In March of this year we had the pleasure of premiering one of the songs on a two-track single released by Baltimore’s Barbelith, which in turn followed the band’s 2012 debut EP. Today we get to bring you a full stream of the band’s debut album, Mirror Unveiled.
There may be a more explosive start to an album this year than “Beyond the Envelope of Sleep”, the first track on Mirror Unveiled, but if so it’s not coming to mind. The song displays one of Barbelith’s multi-faceted sides in no uncertain terms with a non-stop, jaw-dropping drum performance, a torrent of guitar noise and pulse-pumping tremolo waves, and scathing shrieks that sound like the agonies of a man being burned to the ground.
(Austin Weber introduces our premiere of a new single by Montreal’s Samskaras.)
While song premieres at No Clean Singing are typically introduced with an article discussing the band and dissecting the song, I decided with today’s exclusive premiere of “Red Hill”, by two-man Montreal-based death metal act Samskaras, to do a short interview with band member Eric Burnet instead. Eric writes the music, plays guitar and bass, and performs vocals as the core member of Samskaras, and he is also a member of the well-known and justly praised technical death metal band Derelict (and if you don’t know about Derelict, listen here). In Samskaras he is joined by Unhuman drummer Alexandre Dupras.
What led you to create this project and what do you seek to achieve with it?
My main project for the majority of the last decade has been the tech death band Derelict. Inspiration and energy was running low after several tours and a lot of years of constant activity, so we decided to put it on ice for an indefinite period. This opened me up time-wise to other projects, so I immediately hatched the idea of starting Samskaras with whatever material I was writing. Since Derelict has its own specific sound, I had been writing in that vein for a long time. So with Samskaras my goal is really just to let my ideas flow and see what they become. No need for a pre-determined genre tag.
For the second day in a row we step off our usual beaten paths and bring you a song premiere that not only breaches the rule embodied in our site’s name but stands out in large part because of that transgression. And there are other connections between yesterday’s offering from The House of Capricorn and today’s striking debut from Sleep of Monsters.
Apart from the fact that both band’s’ new albums are being released by Finland’s Svart Records, The House of Capricorn pay stylistic homage in their music to Finland’s distinctive Babylon Whores, while Sleep of Monsters features that occult death rock band’s vocalist Ike Vil. In addition to his formidable presence, Sleep of Monsters includes guitarist and main songwriter Sami Hassinen (guitarist for Blake), drummer Pätkä Rantala (who played on HIM’s debut album), keyboardist Janne Immonen (who has toured extensively with Waltari and Ajattara), guitarist Uula Korhonen, and bass-player and backing vocalist Mäihä.
Sleep of Monsters’ debut album is named Produces Reason, and while the record was distributed earlier this year within Finland, it is now finally getting a global release by Svart Records, who also recently reissued the entire Babylon Whores back catalogue on vinyl.
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.
In this post, we’re premiering the title track to Random Cosmic Violence, the new album on Relapse Records by Usnea from Portland, Oregon. If you’re smart and/or impatient, you’ll scroll down and just listen to it. But I have some things to say about the album as a whole, and I will have my say.
Almost everything about the album is huge. The human skeletal structure is sturdy, but it wasn’t made for the utterly crushing force of this music. It’s enough to collapse bone like an accordion. And the parts that aren’t cataclysmic are mostly disturbing, except when they’re entrancing.
The music is kindling for metaphors, if you’re given to that sort of thing, which I am. The album was named for a line by Carl Sagan in his book The Demon Haunted World, a line that explains our existence and that of the cosmos itself. We and everything around us, out to the limits of the universe, are the products of violence on a titanic scale. The music imagines all that cold, careless, destructive vastness.
(Austin Weber prepared the following introduction to our premiere of a new song from the forthcoming second album by The Crinn from Saint Paul, Minnesota.)
The further and further The Crinn have gone in their career, the more ideas they’ve incorporated in their songwriting and the more their music has grown in a progressive sense. Not content to merely overwhelm you or shatter you with speed and ferociousness, in their current state the band’s progressive inclinations have found a natural nest within their overall full-throttle, brain-scrambling, unpredictable intensity. With these elements co-existing within the same tracks, the band display a rare duality.
While The Crinn were previously signed to Nuclear Blast Records for the release of their debut album in 2010, they have returned to independent status and are releasing their new album Shadowbreather by themselves. Currently, no release date has yet been set, and the band are still in the midst of deciding whether to do a crowdfunding campaign in order to make a physical version of the album a reality. But one song from the album has already premiered (featured here), and today we bring you another.
It’s important to preface the discussion of this song with what I just mentioned regarding the cohesive collision of abject chaos and experimental progressive ideas in The Crinn’s sound. Otherwise, you may find yourself lost in a state of shock, as “Endless” is a head-spinning affair of unique brilliance, one that scrambles your brain hard enough to make returning to normal reality a difficult and disorienting task.
On October 24 Season of Mist will be reissuing Mantiis, the debut album by Obsidian Kingdom from Barcelona, Spain, and today we’re premiering an official video for one of its fourteen bites — a song called “Ball-Room”.
The video was shot and directed by the band and Oyeme! Studio in a damp basement. In the band’s words, it’s a “shocking visual tale portraying sex, death, and a good load of frenzied pleasures… not recommended for the faint of heart. Don’t forget to wash your eyes after you’ve watched it.”
That’s certainly a fair warning, to which I’ll add “NSFW”. Looks like it was one hell of a party, and a damned site more lively than most parties I go to these days.
In this post we bring you the premiere of the title track from the forthcoming debut album — All Sights Affixed, Ablaze — by a band from Ontario, Canada, named Idol of Fear. But first, a bit of background information.
The band took their name quote from a quote in Ingmar Bergman’s 1957 movie Det Sjunde Inseglet (The Seventh Seal): “We must make an idol of our fear and that idol we shall call God.” They recorded a three-song demo in 2013, and now plan to release their debut full-length on November 18, 2014.
The album includes 8 tracks, its total length is 44 minutes, it was mixed by Jeff Wardell, and it was mastered by Tore Stjerna at Necromorbus Studio. The cover art is by the viciously talented Mark Riddick.
Okay, enough background. What about the music?
About 10 days ago we had the pleasure of premiering (here) a lyric video for “The Final Outcome”, the title track to a new EP by a Roman band named Black Therapy. Today we’re bringing you the official stream of the entire EP in advance of its official release tomorrow — preceded by this review.
There are four tracks on the EP, three of them original songs and one of them a cover. I already wrote about the title song that it was one of the most satisfying injections of Gothenburg-style melodic death metal I’d heard all year, and that turns out to be true of the second track as well, “Black Crow”.
Both songs are high-voltage gallops, with jolting verse riffs, sweeping choruses, and the kind of rapidly swirling lead guitar melodies that may cause you to form your hands into claws and lift them toward the heavens — while you bang your head like a crazy person.
Eighteen months after the release of their debut album Fires of Life, Chicago’s Starkill have come roaring back with their second album Virus of the Mind, scheduled for release next week by Century Media, and today we’re giving you a chance to hear it from start to finish.
Speaking of starts, the fast-paced orchestral introduction to the album’s first song, “Be Dead or Die”, is about as blood-pumping a start to an album as you’re likely to hear this year. And the adrenaline rush doesn’t let up. Whether the band are ripping like razors or vaulting into the stratosphere with soaring choruses, they keep the energy in the red zone.