Daedalvs are a four-man death metal band from Charlotte, North Carolina, whose debut EP Apotheosis is being released today via Bandcamp, and we’re helping spread the word by providing a full stream of the EP, and a few thoughts about the music.
What Daedalvs dish out is a mammoth, monstrous, skull-fracturing beatdown, a rumbling, crushing avalanche of booming jackhammering bass, clobbering atonal riffs, and thundering drums, overlaid with an effusion of harsh roars and wild, acid-spraying shrieks. But while the music’s brute-force physical impact is certainly one of its main calling cards, it’s not the only one.
(Andy Synn wrote this review of the debut album by Obed Marsh from Perth, Western Australia.)
Let’s face it, the relationship between Lovecraft and Metal is pretty well established by this point, with numerous acts from across the length and breadth (and other, more esoteric, dimensions) of the metallic spectrum all turning to the twisted dreams of the Providence-born prophet for their inspiration.
Joining their deformed and deviant ranks we now have Obed Marsh, a doom-laden duo named for Captain Obed Marsh, accursed founder of The Esoteric Order of Dagon, whose pact with the blasphemous Deep Ones was, in turn, the source of both Innsmouth’s prosperity, and its ultimate damnation.
Over the course of six weighty, oppressive songs – bookended, in true concept-album style, by the atmospheric “Prologue” and “Epilogue” — these down-under denizens conjure up a series of truly harrowing musical visions whose filthy tendrils seek to infiltrate and permeate every fibre of your being.
So come with me now, into the murky depths. But don’t expect to return unchanged by the experience…
Greetings from Seattle and welcome to another edition of Shades of Black. I wasn’t able to prepare one of these installments last Sunday due to fucking off, so I’ve accumulated an especially large list of recent discoveries that I would like to write about. From that list I’ve selected blackened music from six bands to recommend.
The name Windfaerer will likely be a familiar one to our readers. Last year we premiered two songs from the band’s marvelous second album Tenebrosum and named one of those to our list of 2015’s Most Infectious Extreme Metal Songs. What a nice surprise it was to discover that two days ago Windfaerer released more new music.
These new songs (three of them) appear on a three-way split by Windfaerer and two other Northeast bands, WolfCloak, and Dumal. The name of the split is Coniuratio Nigrum Atlantika. So far I’ve only listened to Windfaerer’s tracks, but they are predictably excellent.
(Andy Synn reviews the new album by Black Crown Initiate from Reading, PA.)
Black Crown Initiate have been something of a favourite of mine (and, if I’m not speaking out of turn here, the majority of the NCS crew in general) for quite some time now and, as such, Selves We Cannot Forgive (released today on eOne), has been sat at the top of my “most anticipated” list for 2016 ever since it was first confirmed.
Thanks to my moonlighting for Terrorizer I’ve been lucky enough to have access to the album for quite a while now, which has allowed me the opportunity to really dig deep into its many layers, as the Pennsylvanian quintet have clearly gone to great lengths to push themselves and their music down an ever-proggier path on their second album.
But… and it’s a surprisingly big but (and I cannot lie)… despite all of its impressively progressive inclinations and some undeniably heroic highlights, it’s hard not to view Selves We Cannot Forgive as the band taking one step backwards for every move forwards they make.
For those who may be unfamiliar with the two bands who participated in the split release you’re about to hear — Bent Sea and To Dust — their collective rosters include current and former members of such groups as Napalm Death, Aborted, Soilwork, Abigail Williams, Black Dahlia Murder, Phobia, and Megadeth. And if that doesn’t seize your attention, then consider this: The two EPs that are combined in this album-length split under the title Ascend / Descend will explode your head — and who doesn’t crave a massive head explosion?
If you’re somehow still wavering, consider the assessment of Cattle Decapitation’s Travis Ryan:
“Bent Sea come out firing on all cylinders with their kick ass blend of modern grind and discordant musings with hints of later-era Gorguts, leaving To Dust to finish you off with a scathing hardcore attack of HM-2 influenced grind!”
Ascend / Descend will be released by Give Praise Records on July 22, and one solitary day before its release we’re bringing you a full stream of this dynamic grindcore detonation. Let’s take these two groups and their contributions to the split one at a time.
(In the glorious 75th edition of THE SYNN REPORT, Andy reviews the discography to date of South Dakota’s Woman Is the Earth.)
Recommended for fans of: Agalloch, Wildernessking, Wolves In The Throne Room
Hailing from Black Hills, South Dakota, Woman Is The Earth deal in a brand of Black Metal that’s as heavy in atmosphere as it is in aggression, with songs that meld writhing riffage and rolling drums with passages of acoustic contemplation and ambient meditation, all without falling prey (in my opinion at least) to the more generic tropes and clichés of the over-saturated “Post Black Metal” scene.
They do this by never forgetting that – unlike some of their more populist peers — they’re definitely, even defiantly, a Metal band at heart… and a Black Metal band at that… so their music is never in danger of pandering to the notions of bland accessibility or pretentious artistry which undermine so many other acts of this type.
Having released their latest (and greatest) album earlier this year, and with the recent demise of Agalloch still weighing heavy upon so many of our hearts, now seemed like an opportune time to expose our readers to the band’s particular blend of grim grandeur and metallic majesty!
You’re about to hear the new EP of a monstrous Japanese band named Urobilinemia, which will be released by Gore House Productions on July 22. It’s a bit outside our usual wheelhouse(s). In fact, as I began listening to it, I wondered whether it was too far outside. And then I lost my mind.
When most people say they lost their mind, they just mean they temporarily misplaced it, or it escaped briefly but will come home again soon, happily wagging its tail. In my case, I fear that Urobilinemia have pulverised, pureed, and poisoned the contents of my skull so ruthlessly that reassembly may be impossible. How do you reassemble something that has been reduced to a quivering mass of goo?
(We present TheMadIsraeli’s review of the new album by Boston’s Revocation.)
Sometimes regression is evolution. While I haven’t kept up with the press surrounding this album, my friends who have tell me that this is supposed to be Revocation’s most progressive record. It certainly, in my estimation, isn’t that at all in the conventional sense you’d suspect. “Progressive” is also a word that’s been pretty butchered in the world of metal. When we live in a world where TesseracT is considered progressive, that shows how much water the label holds.
Revocation’s Great Is Our Sin is interesting, in that it indeed contains elements that might be considered progressive (extreme amounts of stylistic inclusion/blending and nuance brought about by that inclusion), but the music itself isn’t really what I’d call progressive. It’s fantastic technical, thrash-driven death metal that switches gears among just about every variation on the style, and Davidson’s guitar playing in and of itself is certainly progressive in ways that perhaps could only be explained to other musicians or the super-musically-inclined.
Revocation’s music, especially on this record that follows Deathless, which was also played it very straight, is largely devoid of any sort of meandering, exploration, or head-turning twists. It’s all pure, unrestrained brutality and darkness with eccentricities sprinkled throughout.
In yesterday’s Part 1 of this large round-up, I said I would post Part 2 later the same day. Someday I will learn that part-time metal bloggers who have actual paying jobs and/or families who occasionally need their attention should not make forecasts of what they plan to do on the blog. Not even what they think they will accomplish later the same day, or even in the next hour. That’s just laying the groundwork for stepping on your own crank, so to speak.
Anyway, here’s Part 2, which unlike yesterday focuses on new or newish music that I wanted to recommend rather than simply announcements. One silver lining to the delay is that it enabled me to add the first item in this collection, which appeared late yesterday.
HEAVEN SHALL BURN
Our small band of beleaguered writers at NCS includes some ardent (perhaps even slavish) fans of Germany’s Heaven Shall Burn. I count my own self on the slavish end of the spectrum. And so yesterday was a banner day, because…
(Andy Synn reviews the great new album by Austria’s Harakiri For the Sky.)
A rose by any other name, would smell as sweet. Or so they say. But when it comes to musical genres… is that really the case?
Now I’m sure some of you are already sharpening your claws ready to declaim that all genres are bullshit, and that you’re above such petty concerns… but for the rest of us who live in the real world, genre terms remain a useful way of tagging and identifying music – though I’m more than happy to admit that once we start getting bogged down in arguing about sub-sub-sub genres things start to get a little silly.
I’d contend that tagging a band with the right term remains important though, particularly when you’re introducing them to a potential new fan. Because, like it or not, using the wrong genre when talking about a band can give a new listener a false impression of what to expect, and sometimes it can be a real uphill battle to overcome this and and get them to judge it for what it is, not for what it isn’t.
Such is the case with Austrian angst-merchants Harakiri for the Sky.