(The time has come.  What time is that?  Why, it’s the time when we begin publishing our own series on the best metal of 2011 — lists created by our writers, guest contributors, and members of metal bands who we’ve specially invited to share with us their lists.  And what better way to start than by turning to Phro for the kick-off?)

Ahhh . . . 2011, how quickly you came and . . . went?  Are going?  Let’s just stick with came for now.

What a year it has been!  I think.  I don’t really remember it.  I think there was something to do with tentacles and a few zombie girls.  Seriously, someone please make the whole zombie/vampire/werewolf thing stop happening.  Please.  I’m begging you.  I can only take so much pithy teen angst foisted upon poor hapless creatures of the night.  GIVE THEM BACK THEIR BALLS, DAMNIT!!!

Seriously.  And wizards, too.  Enough of that shit.

Oh, right, and there was music, too.  Particularly metal music.  Particularly good metal music.  (Anyone who ever utters the words, “It’s been a bad year for metal,” should go out behind the chicken chopping shed and punch themselves in the throat with a rooster.  You fucking lazy scum fucker.)  But it`s the end of the year, and it’s not enough to simply say there was a lot of it.  You people from the Internet want proof all of the sudden!  You freaks with your memes and your porn and your meme porn and your porn memes.  And your rules!!!  So many rules!  Well, I have a new rule for you.  Rule number 0.5.  It states, quite clearly: anything that can be made into furry-rape-scat porn should be made into furry-rape-scat porn and then broadcasted on CNN, FOX, and MSNBC until foxes look sexy.  (But only when they`re covered in poop.)

Poop, poop, poop, poop . . . poop . . . poooooooooooooop . . .

Sometimes I’m so on top of breaking news and music releases that I’m writing about it BEFORE it happens, kind of precognitively, know what I mean? And then other times, I’m so fucking slow on the uptake that I embarrass myself (and that takes some doing). Today is one of the embarrassed, slow-on-the-uptake days.

On September 6, we reported here that Anaal Nathrakh would be covering a song by a famous ska band who hit their apex in the 80′s called The Specials. The recording was to be included in DECIBEL magazine’s Flexi-Disc series. I subscribe to that magazine, but I have no turntable, so I generally just stare at the disk and wait for it to communicate its musical nature to me in some manner other than through audio waves. That usually turns out to be a long wait.

I had serious difficulty getting my mind around the concept of an Anaal Nathrakh cover of “Man at C&A”. Some of you weren’t all that perplexed by this choice. Well, you were right and I was wrong, because now I’ve heard the song and I fucken love it. The AN cover has been available for streaming since last Thursday, but of course I didn’t notice it until last night (see above re slow-as-a-fucking-sloth).

I may be late writing about this song, but I want to do something to make up for my tardiness. So, after the jump, I’ll enable you to listen not only to the AN cover but also to The Specials’ original, so you can better appreciate the complete re-wiring of the song that AN accomplished — though without completely losing touch with the original music. Check it out.

Here are four things that got my attention earlier today. I’m betting that everyone who reads this will be interested in at least one of these items. And, just in case that’s a bad guess, we have porn after the jump.

ITEM ONE

I don’t think I have to do anything but excerpt these quotes from the Metal Blade press release. It was enough for me.

Cannibal Corpse has begun recording their twelfth studio album at Sonic Ranch studios in Texas with producer Erik Rutan. The band has spent months writing the album and has recorded at Sonic Ranch in the past, but never with Rutan at the helm. More details on the album, including art, songs, title and more will be revealed in the months to follow. For now, the band is hard at work forging their next death metal offering.

Erik Rutan worked with Cannibal Corpse for both Kill (2006) and Evisceration Plague (2009) and is returning for a third time. Rutan explains further: “I am super excited to work with Cannibal Corpse for our 3rd album together. We are determined to make the best album we possibly can. Everyone is very focused and the new material is awesome. There is a great blend of classic, old school CC with a newer, more heavy, dynamic and aggressive approach. I look forward to the challenge of making one heavy as hell record!”

(more after the jump, including porn . . .)

I’ve seen Oregon-based Agalloch perform live only once, but it was one of the best metal shows I’ve ever seen. I felt like the music was a living thing and it had completely swallowed me up. I was literally in a daze for a long time after the show ended at something like 1:30 am, and I hadn’t been using any intoxicants (except the music).

I’ve never seen Britain’s Anaal Nathrakh in a live show, but I hope that’s not too far off in my future. Their catastrophic, vitriolic style of black grind is another kind of all-consuming music, though quite different from Agalloch’s brand of melodic black metal.

Both bands performed at the Scion Rock Fest in Pomona, California, in March, and Scion released professionally filmed videos of the performances late last week. We’ve got a handful of them for you after the jump. Is it the next best thing to being there? No — the next best thing would be walking out of the venue having heard the whole show. But it’s pretty damned sweet.

After the jump, probably my favorite Agalloch song, “Not Unlike the Waves”, plus “Into The Painted Grey”, and then Anaal Nathrakh performing “When the Lion Devours Both Dragon and Child” and “Don Not Speak”. There’s one very weird thing about the AN videos.

OK, time to court some (albeit minor) controversy. To compare and contrast with the “Wintermoon Wednesday” piece on post-millennial black metal by Tr00 Nate (unseen at the time of this writing) over at TheNumberOfTheBlog, I’ve decided to list my own picks for the prize.

I’ve left out the obvious choices, so no Satyricon or 1349 – even though the former have transformed themselves post-2000 very successfully, courting both success and controversy in equal measure, while the latter have pushed their hyper-blast style beyond the breaking point, only to discover a new lease on life through their exploration of gnarled, twisted atmospherics.

No Rotting Christ? Or Samael? Nope. I love both of them, but they both had long pre-millennial careers and spent much of the post-2000 stage of their careers exploring less focussed, less black metal sounds — although both have recently released masterful examples of their own focussed and distinctive brands of black metal.

I have left out records which are perhaps less “purely” black metal — records for which a strong case can be put forward that they belong more as “blackened” examples of another genre — so there’s no place for Altar Of Plagues or Withered, both great bands in their own right. No Akercocke either, the sheer weight of their crushing death metal heft disqualifying them for this list.

I have also by choice left out artists/albums I have covered recently. Therefore, no Iskald (though The Sun I Carried Alone IS one of the best black metal albums of the last ten years), or Elite (see HERE for my thoughts) or The Axis Of Perdition (HERE), even though I’d argue that each of them has at least one example under their belt of near perfect post-millennial black metal.

So who have I chosen? Well look upon my choices dear reader, and despair…

At the risk of swamping you in too much music for a single post, I’m collecting four items here that I discovered this past weekend. The unifying theme for this collection is blackness.

Black, as in Black Dahlia Murder covering “This Mortal Coil” by Carcass, with Jeff Walker on guest vocals. Black, as in a good-quality video of Anaal Nathrakh performing “Do Not Speak” at a club in Paris on May 31. Black, as in news about a tribute album to Enslaved, featuring 20 bands (plus the schedule for a fall North American tour by Enslaved along with Ghost and Alcest). Black, as in another quality performance video — of Belphegor vomiting forth satanic spew in Denver on May 16. Without further ado …

BLACK DAHLIA MURDER

For some reason, I continue to receive my copy of DECIBEL magazine way early. I’m not complaining. Well, maybe I’m complaining a little. I’ve had the July issue for a week now — the one with Trey Azagthoth and David Vincent of Morbid Angel on the cover and a big feature inside about their new album Illud Duvinum Insanus — which has already generated an insanus amount of controversy in the web-world (much of it among people who haven’t even heard the album yet).

Because I received the issue early, that means I’ve had a week to stare at the “flexi disc” inside — the recording on a piece of plastic of Black Dahlia Murder covering “This Mortal Coil” by Carcass. I’ve been staring at it because listening isn’t an option — since I don’t own a fucking turntable. I’ve been waiting semi-patiently for someone to transfer the music to digital and put it up on YouTube, which has now finally happened. The digital transfer didn’t happen seamlessly — you can hear some of the imperfections on the flexi-disc — but the BDM cover is a slayer.  (more after the jump . . .)

I don’t know why I’m posting about this. It’s not news that I give two shits about, and we usually avoid posts that just make fun of people. On the other hand, when people make themselves look ridiculous without any assistance from us, then I guess it’s fair game. And I suppose this could be considered “newsworthy” in the sense that it’s further confirmation that Revolver magazine and everything associated with it has become an utter irrelevancy to metal as it exists today.

So, after the jump, you can see the list of award winners at “America’s only hard-rock and heavy-metal award show” presented on April 21 at Club Nokia in beautiful downtown Los Angeles. (Can that really be true?!?  Fuck, NCS should start its own award show just so Revolver can never honestly use that line again.)

And to make myself feel better about this otherwise worthless post, here is some REAL news — this post that appeared on the Anaal Nathrakh Facebook page last night: “Today we got a USA booking agent and we are workin on a USA tour!”

Surgical Brute’s first post of our NCS Saturday included songs from five bands, and Misha served up another one today, all of which are well worth hearing. So I’m probably pushing my luck by adding this post with still more songs. I do realize there’s a limited amount of time you’re going to spend listening to new music in a given day, and I also realize we’re not the only metal site most of you visit. But I just can’t resist. There’s probably some psychiatric name for inability to resist impulse, but whatever it is, I’ve got it.

Usually, there’s some organizing principle behind the music collections we feature in a post, even if it’s nothing more than “these songs will flambé your brain.” But today there’s really no rhyme or reason to what I picked, except I came across all three of these offerings in the last 48 hours and just felt compelled to share what I found.

Two of these bands I know well and I’m a big fan of both. The third is a new discovery. What I have for you, then, is a high-quality video of Anaal Nathrakh laying waste in a live club performance; a video for a brand new (and somewhat surprising) song by Australian/California tech-death band Devolved; and a new, crushing re-recording of a song by another tech-death band, UK’S Cyanide Serenity, which features their new lead singer Travis Neal (Divine Heresy). And to top it off, we’ve got the schedule for a just-announced Anaal Nathrakh European tour . . . after the jump.

Technically, we should have posted this yesterday, but yesterday was April Fool’s Day, and people might have thought we were making up some of this shit. But it’s all true, and nothing happens on April 2 to plant doubt about truth. Except for what causes doubt to be planted about truth on any other day of the year.

Here we are at the beginning of the second quarter of 2011 — the time when for those of us in the Northern Hemisphere, spring is supposed to spring.  Where I live, spring has apparently been victimized by a brutal street mugging and is hospitalized at the moment.  A few plants have been deluded into thinking it’s spring, but for the rest of our local world, it’s still fucking winter.

Fortunately, the change of the seasons have fuck all to do with the release of metal. What we do with these installments of METAL IN THE FORGE is collect news blurbs and press releases we’ve seen over the last 30 days (or in this case, the last 31 days) about forthcoming new albums from bands we know and like (including updates about releases we’ve included in previous installments of this series), or from bands that look interesting, even though we don’t know them yet. And in this post, we cut and paste the announcements and compile them in alphabetical order.

This isn’t a cumulative list, so be sure to check the Category link called “Forthcoming New Albums” on the right side of this page to see forecasted releases we reported in previous installments. This month’s list begins right after the jump. Look for your favorite bands, or get intrigued about some new ones. There’s some awesome shit on the way. Dive in after the jump.

No band I’ve yet heard is currently pushing the limits of extreme metal more extravagantly and more successfully than Anaal Nathrakh. However, I won’t say they’re blazing a trail into the territory where the future of metal will take root. Metal will have many futures, but I suspect few of those futures will unfold along the tortured path Anaal Nathrakh is blazing; there’s too much risk of injury. More reason to live in the present – this present.

Some metal bands specialize in hair-on-fire, grindcore mayhem, played at the speed of bullets. Some specialize in the delivery of compulsively headbang-able riffage, heavy on the chainsaw guitar cutting through the bone. Some bands use keyboard-driven anthems to propel their music to emotional heights of struggle, or defiance, or loss.

Some plant their flag in the territory of industrial metal, with blasts of cold rhythm and waves of chaotic electronic noise. And some bands leaven their metallic catharsis with bursts of melody, voiced by soaring clean vocals, head thrown back and all of body and mind concentrated in the delivery.

Anaal Nathrakh does all of this within almost every song on their new album Passion, and more besides. They dissect and segment and re-combine the elements of extreme metal in blazingly creative ways — but without fail, what they achieve is profoundly unsettling. It’s wondrous, but it’s almost unrelentingly disturbing. Passion is an expression of the “otherness” of extreme metal in one of its purest forms. (more after the jump . . .)