Greetings again from Anchorage, Alaska, where it’s colder than a well-digger’s ass in the Klondike and where I’ve come down with a raging cold myself. On the plus side, I’ve once again had a few hours to myself this morning before having to dive back into my day-job labors. On the minus side, it’s looking like I may not be able to get back home until Monday, which blows.
In my free time this morning I made a quick scan through the NCS e-mail. Despite the fact that it’s overflowing with stuff that I don’t have time to read, a few things did leap out at me, and I’ve collected those here — presented in alphabetical order by band name.
We’ve previously featured a trio of live videos by Abbath that the band released in the ramp-up to their self-titled debut album (coming from Season of Mist on January 22) and a 7″ single that’s due for release on December 11. Yesterday Abbath debuted the album’s cover art (above) and the first studio recording from the new album, a track called “Winter’s Bane”.
The new song rips. There’s a quasi-industrial groove in the music that will get heads moving, as well as an addictive, pulsing melody, some more fine drumwork by the band’s mysterious percussionist Creature, and a very cool dramatic finale heralded by an acoustic guitar interlude.
The new album and the 7″ single (Count the Dead) can be pre-ordered HERE.
Today brought the unveiling by Italy’s Fleshgod Apocalypse of the cover artwork for their next album, entitled King. It was created by one of our favorite metal artists, Berlin’s Eliran Kantor. The following statement by the band accompanied the artwork:
“This work of art is nothing more than the picture of an old world coming to an end. The author, Eliran Kantor, perfectly interpreted the concept behind the album. The King represents the last stand of integrity and justice in a court infested by traitors, villains, perverts, parasites and prostitutes. In an era that looks more like the Middle Ages than the 21st Century, we felt the necessity to express our indignation for the constant loss of values and our despise for mediocrity and commercial use of superstitions.
“The question is, are we sure everything that is ‘new’ is right? Are we sure we are not losing the perception of what is the real value of things? Perhaps the essence of that King lies inside everyone of us but it’s just dimmed by the mist of deceit and (ir)rational superfluity. Perhaps we should all hail the King we have inside.”
King is scheduled for release in early 2016 via Nuclear Blast Records. Needless to say, we’re very excited to hear what the band have cooked up.
This next item also involves the disclosure of eye-catching album art, this time for the next full-length by Germany’s Obscura. The name of the album is Akróasis (apparently Greek for “hearing” or “listening”), and it’s scheduled for release by Relapse Records on February 5. It was produced by the band and V. Santura (Triptykon, Pestilence).
Five years have passed since Obscura’s release of Omnivium, and in that time there have been some noteworthy line-up changes, with the departure of Christian Muenzner and drummer Hannes Grossmann last year. Here’s the band’s current roster:
Steffen Kummerer – Vocals & Guitars
Rafael Trujillo – Guitars
Linus Klausenitzer – Bass
Sebastian Lanser – Drums
I’ve been curious how these changes would affect Obscura’s music, and now we have a teaser of an answer through the snippets of music from the album that you can hear below.
Yesterday, Philadelphia-based Vektor revealed artwork for the first advance track from their next full-length, Terminal Redux, which will be released by Earache Records on March 11, 2016. Although it’s not the actual album cover, it’s pretty damned cool. In addition, of course, we got a stream of the new song — “Ultimate Artificer”.
It’s a head-twisting, hi-tech, speed-demon of a thrasher — which is what you expect from Vektor. So nice to have new Vektor.