Jul 222014

 

(In this post Russian contributor Comrade Aleks delivers an interview of Mikael Monks of Sweden’s Burning Saviours.)

The combination of doom metal and rock from the 70’s has became actual genre nowadays. It feels like a damned lot of people miss the good old days when things looked more or less simpler. Good melodies, a recognizable retro sound, and lyrics on familiar themes are enough to satisfy our needs, and it’s not necessary to be original in that case.

The Swedish band Burning Saviours have been playing doom metal / hard rock since 2004 in the name of almighty Pentagram! A few successful releases have brought Burning Saviours a well-known reputation, and I Hate Records has decided to remind us about the band’s deserts with the release of a compilation named Boken om förbannelsen. I got in contact with Mikael Monks (guitars, vocals) to clarify details of the album.

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Jul 222014

 

So many new things happen every day in the world of metal that if you check out for almost four days, as I just did, catching up is tough. Not that I’m complaining, because I had a blast attending Gilead Fest. I know you’ll want to read all about how much fun I had, in case you haven’t already. But now I’m back in Seattle, and I’m making a small stab at catching up on what I missed while I was neglecting daily metal happenings. Here are three new songs I heard last night that I recommend to your ears.

SÓLSTAFIR

Iceland’s Sólstafir have now shared with the world the third advance track from their next album, Ótta, which will be released by Season of Mist on August 29 in Europe and September 2 in North America. The new one is named “Dagmál”. It cruises like a car on an open road, the top down, the wind in your hair, not another soul in sight, magnificent vistas around every turn. And then your car leaves the road… and glides into the air. 

Jul 202014


artwork by Bryan Proteau

Part 1 of this report is here; Part 3 is here.

I thought the first day of the Gilead Fest in Oshkosh, Wisconsin, was a blast, but holy shit, yesterday’s performances were off the charts. By “holy shit” I mean that shit before which you prostrate yourself and utter miserable prayers of thanks. And by “off the charts”, I mean dismembering, skull-splintering, bowel-perforating, synapse-severing, and occasionally entrancing.

The weather here in Oshkosh remains gorgeous.  In between sets, the lure of the outdoors was irresistible (and would have been even if the lure of nicotine and tar hadn’t been part of the equation). Even during the sets, a soft breeze flowed through the windows of The Lady’s Parlor across the hall from the ballroom where the bands were performing, and it wafted through the open doors into that space like a balm from… Gilead.

The sunny disposition of the crowd continues to match that of the weather. It’s a chill group, like a reunion of old friends, even when the old friends had never met each other before. I had almost as much fun talking to people I’d only known over the internet before this weekend (including Adam Bartlett of Gilead Media, who made this whole wonderful thing happen) or had never met before, even over the ether, as I did listening to the music. And the event itself continues to run smoothly, like the well-oiled gears of a vast noise-making machine.

Jul 182014

As I mentioned in today’s only other post, I’m in Oshkosh, Wisconsin, preparing for the onset of Gilead Fest tonight. After a hearty lunch and a few adult beverages, my friend from Oshkosh and I bombed around the town, visiting a record store, stopping for a custard cone, and sticking our heads in the Masonic Lodge where the fest will be held.

We were listening to YOB’s Atma in the car, which put me in a certain mood. Now, back in my hotel room for a couple of hours, I thought I’d indulge that mood with two new songs from two legendary bands.

SLEEP

This afternoon, Lars Gotrich at NPR spotlighted the premiere of the first new song by Sleep in 20 years, and thanks to a tip from Leperkahn, that’s how I found his article. Twenty years after Dopesmoker, the song is “Clarity”, and it appears as part of Adult Swim’s singles series.

Jul 182014

I’m getting a slow blog start today. Yesterday I traveled with a friend to Oshkosh, Wisconsin (my friend actually grew up in Oshkosh), in order to attend the Gilead Fest, which starts tonight and runs through the weekend. We got in late and stayed up later, eating dinner and drinking Wisconsin brews, and I slept in.

When people asked what we were doing in town (as many did), we told them we were here for a metal festival, and they all said, “Oh,  Rock USA”. Turns out that festival began Wednesday and runs through Saturday and it’s here is Oshkosh, too. With Slayer and Rob Zombie and Korn and Five Finger Death Punch and… no, we’re not here for that thing. But it is a weird fuckin’ coincidence and explains why we had some trouble finding a hotel or motel with vacancies.

Anyway, I’m getting a slow start on the blog day. So I’m just going to throw some things at you that I came across as I was waking up. Starting with this highly unexpected piece of music from Darkest Hour: “By the Starlight”.

Jul 172014


Djinn and Miskatonic

(Today our Russian contributor Comrade Aleks brings us Part 6 of a six-part series in which he puts the same five questions to doom bands from around the world, and introduces us to their music at the same time.)

Sometimes I use this unpopular “quiz” format because there are too many interesting bands that I would like to bring to light, and in my opinion it’s a good way to spread some news and to get new points of view on a few issues (including even some political questions). The list of questions I put to the bands is below:

1. What is the band’s latest news and what are your plans for the near future?

2. What do we get (in the broadest sense) from the release of your last album?

3. What is the best response that your band has ever received?

4. What role does the church (or any other religious organization) play in your life or (let’s take it wider) in the life of the heavy scene? Is there any spiritual, religious, or antireligious component in your songs?

5. What does the Media in your country tell about the situation in Ukraine? And how do you see that situation? Some people from other countries have asked me strange questions about Russia’s policy, and let me say that I have a few friends in Ukraine and my colleagues have relatives there, and believe me, there’s no media in ANY country that is showing the problem as it really is. We can watch as the Cold War turns into real warfare.

Today, we bring the answers to these questions from Djinn and Miskatonic (India),  Et Moriemur (Czech Republic), Hooded Priest (Netherlands), Mythological Cold Towers (Brazil), Orthodox (Spain), Soom (Ukraine), and Talbot (Estonia).

Jul 172014

 

Here are a few noteworthy things I spotted and heard yesterday, with some help from my friends. If time permits, I’ll put up a second collection today, because yesterday really brought a cavalcade of things I want to spread around.

ÆVANGELIST

I know there are human beings in Ævangelist, but I still prefer to call them “the Ævangelist entity” because the music sounds like emanations from a dark dimension outside our own by an inhuman being whose shape can’t be mapped. This entity has been churning out music at a an increasingly furious rate. Although the last album, Omen Ex Simulacra emerged from the void only last fall, yesterday brought an announcement by Debemur Morti Productions that a new full-length named Ævangelist III – Writhes in the Murk will become available in September (on CD, vinyl, and digital).

That news would have been enough to stop me in my tracks all by itself, but the announcement was accompanied by the unveiling of the wonderful album cover you see above. It was created by Andrzej Masianis, who also created the painted cover for the last album, which is worth seeing in full rather than in the cropped version that was visible as the album’s front cover. The painting was originally entitled “Exterminating Angel”:

Jul 162014

Abske Fides

(Today our Russian contributor Comrade Aleks brings us Part 5 of a six-part series in which he puts the same five questions to doom bands from around the world, and introduces us to their music at the same time.)

Sometimes I use this unpopular “quiz” format because there are too many interesting bands that I would like to bring to light, and in my opinion it’s a good way to spread some news and to get new points of view on a few issues (including even some political questions). The list of questions I put to the bands is below:

1. What is the band’s latest news and what are your plans for the near future?

2. What do we get (in the broadest sense) from the release of your last album?

3. What is the best response that your band has ever received?

4. What role does the church (or any other religious organization) play in your life or (let’s take it wider) in the life of the heavy scene? Is there any spiritual, religious, or antireligious component in your songs?

5. What does the Media in your country tell about the situation in Ukraine? And how do you see that situation? Some people from other countries have asked me strange questions about Russia’s policy, and let me say that I have a few friends in Ukraine and my colleagues have relatives there, and believe me, there’s no media in ANY country that is showing the problem as it really is. We can watch as the Cold War turns into real warfare.

Today, we bring the answers to these questions from Abske Fides (Brazil), Esoteric (United Kingdom), Obake (Italy), StoneBirds (France), Stoned Jesus (Ukraine) and The Curse of Wendigo (Ukraine).

Jul 162014

 

(Our always-welcome friend Professor D. Grover the XIIIth returns to the site with the results of his latest varied musical investigations.)

Greetings and salutations, friends. Although I find that I am ever inundated with new music (with the likes of new releases from Midnight, Goatwhore, Vintersorg, and the almighty Bölzer vying for my time), I somehow manage to work my way through past releases that I somehow missed out on, and an unlikely quintet of albums have been especially prominent recently. Thus, this month’s investigation has a specific focus on the exhumation of past releases. I hope you brought your shovels.

SUBLIME CADAVERIC DECOMPOSITION

We begin with the filthy, riff-laden death/grind of France’s Sublime Cadaveric Decomposition. I have thus far heard their self-titled album from 2001 and their most recent release, 2011′s bizarrely-titled Sheep’n'Guns. They are both quality releases, but it is Sheep’n'Guns that first sparked my interest, and so that shall be our focus for today. What truly caught my ear and made Sublime Cadaveric Decomposition stand out from the legions of other death/grind bands is the surprising amount of groove in their music, a motif that is devastatingly effective when paired with the death/grind/punk riffs present in their music. The production is a bit clean for grindcore, but the music is so good that it really doesn’t matter.

Jul 162014

I suppose that among our regular writers it may seem that I have a more pronounced weakness for the kind of metal that tries to claw your guts out and eat the gall bladder (because it thrives on bile, yes it does). But you can relax — somewhat — before you listen to the four songs collected in this post. There is beauty in this collection (along with the clawing).

MYRKUR

Myrkur is the name of a one-woman black metal band from Denmark (it reportedly means “darkness” in Icelandic). You probably haven’t heard of Myrkur before, but I’m highly confident this won’t be the last time you hear the name — partly because Relapse Records is now behind the band and partly because the music is strikingly good. Despite the fact that Myrkur has released no music before a self-titled EP that Relapse now plans to release in September — and has done nothing to publicize her existence as far as I can tell — both Pitchfork and Stereogum were lavishing praise on her yesterday, and it won’t stop there. I know this because I’m about to do the same thing right now.

One of the seven songs on the EP became available for streaming yesterday and its name is “Nattens Barn” (“Night’s Child” in Danish). Myrkur’s pure a cappella voice, layered to create the sound of a choir, is immediately arresting, and so are the wolfish, ripping howls that come forth later. The powerful waves of dark guitar melody that roll in like a storm front are hugely appealing, and so is the combination of jagged, jabbing riffs and rippling tremolo streamers that shimmer above them like an aurora borealis.

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