Mar 142013

I thought I’d let you know that despite my inability to contribute much to the site the last few days, I’m still alive. I’m beginning Day 18 away from Seattle, mired in a seemingly endless project for my fucking day job, and largely unable to listen to music, pay much attention to metal news, or write much. However, the end is in sight: it appears I’ll be able to go home next Tuesday or Wednesday.

While my blog life has been fucked up, other folks have been stepping up to fill the hole (if only they could fill the holes in my head), and one of them is DGR. In this post are some items he discovered recently, along with a few I came across this morning that we’d like to share with you — Islander

ARSIS (written by DGR)

The glorious Arsis info dump of 2013 happened yesterday, with the guys announcing pretty much everything you’ve ever wanted to know about their upcoming album Unwelcome, which will see release April 30th of this year.

Feb 272013

This is Part 2 of a round-up of new things I saw and heard last night that I thought were worth sharing. Part 1 can be found here.

WITHIN RUINS

As the years have rolled on my interest in deathcore has waned, but I haven’t completely lost the taste for it. Within the Ruins (from Westfield, Mass.) is one of the bands in this genre who have maintained my interest, and from what I’ve heard of their new album Elite (released on Feb 26 by eOne Music), I’m still interested.

Yesterday the band premiered a music video for one of the new album’s tracks, “Feeding Frenzy”. The song brings high-caliber pneumatic thrusting, bestial hardcore vox, and a bunch of instrumental flourishes that remind me of a carnival atmosphere.

And the video (directed by Kevin J. Custer) is a complete hoot to watch. I’ve never been to a dinner party like this one, and I honestly can’t say that I worked up an appetite watching it. But I do pronounce it egggzelent. Here ya go:

Aug 022011

More than six weeks have passed since my last MISCELLANY post, and I’ve been kicking myself black-and-blue for not writing them more regularly. In case you’ve forgotten, I use this MISCELLANY series as a vehicle for checking out bands whose music I’ve not heard before. We keep a list of MISCELLANY candidates, based on messages we get from bands or things we’ve read, and then when I’ve got the time, I pick a few bands from the list, listen to one or two songs, not knowing whether I’ll like the music or not, and then write about what I’ve heard. I also stream for you the same tracks so you can decide for yourselves whether it’s your kind of thing.

This installment of MISCELLANY diverges from the usual form in a couple of respects.  First, the selection process wasn’t quite as random as usual — this time, I decided to pick bands who I knew were all within the genre of black metal. Second, I already knew and liked the previous releases from one of the bands I picked — Aosoth — though I hadn’t yet heard anything from their newest release, so that’s a bit of a cheat on the usual rules.

So, with that preamble, here we go. The music I sampled for this post came my way from Progenie Terrestre Pura (Italy), Aosoth (France), Falloch (Scotland), and Towering Filth (U.S.). It’s all black metal, but the styles of music turn out to be quite different. Black may be the absence of light, but these bands prove (and prove well) that there are shades of black after all.

Apr 292010

We have a pile of new, unheard releases stacked so high on the “Incoming!” table at the NCS Island that it’s in serious danger of collapsing into a heap of digitized rubble. So what are we listening to?

Well, of course, in our usual ass-backwards fashion, we’re listening to, and writing today about, an album by a French black-metal band called Aosoth that came out in December of last year. Why? Because Ashes of Angels is just so fucking raw and nasty that we can’t help but dig the shit out of it.

Of course, cats in heat are also raw and nasty, but that doesn’t mean we like listening to the noise they make. But Aosoth brings more to the cat fight than sharp claws and hair-raising howls.

Every song features a vehement blend of barn-burner blast beats and rapidly whumping double-bass (like a helicopter’s rotors whirling up to speed), high-energy tremolo-picked guitars that sound like a plague of mutant locusts, and serrated shrieking vocals. Those are the primary tools in the tool box. But what Aosoth does with those tools from song to song is unpredictable, and addictive as hell.  (more after the jump, including a song to stream . . .)

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