Sep 032017

 

As mentioned in today’s earlier post, I binged on new music yesterday after being deprived of the chance to do much at the end of last week. That led to the selection of the blackened tracks in this post (many of them recommended by friends who have a knack for spotting things that hit my sweet spots), and a second group that I’ll finish today and post tomorrow. Without further ado, on we go….

WITCHERY

I’m leading off with “True North“, a name that’s been used by other bands for other songs, but this one comes from the new album I Am Legion by Sweden’s Witchery, which features eye-catching cover art by Andreas Diaz Pettersson.

Yes indeed, a new Witchery album only one year after the band re-grouped to put out In His Infernal Majesty’s Service to commemorate their 20th anniversary. And this new one features the same line-up that recorded that last album — drummer Chris Barkensjö, guitarists Jensen and Rickard Rimfält, bassist Sharlee D’Angelo, and vocalist Angus Norder. Apparently, they were so delighted with response to In His Infernal Majesty’s Service that they dived right back into writing more new songs.

Nov 282016

witchery-in-his-infernal-majestys-service

 

(Here’s Andy Synn’s review of the new album by Sweden’s long-running Witchery, which is out now via Century Media.)

Unless you’ve been living under a rock this year you’ll probably have heard something about the release of a new album by a bunch of head-banging, hard-riffing, Thrash Metal veterans who are currently undergoing a bit of a critical renaissance.

No, not Hetfield and co… we’re talking about motherfucking Witchery, bitches!

Nov 202016

murg-gudatall

 

As I originally wrote this post, it included music from 10 bands. As I explained yesterday, I’m feverishly trying to spread the word about late-breaking new releases before being swallowed up by our year-end LISTMANIA orgy. In order to do that, I throttled my usual wordiness in what I wrote, atypically allowing the music to speak (mainly) for itself. But I still thought that 10 bands might be too much for a single post, so I’ve divided it into two parts. I’ll let Part 2 simmer in the pot for an hour or two and then spring that one on you today as well.

As usual for this series, all the music is charred black to differing degrees. I’m starting with some arguably better-known names and then, especially in Part 2, diving a bit deeper into the well of obscurity.

MURG

Song: “Mästarens resa i mörkret”
Album: Gudatall
Release date: December 16
Country: Sweden
Order link: https://murg.bandcamp.com/album/gudatall

Oct 222016

clouds-departe

 

Greetings brethren and sistren on this beautiful Saturday. At least it’s beautiful where I am, deep in the heart of Texas, where I’ve been visiting family members the last couple of days. In fact, it’s such a beautiful morning that I felt compelled to ugly it up with new metal. I found some good ways to do that, which you will hear below, and I found one other surprise, too.

But before we get to music that will bruise the day, I’m beginning this collection with something that’s as beautiful in its own way as this morning. And before I get to THAT song, I’ll leave you with YouTube links to some new music and videos that appeared just yesterday from the following bands, though I’m not writing about them here: Hail Spirit Noir; Madder Mortem; and Dark Tranquillity. I’ll also embed the videos at the end of this post if you’d rather not leave our humble site to hear and see them.

CLOUDS

I thank Grant Skelton for alerting me to this first song, which appeared about five days ago. Its name is “How Can I Be There” and it’s from Departe, the second album by the band Clouds.

Apr 132012

(If this stuff weren’t so much fun to read, I’d be murderously jealous. Here’s Andy Synn’s review of the last day at Oslo’s Inferno Festival last weekend. His review of Day 1 is here and the Day 2 review is here. Okay, to be brutally honest, I’m still murderously jealous.)

So here we are at the final entry of my Oslo odyssey.  We spent the last day of our time in Norway exploring Oslo a little more, sampling its fine foods, visiting the art museum, tracking down the infamous Neseblod Record Store (grabbing myself an Antestor EP and two hard to find Urgehal albums in the process) and generally enjoying the fine weather and the experience of being in a foreign city (albeit one which I’ve now visited numerous times). But all good things must come to an end, and thankfully the festival had another stunning night of music left to send us off in good cheer (and with aching necks to boot!).

The rebirth of Decapitated has been one of metal’s most stirring tales of perseverance, returning from the depths of tragedy with a revamped line-up and a sound that builds even further on the group’s base template. Like an armoured tank, they roll unstoppably onwards, stoically bearing the brunt of what life throws at them.

Vogg’s riff-writing and playing style remains utterly unique, his squealing leads careening like a freight train up and down the fretboard, while angular mechanical chugging rhythms pound a cybernetic war drum into your brain. Songs like “404” see the man almost literally torturing his guitar, bleeding bone-scraping noises from his instrument like some demented guitar-wielding surgeon, while a track like “Homo Sum” allows him to flex his more melodically-inclined muscles, eking out eerie lead parts and swirling dis-harmonies amongst the pneumatic, drum-driven carnage.

Talking of drums, there are times tonight when Krimh’s inhuman technique and stamina seem right on the verge of spontaneous combustion, so unnerving is it to hear a single human being produce such an industrial cacophony of noise – people might speak mostly of his impressive ability to handle older material like “Day 69” (including its now infamous mid-song drum-solo) at a standard to match his predecessor, but it’s his work on the newer material that shows just how his style differs, and just what new avenues that will open up for the group in the future.

May 012010

We’re now a full four months into 2010, and it’s time for our fourth update to the list of forthcoming new albums we posted on January 1. (See the original list here, the first update here, the second update here, and the third update here.) Below is a list of still more projected new releases that we didn’t know about on January 1 or at the time of our last three updates (or that we’ve found updated information about) — and the new sickness is still spreading in epidemic proportions.

Once again, we’ve cobbled together news blurbs about bands whose past work we’ve liked, or who look interesting for other reasons. Needless to say (but we’ll say it anyway), these are bands that mostly fit the profile of music we cover on this site.

So, in alphabetical order, here’s our list of cut-and-pasted blurbs from various sources since our last update about forthcoming new releases. Look for the bands you like and put reminders on your calendar. Or if you’re old school like us, just get em tattooed someplace you can see without a mirror (because reading stuff backwards is hard).

ABIGAIL WILLIAMS: “Abigail Williams have completed recording of individual performances for their still untitled second full-length. Captured at Conquistador Studios in Cleveland, Ohio, eight new songs were laid down with vocalist/guitarist Ken Sorceron and engineer Cole Martinez controlling the audio takes. The songs are currently being mixed by Peter Tagtgren (Dimmu Borgir, Immortal, Celtic Frost) and are expected to be completed later this month.”

ABYSMAL DAWN: “Los Angeles-based metallers ABYSMAL DAWN will enter Trench Studio in Corona, California in May with producer John Haddad (PHOBIA, INTRONAUT, HIRAX) to begin recording their new album for a tentative fall release via Relapse Records. The follow-up to Programmed To Consume will be mixed by Erik Rutan (HATE ETERNAL, VITAL REMAINS, CANNIBAL CORPSE) at his Mana Recording Studios in St. Petersburg, Florida.”  (the list continues after the jump .  .)

Apr 302010

Today we’re continuing the experiment we began two days ago, to test our hypothesis that at least in the world of extreme metal, cool album cover art usually means there’s something worth hearing in the music. Yeah, we know it’s a ridiculous, illogical hypothesis, but at least in our random experience we think there’s some truth to it. Besides, it’s proven to be an interesting vehicle for checking out some new music.

The test methodology we used is this: We looked at news blurbs on Blabbermouth over a recent 48-hour period about new or forthcoming albums, and every time we saw a cool album cover, we visited the band’s MySpace site and listened to what was available from the album.

In Part 1 of this experiment, we reported on our first two test samples — a forthcoming album from Keep of Kalessin and a recently released album from Trident. So far, our samples confirm the hypothesis. Today, we’re reporting on the results of three more samples, courtesy of Setherial, Trigger the Bloodshed, and Witchery.

The first sample is an album called Ekpyrosis scheduled for release in May on Regain Records by that Swedish band, Setherial. The cover art, by an artist named Bartosz Nalezinski, is pictured at the top of this post. We thought it was kinda cool — a ghoulish metamorphosis of some traditional Christian iconography. But is the music cool?  We have our own opinion … after the jump. (plus the other test results)

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