wall of guitars, and later by percussion that sounds like gunshots and a vital lead guitar melody. But at the center of the song is its most arresting feature — Nemtheanga’s high, soul-stirring, dramatic voice. Amazing.
Listen here (Primordial’s FB page is at this location):
Yesterday brought a flood of new music and announcements that peaked my interest. I didn’t have time to post about any of them yesterday, so I’ve got a lot to cover this morning. Which is why this round-up is divided into two parts, with the second one coming later on.
Wolfheart’s self-released 2013 debut album Winterborn was fantastic. It was exactly the balm needed to salve the wounds that Tuomas Saukkonen temporarily inflicted on fans when he folded all of his other projects (including Before the Dawn and Black Sun Aeon) to start fresh. Yesterday brought the announcement that Spinefarm Records has now signed Wolfheart and will be re-releasing Winterborn on February 3, 2015, with two additional bonus tracks — “Isolation” and “Into the Wild”. This will be the first physical edition of the album to be made available worldwide.
But even more exciting than that was the news that next year Spinefarm will also be releasing Wolfheart’s second album Shadow World, which the band is now in the process of completing. And here’s one more titillating tidbit of Wolfheart news from the same announcement:
I’m pathetically late in reviewing this split. My shame is magnified by the fact that I first heard the album months ago and knew from the first listen that it was one of the best I’d heard all year. It still is.
Each of these bands — Mexico’s Majestic Downfall and Australia’s The Slow Death — contribute three long songs, collectively totaling more than 67 minutes of doom.
The first of Majestic Downfall’s songs, “The Dark Lullaby”, is full of contrasts and is impressively dynamic, both in its pacing and in its changing moods. It joins together massive guitar tone and huge, brutish bass hammers with light, ringing acoustic guitar harmonies. It incorporates melodies that are both entrancing and drenched in sorrow. It pairs gargantuan roars that come up from some bottomless abyss with harrowing howls that convey sensations of intense anguish. Slow, skull-splitting riffs and gut-punching drums cohabit the song with ripping tremolo- and blastbeat-driven storm fronts. And in the song’s second half, you’re treated to a squalling guitar solo that will seize your attention, followed by a heavy guitar motif that wouldn’t be out of place in a Scandinavian-styled melodic death metal anthem.
I got carried away with a lot of rifftastic death metal malignancy in yesterday’s round-up’s, so I thought I’d move in more varied directions today. The following new and newish songs are among those I found in my trawling through the interhole yesterday, after siphoning off the effluent that would sicken you, plus one find by my comrade in arms Austin Weber. Prepare for brain spasms and spinal trauma.
I enjoyed the hell out of this Philadelphia band’s last release, the 2013 EP SolarBipolar (reviewed here). Just to give you a flavor of my reaction to it (and because if I don’t quote myself, who will?), here’s an excerpt from my review:
This is the kind of music that will give your neck muscles a real workout while dosing you with a narcotic addictiveness that will pull you back for another hit, and another. I know. I have plenty of other things to do, but I’ve been jamming this little three-song smasher over and over again.
Here’s a rather large selection of new songs and videos released in the last few days that I decided were worth your time — and who better than me to decide how you should spend your time? Exactly.
I’ve arranged these offerings in alphabetical order by band name. It’s quite a varied selection, so I’m hoping everyone will find something to like.
We’re now two songs into the ramp-up for one of the most highly anticipated extreme metal releases of the year — Grand Morbid Funeral, the first album by Bloodbath since 2008. The second song, “Famine of God’s Word”, was revealed yesterday through a lyric video. I’m of two minds about the song.
On the one hand, the instrumental music is just downright vicious — a brutally heavy, galloping, squalling, skin-flaying, gut-punching romp, with an eerie lead guitar melody that floats through the song like a phantasm.
Prepare yourselves for a big departure from our normal fare as we present a full-album stream of Be All End All, the new release by Norway’s Manes.
You would be hard-pressed to find a band who have led as many diverse musical lives at Manes. At the time of the band’s genesis in about 1992, and through the release of their 1999 debut album Under Ein Blodraud Maane, they were a black metal band. And then there was a hiatus — until the second album Vilosophe was released in 2003. It sounded nothing like what the band had been creating prior to the break, and it defied categorization. More releases followed, including a third album (2007′s How the World Came To An End), and then another hiatus followed.
Now the band have, in effect, begun a third life with Be All End All, which will soon be released by Debemur Morti. This follows a two-song single named Vntrve released at the end of the summer (reviewed here), and it’s the first full-length from the band in seven years.
(DGR reviews the new Scar Symmetry album.)
Heavy metal’s fascination with space is a long and storied one, especially in recent years as the mass media has become engrossed in science, with a half-million shows that all seem to boil down to, “Check out how awesome this shit is!”, as voiced by Morgan Freeman or breathlessly delivered by popular physicists.
Few bands, however, have tackled these subjects with the consistency and exploratory excitement of Scar Symmetry, having now released six albums covering a variety of subjects dealing not only with space in its physical form but also the philosophies of the universe, the science fiction aspects, and even a healthy dose of futurism — as recently provided by the group’s newly released sixth disc The Singularity (Phase One: Neohumanity), which will henceforth be referred to as Singularity.
(In this post we present KevinP’s interview of Tim Charles, violinist and clean vocalist of Australia’s Ne Obliviscaris, whose new album Citadel will be released on November 7 (November 11 in the U.S.). You can listen to two of the new songs while you read, here and here.)
K: So would this be the first interview you have done where the name of the site is diametrically opposed to your position in the band?
T: I guess so! But despite the name of the site, you guys have always shown NeO great support over the years regardless, and so I’m very happy to be chatting with you today about our new album.
K: We are coming up on the release of that album, Citadel, on Nov 7. What would you say is different and/or what were you able to accomplish this time around as compared with Portal of I?
T: When we first started writing Citadel we didn’t have any meetings to discuss the direction of the new songs. We simply just did what we’ve always done and write music until we were happy with the song. Personally we were very proud of Portal of I and we loved the songs, so when it was so well-received, that gave us a lot of confidence to forget about the outside world and just back our own judgement and have faith that as long as we love the new stuff then the public will enjoy it also.
We definitely noticed that there were some new sounds being explored, but honestly it wasn’t really until the end when it was completely done that we realised it was actually quite a bit different. It’s still very much NeO, but honestly I’m not sure we could create 2 albums the same if we tried! It’s always been in our nature to explore and move forward musically, and to me Citadel just sounds like another step forward.
I guess one other difference between the albums is that Portal of I was more akin to 7 separate stories, all related to each other, that when put together create an album. This new album, however, was created in a more conceptual way with the music largely flowing continuously from start to finish and hence is more one unified piece.
(In this post our man in the UK, Andy Synn, reviews a live September 4 performance in Islington by the collaboration between Devin Townsend and Ché Aimee Dorval known as Casualties of Cool.)
Last Thursday I was lucky enough to see Casualties of Cool, the world’s finest proponents of Ambient Canadian Space-Country, perform a gorgeous, mesmerising set at The Union Chapel in Islington. And it’s taken me a while (I have been somewhat busy/ill in the intervening time) but I’ve finally got round to penning some thoughts about the experience.
To start with, for those of you who don’t know, the venue itself is pretty magical, a beautifully apportioned and enclosed chapel with rows of pews on ground level before the stage (and pulpit) and several more on balconies up above. The stained glass windows and hanging wrought-iron chandeliers add a touch of weight and worth to the surroundings, while the candles flickering in alcoves in each overhang only enhance the warmth and beauty of the place.
When it came to the show itself… well, there’s a reason this was sold under the title Casualties of Cool, and not under Devin’s own name. Because for once this really wasn’t a Devin Townsend show.