I don’t have any scientific way of knowing the musical tastes of the people who visit this site, just rough guesses. My rough guess is that most of the music in this post will be on the outer edge of the comfort zone of most visitors, or maybe outside it altogether. But since I’m starting with Krisiun, maybe that will buy me some leeway from all our necrovorous readers on the final four entries in this round-up. And if it doesn’t, well, I’ve got teflon skin, so you can piss on me in the comments and it will roll right off, no harm done.
I admit that Krisiun is more down the middle of my own comfort zone, too, but for me, the outer edges of the zone are way out there, as the spectrum of this music proves. So, in addition to the new song from Krisiun, I found something to like about all the other new songs included in this post — from Censura (Ireland), The Browning (U.S.), Whitechapel (U.S.), and Subrosa (U.S.). Two of these new songs, by the way, are captured in well-made music videos, and so maybe you’ll be distracted by the moving pictures, though I hope you’ll get something out of the music, too.
The three, mean-ass, Brazilian death-metal overlords in Krisiun have a new album on the way. Called The Great Executioner, it will be released by Century Media in Europe on October 31 and in the U.S. on November 1. About 10 days ago, Krisiun released a song from the album called “The Will To Potency”. Somehow, I missed it until this past weekend. It’s stupendous, titanic, mind-bending. It lashes together strikingly proficient technical musicianship, bursts of head-spinning melody, guitar solos so white-hot as to melt lead, and the voraciously unclean vocal roars we all know and love so well. And wait ’til you hear the song’s intro. Limber up your neck muscles and hear this (right after the jump):
Censura is an unsigned Irish band who wrote NCS recently about their new music video for a song called “The Voice”, which appears on a forthcoming four-song EP entitled The Island. Censura’s sound incorporates the musical sensibilities of metalcore, with hammering industrial rhythms and near-pop melodic choruses, plus traces of start-stop, dubstep-style electronica. Vocalist Jimmy Triger shifts from harsh vocals to near-clean voicing in the chorus, riding the groove of the djent-plus-keys instrumentation.
The video reflects production quality that we rarely see in a debut video for a debut EP by a new unsigned band. If you wonder what the strange, painted creature in the video represents, she’s apparently intended to embody the band’s goal of standing out from the surrounding landscape. In the video, she certainly does. Does the music? Well, I don’t think it’s breaking any new ground, but it’s still fun. Judge for yourself:
The Island is available for pre-order in CD format at http://censuraireland.bigcartel.com. The CD includes the video plus a fifth song, and those who pre-order will receive an immediate mp3 download of “The Vice”. You can follow Censura on Facebook via this link.
We first discovered this Dallas-based outfit almost exactly one year ago through one of our MISCELLANY experiments. At the time, they’d only been a band for about five months, but had already been signed by Earache Records. The song we sampled for the MISCELLANY post was “Standing On the Edge”, and holy hells was it a catchy number, so much so that I came very damned close to including it in our list of 2010’s most infectious extreme metal songs.
The Browning have a new album slated for release via Earache tomorrow (Oct 4) called Burn This World. Last week, they released an official video for a song from the album called “Bloodlust”. It’s another very catchy song reflecting The Browning’s distinctive take on the deathcore genre — heavy on the keyboards, with near-symphonic synths in places, but with plenty of head-butting aggression in the forefront. There’s something about that combination of hook-laden melody, bombastic keyboards, and raging vocals and riffing that I find appealing.
As in the case of Censura’s video, the new one from The Browning is also well-made, combining footage of the band performing with a short story, the moral of which, I suppose, is that when the attentions of a hot blonde seem too good to be true, you should check out her canines.
I suppose everyone knows that Whitechapel is a deathcore band, certainly one of the most popular deathcore bands going. But they’ve thrown a curveball with a new song released in the last few days called “Section 8”. Undoubtedly, it has engendered confusion and even dismay among the Whitechapel faithful. For me, it rekindled interest.
The song is still deathcore, laden with concrete, atonal guitar and bass chords, and cement-busting breakdowns, but . . . it’s jazzed up with unexpected polyrhythms, djent-style riffing, and ghostly phantoms of melody that appear long enough to make you think, “what the fuck was that?”, and then evaporate.
My, my, the band appears to be in search of . . . musical growth? Stylistic evolution? Something that passes for a challenge to the sensibilities and expectations of its diehard fans? Yes, I believe so. That’s worth at least polite applause, don’t you think?
This track will reportedly appear on a digital-only EP called Recorrupted, which is expected on November 8 through Metal Blade Records.
I was introduced to this Salt Lake City band about a month ago by one of the original co-founders of this site, IntoTheDarkness. I was shocked to hear the music, given what I know of ITD’s tastes, which lean heavily toward the deathcore end of the metal spectrum. Subrosa combine massive, doom-y, black-hole guitar chords with ethereal, clean vocals — thick sludge and the flight of doves.
Profound Lore released the band’s latest album, No Help For the Mighty Ones, this past spring, featuring the wonderful cover art of Glyn Smyth. A vinyl release is coming up, with different art from the same artist. So, I’m using that impending release to claim the music as new for purposes of this post. Mainly, I just wanted to share a song that has grown on me quite a bit the more I’ve listened to it. This is “Borrowed Time, Borrowed Eyes”:
Okay, that’s a wrap on this hodgepodge of music. Let the peeing begin!