(TheMadIsraeli introduces us to a band from the Detroit area named Fell Ruin.)
I found out about Fell Ruin through the vocalist from a Michigan band we’ve covered here, Scorned Deity. Brian Sheehan hit me up, wanting me to check out another project of his who’ve finally gotten to release their first bit of music after some time. I love Scorned Deity, so I thought I’d see what he was doing with Fell Ruin.
Fell Ruin are definitely worth your time. I can’t quite describe what they do, but in an attempt to give you an idea, I’ll say it’s basically blackened death grind doom sludge? I don’t even know. It’s riveting stuff though, and savage like a pack of feral hyenas.
(BadWolf brings us this review of a live performance in Seattle by Enslaved, YOB, Ecstatic Vision, and Bell Witch, with photos by Madison Leiren.)
My Wednesday evening at El Corazon on March the 11th was, in many ways, a redemption shot. I was there to see local Seattle funeral doom merchants Bell Witch, as well as Philadelphia’s uncategorizable Ecstatic Vision, Eugene Oregon’s doom wunderkinds YOB, and Norway’s progressive black metal institution Enslaved.
To begin, here is my list of grievances to be resolved that evening:
First, grievances with myself:
(Austin Weber reviews the debut album by Seattle’s Theories, which will soon be released by Metal Blade Records.)
Of all metal, grind is often the style where one can really do no wrong as long as things are fast, ear-shatteringly loud, and brief in run-time. But naturally, those rare grind bands who write more interesting songs or who choose to reach outside their genre stylings and bring in other dimensions to their music are going to be the most interesting — which is exactly what Seattle-based Theories accomplish so brilliantly on their new full-length album, Regression. I love all grind, but what Theories have done so well on Regression is to produce a record that has a lot more intensity and replay value than most of their peers.
There isn’t a single song under two minutes on Regression, which is certainly a rarity for a grind band. Theories have a more intricate and densely composed sound than the average quick blasts of fury that populate their genre. Theories could be called deathgrind, but I would say their sound is along lines that are similar to Misery Index.
I’m about to enter the home stretch of the out-of-town project for my paying job that has been severely constricting my blog time. Four or five more days, and I’ll be done. Those remaining days are going to leave me with even less time to blog than I’ve had since the project started three weeks ago, so this morning I decided to carve out some time for one last round-up of new music before running the final gauntlet.
I discovered the Swiss band Zatokrev through their 2012 album The Bat, the Wheel and a Long Road to Nowhere, which turned out to be one of my favorite albums of that year. Their fourth album, Silk Spiders Underwater… is now finished and scheduled for released on April 13 by Candlelight Records. It is reported to be the first of a two-part conception and features artwork by Maks Loriot.
(Andy Synn reviews the long-awaited new album by Norway’s Dødheimsgard.)
It seems I’ve picked up a taste for the strange recently. Whether it’s Porta Nigra’s latest foray into exotic metallic melodrama, or the burgeoning anticipation of Sigh’s newest musical menagerie, it seems there’s any number of acts ready and willing to delve into the uncharted waters of the weird.
Resurgent Black Metal mariners Dødheimsgard are certainly more than familiar with the pull of stranger tides, as over the years these currents have carried them from their origin point as part of the genre’s eminent “second wave” out to the very edge of its ever-expanding event horizon, dwelling right on the fringe of what might be considered as Black Metal.
A Umbra Omege, their first release in eight years, is undoubtedly a challenging, provocative piece of work, and – true to form – is definitely not an easy listen. It constantly confounds expectations, tacking off on unexpected tangents and swerving unpredictably away from where you think it might be heading in a manner that will surely prove as divisive as it is curiously compelling.
(Austin Weber reviews a new release by guitar wizard Felix Martin.)
Recently when I wrote a review for a Felix Martin concert here at NCS, I didn’t get to talk about one of the most important things that happened that night. After Felix Martin and his band finished their set I went to inquire about merch and talk with them. When I asked Kilian Duarte, their bass player, just what was in this new CD called The Human Transcription that I hadn’t heard yet, he told me it was inspired by the last Blotted Science EP. I knew then that I had to buy it. Little did I know just how amazing it would be.
To introduce the concept, here is an important explanation of it that I am quoting from Felix Martin’s website:
I’ve got six more days left before the project for my fucking day-and-night job that’s been screwing with my blog time comes to an end and I can get back home. It has been severely interfering with my ability to round up new music and news, but I did manage to find enough time this morning to write about some things I’ve been meaning to feature at the site for a while, plus one recent discovery.
Earlier this month we premiered a new song by an Indian band named Dormant Inferno that’s scheduled to appear on a split release entitled Beyond Forgotten Shores with a Pakistani band named Dionysus. I intended to follow that with a premiere of a Dionysus song, but in part because of my fucking day-and-night job and in part because I’m an idiot, I didn’t follow through on that plan — and now, the Dionysus tracks on the split (along with all the Dormant Inferno tracks) are up on Bandcamp for listening in advance of the split’s official release.
(In this post Comrade Aleks interviews Paul Attard, guitarist/bassist of the Australian band Mother Mars.)
I learned about the great stoner band Mother Mars from my mate Kamille of The Grand Astoria band. He told me that both bands had prepared a fantastic split-album and that I needed to check these guys out. Well, it was an easy task because it turns out that Mother Mars are from our planet, indeed they are Australian, so with the help of modern internet technologies we’ve done this interview with Paul Attard, one of Mother Mars pilots. Get ready for boogie stoner from the heart of the Australian deserts.
Aleks to Mother Mars! How do you hear me?
Loud and Clear! This is Paul from Mother Mars!
We’ve been beating the drums for Gruesome’s debut album on Relapse Records, Savage Land, since first hearing a couple of early songs that emerged last June. Earlier this month Relapse premiered the album’s fourth track, “Hideous”, and today we’ve got the pleasure of bringing you the debut of the title song.
Gruesome’s membership roster is damned impressive. It includes Exhumed’s Matt Harvey; ex-Malevolent Creation drummer Gus Rios; Possessed guitarist Daniel Gonzalez; and Derketa bassist Robin Mazen. The idea behind their joining together is equally laudable: Their collective mission was to record music in tribute to Chuck Schuldiner and the almighty Death. Fittingly, they turned to illustrator Ed Repka (Death, Megadeth, Massacre, Athiest, et el) for the gruesome cover art.
(In this latest installment of his “Get To the Point” series, KevinP poses 5 questions to Stephan Gebédi, guitarist of Thanatos and Hail of Bullets.)
K: Be honest with me here. Does Thanatos flying under the radar all these years annoy you in any way?
S: Well I would be lying if I said that it has never annoyed me, ’cause we had loads of bad luck and deals with shitty record labels that did us more bad than good. But on the other hand I know we made a lot of bad decisions ourselves as well, especially in the early days. Not everyone in the band was serious enough about taking the band to another level, so we’re too blame as well.
And maybe I should not have disbanded in 1992 when I grew tired of all the record label bullshit and irresponsible behavior of certain band members, and maybe I should have just kicked them out and recruited new band members. But at that moment I was sick and tired of all the lineup changes in the past.