Less than one week ago we had the pleasure of discovering the existence of Germany’s Khthoniik Cerviiks, whose debut demo tape entitled Heptaedrone will be released by Iron Bonehead Productions on August 15. At that time, two impressive tracks from the album were available for streaming, and after only a small amount of pathetic begging we obtained authorization to premiere a third one — because this band’s music really deserves to be spread like the mutant plague that it is, and we want to be help carry the infestation. The song we have for you today is the album’s first track, “Khthoniik Cerviiks Exhalement”.
We still don’t have confirmation that our guess about the meaning of the band’s name is correct, but muse upon it anyway: Our guess is that the band’s name is a variant spelling of the words “chthonic” and “cervix”, especially after learning that “chthonic” (which means subterranean) is from the Greek word khthon, a word for “earth”. Per The Font of All Human Knowledge, khthon “typically refers to the interior of the soil, rather than the living surface of the land…. It evokes at once abundance and the grave.” And then consider what exhalations may emanate from the chthonic cervix…
If your imagination is failing you, open yourself to the imaginings of the band, as the opening track exudes a disturbing fog of ghostly wails, obscure proclamations, and skittering noise. It makes for a fitting introduction to the unpredictable but wholly transfixing and otherworldly black/death savagery to follow.
We first came across Arizona’s Lago in early 2013 after discovering a two-song demo named Tyranny they had recently released. It made a strong impression in short order, and now the band are on the verge of releasing their debut full-length, bearing the same name: Tyranny. Today we bring you a taste of what’s coming with the intergalactic premiere of the album’s first advance track — “Concede To Oblivion”.
There’s a lot to like about this new song, from the high-voltage riffs, to the rumbling bass line, to the blistering drum work, to the flamethrower soloing, to the thoroughly cavernous vocals. Lago deliver top-shelf death metal, like some hellish blackened offspring of early Morbid Angel and Disma, fully armed with an arsenal of impressive technical chops and infectious hooks. The music is suitably ominous and fearsome, but performed with distinctive flair. From this song alone, Tyranny has vaulted onto our list of highly anticipated 2014 albums.
I’ve been following the progress of the Elemental Nightmares project since before it became public, writing about it for the first time in July 2013. It began as an effort to raise money for a subscription series of 13 splits on 7″ vinyl (with digital download options) featuring one exclusive song each by 26 up-and-coming bands from around the world. As the project evolved, the format changed, so that it will now consist of 7 splits on 10″ vinyl, with each split containing four songs instead of two. And, because of the new format, there will be 28 bands instead of 26.
In addition, Elemental Nightmares has offered the splits for sale on an individual basis, as well as subscriptions to the series as a whole, and the digital-only option is still available. To see the names of all 28 bands and for more info about purchase options, go here. The first of the splits will be released in early August; you can find the entire preliminary release schedule later in this post.
Earlier this year Invisible Oranges) premiered four songs that will appear on the fourth installment of the series, featuring music from Porta Nigra (Germany), Membaris (Germany), Ashencult (Philadelphia), and Vuyvr (Switzerland).Today, we’re delighted to premiere two songs of melodic death metal from one more of the 7 splits. The bands are Sweden’s Canopy and Germany’s Harasai.
The World Terror Committee (aka W.T.C. Productions) is such an aptly named label. They have a knack for unearthing bands whose music is indeed terroristic, and they have done it again with the impending release of a three-song demo by Germany’s Dysangelium. At the risk of causing the derangement of our readers, we are pleased to bring you the premiere of all three songs on Leviaxxis.
Dysangelium mount a vicious assault, armed with rapidly racing riffs shrouded in dissonance and distortion and an absolutely galvanizing rhythm section. The charging phalanx of swarming, scything guitars and pummeling drum-and-bass munitions is led by a tyrannical commander whose vocals are absolutely wild — a thoroughly impassioned assortment of unhinged roars, howls, and yells.
We were really impressed by the 2013 debut EP (The Wither Fields) by Athens, Georgia’s Woccon and we’ve been anxiously awaiting the band’s debut album Solace In Decay, which is now scheduled for release on October 21, 2014, by Deathbound Records. Earlier this year, Decibel premiered the album’s first single (“Giving Up the Ghost”), and today we’re bringing you a second one — “Impermanence”.
Tumbling drums and spiraling guitar notes announce the multifaceted song, which moves between passages that are shimmering and crystalline and moments of jolting, hammering power. Tyrannical, gravel-throated vocals deliver harsh proclamations as the band build an atmosphere steeped in melancholy, with melodies that are both beautiful and bereft. It’s another fine offering of melodic death/doom from an album that promises to be worth the wait.
There’s some kind of party going on at the beginning of “Gods of Grungus”, the song we’re premiering today by Portland, Oregon’s Blackwitch Pudding. It sounds like a party that’s about to get way out of hand — and then the pounding starts, bones begin to splinter, and the splash of viscera begins to paint the walls red. Or at least that’s what I was imagining while I banged my head ’til the vertebrae began to disjoint.
The song is one of four that will appear on the band’s forthcoming EP, Covered In Pudding Vol. 1, which follows the 2013 debut album by these three robed wizards, Taste the Pudding. It’s a methodically pulverizing concoction, loaded with craggy monolithic riffs, gut-jarring bass and drum hammering, and vocals that are choked with gravel, booze, and the contents of a full ashtray. As this demented and doomed party continues, the guitar begins to squall and wretch like the victim of a ritual sacrifice. The song is a putrescent mass of riff infection, and it’s really damned easy to catch the disease.
If you’re in the mood for some filthy stoner doom that you can carry around in your head all day, look no further. Bonus points if you can figure out the song that these doom wizards are parodying.
Millennia of evolutionary adaptation are supposed too have given human beings certain survival instincts, and yet we’re inexplicably drawn to explore dark, haunted places where hidden dangers lie in wait and comfort, warmth, and light have been banished. Michigan’s Empire Auriga have seemingly made it their mission to capture those frigid, bereft sensations in their music. Eight years after their debut album Auriga Dying, they’re about to deliver a new album named Ascending the Solarthrone, and today we bring you the premiere of a new song from the album: “Jubilee Warlord”.
The word “jubilee” connotes a kind of celebration, but there is no joy in this song, only a dense atmosphere of mourning and anguish. The music moves glacially across icy waves of eerie, distorted, ambient melody punctuated by cannon-blast drum beats and wretched, skin-clawing howls. Prolonged piercing notes rise up and fall again, like rays of light trying to escape a crushing gravity well — without success.
Greece has long been a spawning ground of powerhouse metal in the underground scene, but 2014 is shaping up to be a banner year. It has already delivered excellent (and quite diverse) releases by the likes of Aetherian, Burial Hordes, Dead Congregation, Dodsferd, Hail Spirit Noir, Septicflesh, Spectral Lore, and Suicidal Angels. Now we must add to that list Fire and Brimstone by Principality of Hell – and we’re giving you a chance to discover its vicious pleasures by premiering a song from the album named “Codex Inferno”.
Principality of Hell may be a new name, but it’s composed of veteran musicians, including three members of Thou Art Lord: The Magus (also Necromantia), El (also Nergal, Soulskinner), and J. Maelstrom (also Dephosphorus, Dodsferd, Ravencult). In this new project, however, the trio have turned their obsidian energies to the creation of black thrashing hellfire.
We warned you yesterday that today we would be cooperating with Kydoimos Records in the Bandcamp release of a free 20-track compilation of music from 20 UK grind violence bands, featuring artwork by Mark Rennie — and it is now a live thing. Go here to listen and to download the music, either a track at a time or as an entire album:
The album download also comes with a special 27-page zine created by Alex Layzell (of Grind to Death and Kydoimos) that includes band interviews and a lot of cool artwork.
Big thanks to Alex for doing all of the really hard work to make this a reality, and of course huge thanks to the bands for contributing their music. Eventually, the comp will be released on cassette tape with accompanying hard copies of the zine, and we’ll let you know when that happens. The album stream comes next…
Boston’s Fórn hit our radar screen about a week ago when Invisible Oranges premiered “Dweller on the Threshold”, the first advance track from the band’s forthcoming new EP, The Departure of Consciousness. I’m still trying to recover from that obliterating experience; the recovery has taken longer than originally predicted because just when I feel about ready to get out of bed, I go back and listen to the song again. I’m going to be bed-ridden for a lot longer, because I’ve also been listening to a second song from the EP, which we have the good fortune of sharing with you today in this premiere.
The song you’re about to hear is “Suffering In the Eternal Void”. Chiming like bells, the slow, melancholy melody at the song’s beginning catches hold very quickly. Five or six minutes of that could prove to be thoroughly hypnotizing. But just as the music has succeeded in gently pulling you into its embrace, it then tightens its grip and drags you bodily into a pit of deep, suffocating doom. That seductive melody becomes a crushingly heavy dirge, though no less seductive — this misery is mesmerizing. And the vocals, they sound like sulphuric acid eating through steel, or like some shrieking poltergeist that has become your companion for this slow fall into the void.
Yet another powerhouse song from a band whose name deserves to be spread like a plague.