Jul 182018
 

 

Consumed By Oblivion is both the name of the debut EP by the Minneapolis band Void Rot and a synopsis of the atmosphere created by the band’s titanic, soul-consuming brand of death/doom. When the title track surfaced earlier this month, it seemed to capture the sensation of being swallowed by a cold, hungry void and allowed to slowly rot. Massive and monstrous, heavy enough to crack bedrock and sickeningly morbid enough to sink all your hopes, it also transformed into a spine-shaking, head-hammering, skin-scissoring marauder, laced with buzzing riffs and squalling leads that sounded like pure evil.

That was a tantalizing (and mortifying) teaser for this new record, and today we have another, as we premiere a song called “Ancient Seed” in advance of the EP’s joint release on August 3rd by Everlasting Spew and Sentient Ruin. Continue reading »

Jul 182018
 

 

Here are four songs, two of which come with videos, from forthcoming albums that I’m pretty excited about. A slew of other songs have appeared since late last week that I’m also excited about, and no doubt more will appear today. The thorny garden of metal is riotously fecund. We poor harvesters with bleeding fingers and bleeding ears can’t keep up, try as we might.

PLAGUEWIELDER

Ohio’s Plaguewielder made an eye-opening debut with their 2015 album Succumb To Ash on Dullest Records. They followed that last year with a single named “Writhing In Mental Torment“, which I had some positive things to say about, and just a few days ago they released another new single, “In Depths of Cold Hell“, which is a prelude to a new album entitled Surrender To the Void that will be released on August 12th. Continue reading »

Jul 172018
 


photo by Shani

 

(We are delighted to present Comrade Aleks‘ extensive interview of Sharon Bascovsky, founder and mainstay of the ground-breaking Pittsburgh death/doom band Derkéta.)

Derkéta was formed in Pittsburgh in 1988 by Sharon Bascovsky (vocals, guitars) and Terri Heggen (drums). Influenced by bands like Sepultura, Death, Massacre, and Bathory on the one hand, and by bands like Black Sabbath and Candlemass on the other, they worked out their own low-tuned and a bit slowed-down death metal, which later transformed into something that was labeled as death/doom metal. Two demos and one EP (1990’s Premature Burial) was all the band recorded before they split up in 1991.

Sharon tried to resurrect Derkéta in 1997, then in 1999… It’s a long story, but finally, the full-length album In Death We Meet was recorded in 2012. Sharon played a few shows with a new lineup, then came a single, Darkness Fades Life in 2014, and then… Actually it wasn’t even clear if Derkéta were still an active band until I wrote Sharon and asked her all the questions I had accumulated through a few years. Continue reading »

Jul 172018
 

 

You may not know it, but right now you’re in the path of a wrecking machine. It’s growling and rumbling, eagerly waiting for you to push the arrow in the player below so that it can run you over and drag you behind it like so much roadkill.

With that introduction, you’ve probably figured out that despite their name, Crawl aren’t some turgid, sludgy doom band bent on relentlessly lowering your body temperature and suppressing your pulse rate in a semblance of death. No, their music is an amalgam of Swedish-style death metal, crust/punk, and hardcore thats capable of striking with explosive power, as you’ll discover in the song we’re bringing you today, which proclaims “Reject the Cross“. Continue reading »

Jul 172018
 

 

The Greek black metal band Burial Hordes began working to bring their hellish visions to life in 2001, and over the 17 years since then have released three albums (with a fourth one on the horizon), along with many shorter releases. Their hate-fueled dedication to misanthropic philosophies of opposition has been unwavering, but their music has been an evolving and continuing source of intrigue, leaving us to wonder where their dark creative impulses will take their music from album to album.

The new Burial Hordes record is entitled ΘΑΝΑΤΟΣ ΑΙΩΝΙΟΣ (The Termination Thesis), and it will be released by Folter Records in September of this year. One song from the album (“Thrownness and Fallenness of Being“) seized our attention when it was revealed last month, and it’s now our privilege to present another one, which is the new album’s chilling opener — “Human Condition (Isolation-Meaninglessness-Mortality)” — through an official music video. Continue reading »

Jul 172018
 

 

(This is DGR’s review of the comeback album by the Bay Area’s Light This City, which is out now via Creator-Destructor Records.)

We’ve been having a lot of fun with it lately but there seems to be a legitimate concerted effort to resurrect the mid-aughts musically, with a handful of groups that gained prominence during the early metalcore and deathcore explosions coming back after multi-year hiatuses and breakups, deciding that 2018 was going to be the time they all returned. They’re obviously not the only bands to do so this year, but it sure does seem like 2018 has been designated the year of the comeback.

We have to be on something of a ten-year cycle for groups breaking up and re-uniting, because that is one of the few ways I can explain how so many bands who were content to hang it up about seven-to-ten years ago all came back at once. If you’ll allow us to pull the curtains back a bit, it seems like my recent review work slate consists entirely of groups returning from my first few years of community college – – particularly the three-pack of Bleeding Through, The Agony Scene, and Light This City, although Into Eternity coming back and local Sacramento groups Journal and Jack Ketch both also joining the fray are part of the phenomenon, with the last two admittedly a likely the reason I’m pounding away at this theme.

As mentioned, Light This City are one of these groups, calling it quits after the release of their 2008 album Stormchaser and from then on reuniting sporadically only for a small handful of live dates (coincidentally the only times I had seen them up until July 1st of this year) — until this year, which saw the late-May release of the group’s newest album through Creator-Destructor Records, Terminal Bloom. Continue reading »

Jul 162018
 

 

For the second year in a row, NCS was proud to co-present Northwest Terror Fest, which took place this year on May 31 – June 2 in Seattle, Washington. Several of us in the NCS family helped organize and present the fest, and I guess that makes us a bit biased, but we’re not the only ones who thought it was a fantastic event. The feedback from bands, fans, and the venues has been uniformly very, very positive — so much so that we and our co-conspirators are already at work planning the third installment of NWTF for 2019.

We will of course be bringing you news about next year’s fest when the time is right, but now we want to take one more look back at NWTF 2018. And to do that, we’ve been fortunate to present some of the amazing photos that New Orleans-based photographer Teddie Taylor took while the festival was in progress. You can see her pics from Day 1 here and Day 2 here, and what follows are shots of the performances on the festival’s final day.

P.S. As of today, full pro-shot videos of almost all the performances at NWTF 2018 are now live, thanks to our ally Max Volume Silence Live, and you can find all of them HERE. Continue reading »

Jul 162018
 

 

I’ll make this quick:

First, within the last hour or so, Behemoth announced a North American tour (Ecclesia Diabolica America 2018) with support from At the Gates and Wolves in the Throne Room. It begins on October 20th in Phoenix and ends on November 24th in Los Angeles, and includes stops in Montreal, Toronto, Calgary, and Edmonton, as well as 18 U.S. States. Here’s the current schedule: Continue reading »

Jul 162018
 

 

The Seattle band Morrow devoted four years of work to their debut album, The Weight of These Feathers, and it sounds like they devoted every waking hour of those four years to this remarkably impressive creation. It’s nothing if not ambitious, revealing a rich array of sounds, movements, and moods across these seven, mostly longer-than-average tracks, which collectively span almost an hour of music, and interweaving a diverse range of styles that includes (but isn’t limited to) black metal, progressive metal, ambient music, and folk.

Morrow will release the album on July 21st, and it’s our pleasure to bring you a full stream of the record today, preceded by a few more thoughts about it by way of introduction. (Okay, more than a few.) Continue reading »

Jul 162018
 

 

(Andy Synn prepared this review of the new album by The Agony Scene, which will be released on July 20, digitally and in physical editions via Outerloop Records/Cooking Vinyl.)

So-called “comeback” albums can be a dicey affair. Attempts to recapture past glories can easily sound dated and contrived, while efforts to demonstrate progress and evolution can just as easily alienate the very audience who’ve been waiting so patiently for your band’s return.

It’s a difficult line to walk at the best of times, and I’ve lost count of the number of artists who’ve stumbled and fallen while attempting to navigate this particular musical minefield over the years.

However in this particular case The Agony Scene look to have succeeded where so many other have failed by producing an album which sounds like a natural extension of their earlier work – albeit one informed by a solid decade of growth and experience – as well as an exploration of fertile new pastures.

And I guess it doesn’t hurt that it also just so happens to be the darkest, most visceral album of their career. Continue reading »