(DGR provides this review of the latest album by NOLA’s Goatwhore.)
Stupid late, and we know it, but as the end of the year approaches one of our worst habits is to panic – or more correctly, I panic, because most of the guys on the site are pretty relaxed — about the massive number of albums that came out during the year that we didn’t get around to reviewing. Not only that, but there’s always two or three un-reviewed albums where it feels right to provide a forum for our users to discuss the disc alongside our own feelings on the album. Goatwhore’s Constricting Rage Of The Merciless is one such disc.
It was an album that, as far as I know, was suddenly just “Out”, and the only review we were able to stammer out for it at the time was one of Andy’s haiku reviews. While those are great and a fun exercise, and I do recognize the difficulty in trying to hammer a disc down to just three lines where I prefer to go the opposite route and provide massive walls of text, sometimes there’s an album in there that I generally regret not being able to give the full “review tome” treatment.
I took a short break from my fucking day job to scan through the NCS e-mail, and what did I see but an alert that Goatwhore had just premiered an official video for the song “Nocturnal Conjuration of the Accursed”, from their most recent album, Constricting Rage of the Merciless.
So I watched it. And you should, too. Because it’s Goatwhore. And they fuckin’ rock.
(and the lighting and colors in the video are cool)
Here’s the video:
(Andy Synn delivers another installment of his irregular series of album reviews in haiku. Two more reviews come after the jump. With music, of course.)
EARTH CRISIS – SALVATION OF INNOCENTS
Still angry, still raw
Still destroying the machines
With big riffs and rage
I’ve not been paying much attention to new song and video premieres or metal news since leaving town for Maryland Deathfest last week and I’ve fallen way behind. But I did just see what you’re about to see in this post — a pair of brand new goodies from NOLA’s Goatwhore relevant to their new album Constricting Rage of the Merciless.
First, we have the cover art created by Jordan Barlow. Very nice.
Second, we have a lyric video for an advance track from the album named “FBS”. It is also very nice (I’m pretty sure I heard them play this on the recent Metal Alliance tour). It’s a nasty, thrashy stun-gun of blackened speed metal with riffs galore and an off-speed instrumental break that’s just as cool as the pedal-to-the-metal parts.
Behemoth, Goatwhore, 1349, Inquisition, Black Crown Initiate, and Drawn and Quartered performed at Studio Seven in Seattle on Saturday night (May 3, 2014). It was one of my most eagerly anticipated shows of the year. But I had a sinking feeling about it before the concert began.
I paid extra to get advance VIP tickets for myself and some friends (for what turned out to be a sold-out show) because they promised a meet-and-greet and early admission. An e-mail from the ticket-seller notified us that we needed to be at the venue no later than 3:45 for the meet-and-greet, and even earlier than that to pick up the tickets at will-call. This provoked groans, given that the show wasn’t scheduled to begin until 6:00. Of course, this was a metal show, and the odds were high that nothing would actually happen at 3:45, but we didn’t want to risk missing what we’d paid extra for. So we were there at 3:30. And of course nothing happened until 4:15.
In the meantime, we got soaked when the drizzling rain outside the venue became a downpour. And while shaking ourselves like wet dogs in a doorway we speculated that since this was the last stop of the tour, the promoters might have been having trouble waking up any of the musicians for the meet-and-greet. This suspicion was strengthened when we were finally ushered inside, to find obviously fatigued representatives from all the touring bands sitting along a long row of shadow-shrouded tables in the dark venue, waiting one-by-one to sign tour posters we were given at the door.
Here are a few notices sent my way by my NCS colleagues that we agreed were worth mentioning. They concern forthcoming albums.
Following up on their well-received 2012 album Weather Systems, the UK’s Anathema revealed this morning that their new album will be named Distant Satellites and will be released by the Kscope label on June 9. The album art was created by Korean new media artist Sang Jun Too and was based on his “Distant Light” installation. Some of the songs were mixed by Steven Wilson. The band’s announcement also included these words:
“Distant Satellites is the culmination of everything ANATHEMA been working up to so far in our musical path. It contains almost every conceivable element of the heartbeat of Anathema music that it is possible to have.
I nearly fell out of my chair when I saw the announcement that’s the subject of this post. And as I wobbled in a sudden affliction of vertigo, the words “holy shit” repeatedly escaped my slack-jawed mouth. About all I’m capable of doing at the moment is re-printing the official press release. Grab hold of something solid in case you feel faint, and read on…
The Metal Alliance Tour is back for their fourth ferocious year of wrecking heads. Festival organizers Dan Rozenblum and Steve Seabury of High River Entertainment are proud to welcome to American soil the mighty Behemoth as their 2014 headliner. This will be the first time in over a decade that Behemoth will tour North America in support of their new record The Satanist released on April 2nd through Metal Blade Records. The tour will be rounded out by New Orleans natives Goatwhore, 1349, Inquisition and the buzz worthy unsigned act Black Crown Initiate.
“This tour is no exception for our love of all things heavy.” states Rozenblum. “This tour is for metal fans by metal fans.” adds Seabury. “this bill explores our appreciation for the dark and black side of metal. Behemoth have been a favorite of ours and we are stoked to have them headline the fourth edition of the Metal Alliance Tour!”
Yeah, it’s fuckin’ St Patrick’s Day. I usually look forward to this day, partly because I have a soft spot in my heart for the Irish even though I have no Irish ancestry and partly because, hey, any excuse to get wasted. And is there more to St Patrick’s Day than getting shitfaced? Does anyone sit in quiet contemplation of the contributions of the Irish people to the development of civilization?
But I have to say I’m not excited about Saint Shitfaced Day this year because I’m on the home stretch of the fuckin’ work project that has kept me away from Seattle for 3 weeks and counting. It’s now like a race to the finish, with Tuesday slated for the project’s completion, and I have no freedom to party at all today.
In fact, this is the only post I’ll be able to manage today, having worked til midnight last night and having started again at 6 a.m. this morning. Consequently, his will be real quick and dirty.
I saw that photo up there of the almighty Goatwhore playing at the IndieMerchStore Riverboat Party at SXSW in Austin yesterday. Fuckin’ metal. Also kind of different to see Goatwhore playing in broad daylight. Amazingly, they didn’t burst into flames.
Welcome to Part 17 of our list of the year’s most infectious extreme metal songs. In each installment, I’ve been posting at least two songs that made the cut. For more details about what this list is all about and how it was compiled, read the introductory post via this link. To see the selections that preceded the three I’m announcing today, click here.
I’ve been tramping through the forest of black metal the last couple of days and decided to stay there at least one more day. I’ve been pretty sure for a while that this list would include music from each of today’s three very different albums. The hard part came in picking just one song from each.
This NOLA band’s 2102 album Blood For the Master was reviewed for us here by Andy Synn. It was loaded with great metal, but I ultimately picked “When Steel and Bone Meet” for this list. To borrow Andy’s word, “When Steel… is a bar-room brawl set to music, chains and fists flying in a drunken, grooving orgy of violence that manages to cram in a swaggering groove, pummeling power-riffage, and some switchblade soloing in barely more than 3 minutes.”
Chicago guitarist Jeff Wilson is a busy dude. In addition to his bands Chrome Waves and Wolvhammer, both of which we’ve praised here at NCS in the past, he’s also a driving force in a new collective called Doomsday. He’s got some heavyweight talent along for the Doomsday ride, too:
In some ways this group is like a Nachtmystium alumni reunion, since Wilson, Woodring, Simmons, and Meagher were all previously involved with that band — and Doomsday’s self-titled, six-song EP was engineered by Nachtmystium’s Sanford Parker, along with Carl Byers (Coffinworm). It will be released on November 6 by Wilson’s newly founded label Disorder Recordings, and it features brilliantly occult cover art by Christina Caperson.
Okay, now that I’ve gotten the details out of the way and nearly sunk this review under the weight of all those links, I do have a few words to say about the music: It’s really fuckin’ good.