Many metal bands have chosen the name Gomorrah, but only one is based in the Okanagan Valley town of Kelowna, British Columbia. Since originally coming together in 2006, the band have altered their style of music, and their new second album reveals the current state of their malicious and malformed development. Entitled The Haruspex, it will be released in January by Canadian label Test Your Metal Records, and today we bring you the premiere of a track from the album named “Sitra Achra“.
The band’s line-up consists of vocalist Jeff Bryan and guitarist Bowen Matheson, and on this new album they’re joined by drummer Casey Long-Read. Bryan and Matheson had this to say about the song you’re about to hear:
Earlier this month we had the pleasure of premiering an amazing video for a song called “Yksin” by a six-person band from Tampere, Finland, named Vorna. The song — which is equally amazing — will appear on the band’s second album Ei valo minus seuraa (No Light Follows Me), which will be released on December 4 by Inverse Records. And now today we bring you the U.S. streaming premiere of the entire album, along with track-by-track comments by Vorna’s vocalist Vesa Salovaara.
The track-by-track comments are useful because Vorna’s lyrics are in Finnish, and also because they provide insights into the inspiration for the music. You can read them following our album stream below.
The East Anglian region of the UK is home to Obscene Entity. Tomorrow (November 27) is the day appointed for the release of their debut album Lamentia by Tridoid Records, and today we bring you the premiere of a full stream of the album.
Lamentia follows the band’s 2012 self-titled EP, and it’s described as “a loosely-based concept album of the fragility of the human mind and states of psychosis experienced through both subjection and self-infliction”.
There is indeed a psychotic quality to the music, which combines elements of death metal, black metal, and grind to produce a harrowing flood of ferocity. The band ratchet the tension through an array of needling riffs, punishing drums, and wild, bestial shrieks and howls. When the tension breaks (and it doesn’t break often), it often happens in a catharsis of violence.
Four days ago I included a review of an excellent debut album named Dor by the Dutch trio Turia in one of our new-music round-ups, and today it’s our pleasure to bring you the premiere of a video for a song from the album called “Zuiverheid“.
For me, Dor was an unexpected encounter, but it has proven to be very seductive. As I wrote in the review, much of the music (which was recorded live) could be characterized as propulsive, atmospheric black metal with teeth, barbed with melodic hooks and relying on sequences of repeating movements that drive the music into your head like railroad spikes.
Every year there seem to be one or two metal albums that become particular lightning rods of controversy. This year Myrkur’s debut album M was one of those. On the one hand, it has drawn praise — for example, it has just appeared in the Number 28 spot on DECIBEL magazine’s list of the Top 40 Albums of 2015, described as “a collage of icy vibes”, “haunted by demons and angels alike”, “true extreme metal, not intended for the weak, -hearted or -minded”. On the other hand, it has been the target of unpleasant assaults by various devotees of underground black metal who seem upset to the point of resentment by the attention it has garnered.
Well, the point of this feature really isn’t to rekindle that debate, it’s to share a video that’s an example of the positive interactions that can happen between musicians and their fans — a kind of feedback loop in which each inspires the other. It’s far from the only example, of course, but it seemed to me one worth spreading around.
Last spring we had the pleasure of premiering a killer song from Above the Unworthy, the debut album by Italy’s Demiurgon released in June by Ungodly Ruins Production, and today we bring you the debut of a lyric video for a brand new Demiurgon song: “Teatro Del Coito“.
This new song is destined for release as part of a split with another Italian band, Valgrind. It’s a bit of an experiment for the band, as they recorded the song using drop-A tuning and wrote the song with lyrics in Italian. And for those who aren’t conversant in Italian, well, let’s just say that Demiurgon welcome you to the theater of sex.
The experimental, Chicago-based metal band Scientist have recorded a follow-up to their self-titled debut album. This new album includes more vocals than the debut (contributed in part by some notable guests), but that doesn’t mean the music is any more conventional. It simply adds more dimensions to music that is still fascinatingly difficult to pin down.
The album’s title is 10100II00101, and it’s scheduled for digital and CD release on December 11 (with vinyl coming later from Hell Comes Home). For those who haven’t yet encountered Scientist, it’s the collaborative vehicle of these talented musicians: guitarist, vocalist, and founder Eric Plonka (Yakuza), guitarist/vocalist Patrick Auclair (Taken By The Sun), drummer Justin Cape (Taken By The Sun), and bassist Mathew Milligan (Making Ghosts).
I’ll also mention up-front the names of the guest vocalists: Stavros Giannopoulos (The Atlas Moth), Andre Almaraz (Pale Horseman), Anthony Cwan (Without Waves), and James Clayton Bowman. Aw hell, I might as well mention a few more notable names who are associated with this unpronounceable new album:
Everything about Extreme Cold Winter’s debut EP is massive, frigid, and pitiless. Compared to what I’ve heard from the music of founder AJ van Drench’s previous death/doom band Beyond Belief, Paradise Ends Here is slower, more desolate and forbidding, and more brutally staggering in the force of its impact. The word DOOM belongs before “death” this time, and it deserves all the capital letters.
In keeping with the band’s name, the song titles and the apocalyptic lyrical themes are devoted to the extinction of heat, joy, and life. The music and the words — which can be heard clearly in the well-rounded and monstrous growls of vocalist Pim Blankenstein (Officium Triste, The 11th Hour) — conjure feelings of desperation and dread. When Blankenstein roars, “We came from far, from raging worlds to kill again the sun and moon!”, you can easily imagine that he’s talking about the band, even though he’s not.
Spawning Abhorrence from Leeds in the UK have finished work on their second album, The Sleepless One, and they’ve just released one of the new songs (“The Writhing Rhetoric”) for streaming. Even though we’re a few hours late to call it an actual premiere, we’ve decided to help spread it around because it’s an obliterating listening experience. And what better way to close out the weekend and get our game faces on for the new week than by getting obliterated?
I could probably just leave it at that, but I can’t resist adding a few more words of introduction, just so you have a better idea how the obliteration will proceed.
It will happen in a torrent of furiously writhing, viciously jabbing, and mercilessly grinding death metal riffs, accompanied by hyper-speed drumming and ghastly roars. And in the second half of this barrage, some interesting things will happen as the band give the song added texture, when a brief moment of near-silence paves the way for a combination of percussive blasting and dark, shimmering melody.
India’s Third Sovereign released their debut album Destined To Suffer eight years ago. In the intervening years, the band relocated to a remote state named Mizoram in the northeastern part of the country and have now recorded a new album named Perversion Swallowing Sanity that’s due for release by the Transcending Obscurity India label in January of the coming new year. Today we bring you the album’s opening track, a two-part manifesto named “Sakei Ai Hla / Grave of Humanity”.
The song’s exotic introductory section builds an atmosphere that’s sinister and brooding, while introducing a skull-pounding riff that then quickly accelerates into a thrashing charge of death metal ferocity. With the vocalist barking and snarling at high speed, the band inflict a sonic beating that jabs hard and fast and then rides right over the listeners’ prone bodies in a gallop. The rhythmic grooves in the song are damned infectious, and the band take the music through its dynamic paces without ever sacrificing the overarching aura of malevolence and morbidity.