The Chilean band Black Grail have recorded a debut album named Misticismo Regrisivo. It will be released by Tyrannus Records on November 2, 2015. At the end of this post you can hear a song we’re premiering named “La Ciudadela de Shiva”. I thought of two ways to introduce it.
First way: You’re about to hear a sonic atrocity, a savage demonic manifestation intent on bring about ruination and degradation. Foul and sulfurous, it’s a “procreation of sounds worthy of a psychiatric center” in the midst of an arson attack, vividly conveying the furious agonies of inmates consumed by flame while hellish entities howl in ecstasy at all the fresh death.
Originally from Montgomery, Alabama, and now ensconced in the Big Easy, Grave Ritual rapidly made a name for themselves, first with their 2009 demo and then even more dramatically with their 2010 debut album Euphoric Hymns From the Altar of Death. They proved their ability to inject remarkably vitality into a classic style of primal old-school death metal that many might have thought had run its course.
It has been a long wait for the band’s next album, but it’s now nearly upon us, coming down like a black, ravenous raptor and set to spread its claws on October 30 via Dark Descent Records. Bearing the title Morbid Throne and emblazoned with cover art by the mighty Daniel Desecrator, we predict it’s going to be welcomed with open arms despite the punishment it’s going to inflict.
One song from the album (“Adversary Crown”) made its brutal debut last month, and today we bring you a second one: “Tyrant’s Hammer“.
Regardless of your political ideals, and even if you have none, I think we can agree that the reputation of most politicians — probably worldwide — is just slightly above that of child molesters and below that of pond scum. Yeah, pond scum is pretty slimy, but at least it’s innocent and it contributes useful oxygen to the atmosphere.
So, politicians are easy targets, but that doesn’t make skewering them any less fun — especially when the skewering is as hilarious as it is in the video from Sofy Major that we’re helping premiere today — all of which consists of film footage of actual events.
And that’s all I’m going to say about the video — you just have to see it for yourselves. But I do have a few words for you about the music, even if it’s in serious danger of being eclipsed by what you see on the screen.
We’ve closely followed the upward trajectory of South Africa’s Wildernessking since 2012, spilling many words over everything they have released, from their 2012 debut album The Writing of Gods In the Sand, to their two EPs (…and the Night Swept Us Away and The Devil Within), to their track on one of the Elemental Nightmares splits (“Kings”), to the song “Soundless Longing” (included on a split released early this year by Secret Ceremonies). Now the band have completed work on their second full-length — Mystical Future — and today we’re honored to bring you the first full song from the album: “With Arms Like Wands“.
Beginning with their debut album, Wildernessking have demonstrated a talent for achieving an inventive balance between light and darkness, between moving, atmospheric passages and bursts of intense ferocity, between complex progressive tendencies and hook-filled melodies. And over the course of the shorter releases that followed The Writing of Gods…, they’ve also demonstrated growth and increased maturity in their song-writing, though their debut was so damned good that finding room for improvement might have seemed like looking for a needle in a haystack.
“With Arms Like Wands” is yet another example of the band’s skill at integrating different styles of music within a framework of black metal — and it’s also as intense and intensely moving as anything they’ve done to date.
2015 may be the best year yet for releases by Bindrune Recordings. In addition to stellar offerings from Panopticon, Alda, Infera Bruo, and Nechochwen, on October 30 the label also plans to release the debut full-length by Wilt from Winnipeg, Manitoba, Canada. Entitled Moving Monoliths, it will be adorned by gatefold cover art created by the fantastic Nick Keller from New Zealand.
The band previously released a tantalizing teaser of excerpts from the album, but now we bring you more than mere moments of music. We’re very pleased to host the album’s first mammoth track — “Illusion of Hope”. Like all four of the songs on Moving Monoliths, it’s a long piece of music, but it’s a prodigious work in more ways than simply its unusual length.
About a week ago we happily reported that Vancouver’s Nylithia had finally announced the release date for their debut album Hyperthrash. It has been a long time coming, but the band have given us plenty of reasons to get excited about it — and today we’re bringing you one more, through our premiere of the album’s tenth track of 12: “Blüdwolves“.
The story of our acquaintance with Nylithia began in March 2012, when we discovered the first three songs they had released for the planned album, each of which was accompanied by separate artwork and videos — “Trainsaw”, “Immersed In the Maniacal”, and “Vein of Creation”. And then in September of that year we had the pleasure of debuting the title track — “Hyperthrash”.
On November 20, Art of Propaganda will release Refugium, the second album by Austria’s Anomalie, a band founded in 2011 by multi-instrumentalist Marrok (Selbstentleibung, Harakiri for the Sky). As a further sign of what the album holds in store for listeners, today we bring you the premiere of Refugium’s second advance track, “Untouched Walls“.
The ringing chords and low-end thunder that launch the song in dramatic fashion seize the attention immediately, with Marrok’s flesh-scarring howl magnifying the music’s chilling intensity. But that’s just the start of what becomes a changing, multi-hued musical journey — one that never loosens its grip even as it moves through a dynamic array of sounds and moods.
This past spring brought the news that following the well-publicized split within the ranks of Immortal, Abbath had decided to move forward with a new band under his own name, with King Ov Hell (ex-Gorgoroth, Ov Hell, God Seed) on bass and a mysterious drummer known as “Creature“. Season of Mist will release Abbath’s debut album next year, as well as a new Abbath 7″ single on December 11.
In addition, Abbath has been releasing a series of live videos, beginning with a performance of a new song named “Fenrir Hunts” and continuing with a cover of “Warriors”, originally released by the band I on the album Between Two Worlds (2006) — a band that included Abbath on vocals and guitar along with King on bass, plus guitarist Ice Dale (Enslaved) and drummer Armagedda (Demonaz).
And now today we’re helping to premiere the third of these live videos, a performance by Abbath of “Nebular Ravens Winter“, which appeared on Immortal’s 1997 album Blizzard Beasts.
Masaki Murashita made a name for himself in short order as the lead guitarist and front man of Arizona’s Hemoptysis, whose 2011 album Misanthropic Slaughter turned a lot of heads (including mine). With that band having come to an end, Murashita has now embarked on a solo career under his own name, beginning with a debut EP entitled Inescapable Damnation that’s scheduled for release on October 16. Today we’re bringing you the EP’s title track, which features a bass performance by Megadeth’s Dave Ellefson.
Ellefson isn’t the only notable guest on this EP. It also includes performances by Kevin Talley (Suffocation, Six Feet Under, Chimaira), Kelly Conlon (Death, Monstrosity), and Rodney McGlothlin (Voice of Dissent), and it was mixed by Ryan Greene (Megadeth, NOFX). And on top of that — as you can see — it’s adorned by a really eye-catching piece of cover art by Remy Cooper of Headsplit Designs.
But while all of these other talents are certainly worth mentioning, Murashita is most definitely the star of this show.
I bet I know what you’re thinking: I bet you’re thinking about the cover art up there, the one for Maelstrom, which is the second album by New Hampshire’s Cold Northern Vengeance that Moribund Records will be releasing right before Halloween. Start thinking about this instead: a song from the album named “Pierced By the Tree” that you can stream at the end of this post.
The song is in some ways familiar and in other ways surprising. It builds like a strengthening storm, introduced by the crash of water, by the wail of the wind, by the swell of dark noise and the crush of pounding bass chords. Cold, raking melodic riffs descend in cascades, pierced like lightening by a high lead guitar melody. A baritone voice begins to intone the lyrics in a solemn manner while the guitar slashes around it and the bass thunders overhead. A somber melody swirls through the song, taking hold of your mind as it courses through the music.