This is Part 11 of our list of the most infectious extreme metal songs released this year. Each day until the list is finished, I’m posting two songs that made the cut. For more details about what this list is all about and how it was compiled, read the Introduction via this link. To see the selections that preceded this one, click the Category link on the right side of the page called MOST INFECTIOUS SONGS-2011.
In yesterday’s Part 10 of this list, we veered off our usual, heavily beaten path with two slow, doomy songs that were as beautiful as they were dark and featured almost entirely clean singing. Today, we’re back on path — straight down the fuckin’ middle of it. This installment of the series could be called the “rip hell” edition, because that’s what both songs do — they’ll rip the bloody hell out of your head, leaving a spurting neck stump — and a smile on what remains of your face.
DEIVOS
The 2011 Unique Leader release by this Polish band only made one of the many year-end album lists we’ve posted over the last month — the one from Johan Huldtgren (Obitus), but there would have been a second appearance if I hadn’t been too lazy to create one of my own, because it made a lasting impression. To borrow from my review of Demiurge of the Void in October:
“The music — all of it — is a jet stream of head-whipping fury. . . . [T]he pattern consists of this: Brutally fast, razor-sharp, blood-spattering riffage, blasting with the heat of an acetylene torch, segmented into massive slamming beats that deliver a physical jolt. Tempos that unpredictably stagger a step forward or a step back or just plain stomp on your neck, just to prevent you from getting too comfortable. Drums that follow a near-inhuman pace, a percussive holocaust designed to provoke a non-stop adrenaline rush. Diseased guitar solos that either moan sickeningly in the background of the aural torrent or slither forward out of the chaos, like a serpentine creature trying to escape the maelstrom. Bestial barking vocals that well up from a deep, dark place.”
(This is the last installment in Andy Synn’s week-long series of posts looking back at albums released this year. Andy previously provided his lists of the year’s Great albums, the Good ones, and the most Disappointing ones, as well as his list of “The Critical Top 10″. For more explanation of what all this means, plus Andy’s picks for the year’s best EPs, visit this location.)
So here we are, the last list of Andy Synn Week (maybe not the official title, but give me something here guys). Here you will find the ten albums that have made the biggest impact on me personally, the ones which make the most frequent appearance on my playlist. Rarely a day goes by without me listening to at least one of these albums, often several times.
You will note that, in contrast to last year, all my favourite albums this year are drawn from my “Great” list. For once, this is definitely coincidental; it just so happens that as I was paring down my overall list of favourite albums to a mere ten entries, I was left solely with albums that I believe are personally, as well as critically, my absolute favourites. It also covers a whole spectrum of albums, some released right back at the very beginning of the year, reaching all the way up to extremely recent releases, so it also serves as a reasonably comprehensive list in terms of the time-frame it covers!
There’s some minor cross-over with yesterday’s list, as some albums were always bound to be both critically and personally fulfilling, but largely you’ll find here a cross-section of my musical preferences from the year. Each album comes with a short explanation of why I love it; not necessarily why it’s the “Best” album of the year, but just why it clicks with me personally.
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 . . .)
[EDITOR'S NOTE: NCS writer Andy Synn reviews Belphegor's new album . . .]
Well, the 9th album by the real Austrian death-machine is finally here. Immediate impressions are favourable, I’ll grant you that, but really what does one expect from a band like Belphegor whose past releases have all shared the same blast-frenzy?
For one thing, I’d say the sound is more “blackened” in several ways than either of their previous two releases, the guitar tone a little sharper and less “thick” than previous album Walpurgis Rites, the cutting riffs acting more like a scalpel than a bludgeon this time around. There is also a much more refined use of melody, on almost all of the tracks, that adds a sense of atmosphere.
This approach clearly stems directly from Bondage Goat Zombie and Walpurgis Rites (which could be considered the start of a new chapter for the band), but the overall feeling of the new record is of a far more agile and dangerous beast.
Whilst the “chunkiness” of the previous two records may be mostly absent, the song-writing incorporates far more subtlety and nuance (well, as far as a Blackened-Death metal band with an obsession with Satan and Sado-masochism can be considered subtle and nuanced) and uses many of their own familiar tropes in new and interesting ways. The differences in production and tones also allow a wider emotional palette to be invoked and the whole record feels arguably fresher and more supple. (continued after the jump . . .)
Another month has passed. Another Halloween has come and gone. Here in Seattle, we are looking forward to what is supposed to be an especially wet, dark, cold, sucktastic winter — which is really saying something, given that all Seattle winters are wet, dark, cold, and sucktastic. If they weren’t, we would have the population of Los Angeles, so there’s a silver lining to that massively dark cloud.
Yes, the seasons come and they go, the great wheel of life rolls forward, and we are all one month closer to our end, whatever it may be. But as time inexorably passes, new things happen. In particular, we find out about new metal gestating in studios around the world, struggling and kicking and yearning to erupt into the air, screaming like a banshee.
And that brings us to another monthly installment of METAL IN THE FORGE, in which we cobble together a list of forthcoming new albums, cribbing like rag-gatherers and lint-pickers from PR releases and metal news sites like Blabbermouth in order to construct a line-up of new music that at least we’re interested in hearing, even if no one else is.
What we do in this series of posts is update the list of forthcoming new albums we first posted on January 1. (All the other updates can be found via the “Forthcoming Albums” category link on the right side of our pages.) After the jump, in alphabetical order, is a list of still more projected new releases we didn’t know about at the time of our previous updates, or new info about some of the previously noted releases.
I knew this would happen. On New Year’s Day, we put up a long list of extreme metal bands who reportedly will be releasing new albums in 2009, and then carved from that list the 21 bands we especially want to hear in the New Year. We tried to be complete in compiling the master list, but of course we’re already hearing about bands we left off.
So far, three overlooked bands, in particular, deserve mention: Kivimetsän Druidi, Portland’s own Agalloch, and Mors Principium Est. These bands may not be as widely known as others that made “forthcoming” lists in various trade publications, but we’re psyched to hear that new releases are in the works.
KIVIMETSÄN DRUIDI
Kivimetsän Druidi (pictured above) is a Finnish symphonic folk metal band whose name appears to mean “druid of the stone forest.” The band released their Century Media debut CD “Shadowheart” in late 2008 and followed that with a cool video, shot in Finnish Lappland, for a song sung in Finnish called “Jäässä Varttunut.” It appears the song title, loosely translated, means “Grown Up Within Ice,” as in, “The white steel that has been grown on ice will clot the blood with its strike.”
I saw the video, was impressed, tracked down the CD, and remained impressed. It’s a fast-paced, dramatic combination of symphonic death metal, celtic folk stylings, savage gutteral vocals from Joni Koskinen, and soaring sopranos from crystal-voiced Leeni-Maria Hovila. Heavier than you might expect, with memorable melodies and plenty of hard-driving riffs. (more after the jump, including that video. . .)