Islander

Jan 182023
 

Like yesterday’s installment of this list, today’s lucky 13th grouping doesn’t have much rhyme or reason to it. I mean, all these songs are here because I found them all highly infectious and very good in different ways, but I sure won’t claim that they have many other connections.

Oh, I guess I should mention that all three happened to be either songs or videos we premiered at NCS, though that’s not the reason I picked them.

MACERATION (Denmark)

I feel honored every time someone asks us to host a music premiere, but I admit I was especially excited when we were asked to premiere the come-back album of this Danish death metal band last year. Not only did it represent the return of a group who made a heavy mark in the old annals of death metal with their 1992 debut A Serenade of Agony, it also featured Dan Swanö stepping in again to fill the session vocal role, as he did under the name Day Disyraa for that 1992 debut. And the new album also turned out to be really fucking good — an opinion I attempted to justify at great length in a review accompanying the premiere. Continue reading »

Jan 182023
 

We’ve enjoyed watching the relentless forward progress of the Canadian death metal band Dead Soul Alliance, from the first self-titled demo in 2011 to the 2013 EP Proud To Die (reviewed here), the 2017 EP Slaves to the Apocalypse (reviewed here), and the band’s debut album, Behind the Scenes (for which we hosted a song premiere here). And now we have a new reason to howl the band’s praises because they’ve got a second album storming toward a February 17 release by the Cryptorium9 label.

Once again, vocalist and multi-instrumentalist Wolven Deadsoul is in charge, again joined by drummer E.H., and together they’ve created a swift nine-song, 32-minute experience that bears a fitting name: Spiralling to Lunacy. How fitting is it? You’re about to find out, through our premiere of the album track “New Normal Nihilist“. Continue reading »

Jan 182023
 

The Chilean death metal band Sepulcrum (from Puerto Montt) made their public recording debut in 2020 with an explosive five-song EP named Corpse Dividing Holes, drawing influence from such classic ’90s death metal bands as Morbid Angel, Deicide, Mortem (Rus), Morta Skuld, Pestilence, and Death. They followed that up with numerous shows in the south of the country, and also turned their fiendish talents to the preparation of a full-length.

That album is now complete and bears the name Lamentation of Immolated Souls. Emblazoned with eye-catching cover art by Francisco Ramírez (Morkt Artist), it’s set for release on March 17th by the cult Mexican label Chaos Records on vinyl, CD, and cassette tape, joined in the release by the Chilean label Burning Coffin Records (CD and tape), licensed by Burning Coffin and Canometal Records.

To help spread the word, today we’re premiering a berserk bonfire of a song named “Schizophrenic Amputation“. Continue reading »

Jan 182023
 

(Here we have Comrade Aleks’ very engaging interview with Georgiy Bykov, a key musician with the Russian band Mare Infinitum, whose newest album was released near the end of last year by Solitude Productions.)

I didn’t expect any new releases from the Russian doom-focused label Solitude Productions during 2022, because the label was put on hold after infamous events which started in February 2022. But somehow they managed to release Cryosleepthe third album of the Moscow-based band Mare Infinitum.

The band was founded back in 2010, and its albums Sea of Infinity (2011) and Alien Monolith God (2015) received a warm welcome, so the band often played live, joining almost all the local doom festivals during the past decade. After a seven year long break and some line-up changes Mare Infinitum returns, and their new material differs significantly from the good old death-doom stuff we expected from them.

The band’s founder Georgy Bykov tells how they lived through these seven years and passed the genre’s borders. Continue reading »

Jan 172023
 

 

I almost never attempt to write album reviews except when we’re hosting full album premieres, and occasionally as part of the black metal column I put together on Sundays. It’s not for lack of desire, just a consequence of being squeezed for time after completing everything else I do around this joint. Doesn’t mean I don’t listen, just means I’m usually forced to keep my thoughts to myself.

And so what you’re about to read is a relative rarity for me, spawned not only by a belief that Phantom Centre, the new album by the Swedish post-metal/sludge band Kollaps\e, is deserving of whatever push I can give it, but also by an unexpected gift of free time. Continue reading »

Jan 172023
 

 

Welcome to Part 12 of this ever-expanding list. More often that not, I’ve had some kind of organizing principle for the songs collected in previous installments, even if it’s been nothing more than the letters which begin the bands’ names.

Today I don’t have any kind of thematic or stylistic grouping. It’s just three songs I really enjoyed from last year and thought should be on this list.

Continue reading »

Jan 172023
 

Even in the most hostile, harrowing, and abrasive off-shoots of metal, the power of the riff stands tall. Distinctive riffs create detectable patterns in a song, even when they’re not also carrying melodies or rhythmic hooks. And even a site such as ours can’t deny the power of a strong vocal melody. Harsh vocals can vitally contribute to the creation of an emotional response or become percussive instruments themselves, but singing is often a more potent ingredient in channeling a mood or making a song memorable.

These ingredients of music, even in its more extreme variants, create instinctual connections to the human mind. Vast amounts of academic research and philosophical speculation have been devoted to trying to explain why this is, but whatever the answer, the connection seems to be primordial, likely pre-dating language or even the full evolutionary development of the human brain as it now exists. It is a universal language that everyone understands, innately.

Of course, complex and discordant music (and noise) has its own appeal, for reasons that are maybe even less well-understood, but it’s those primordial connections that often prove most formidable.

Which brings us to Breath the Oath, the forthcoming second album by the Dutch stoner doom trio Pander that we’re premiering today in advance of its January 20 release by Argonauta Records. Continue reading »

Jan 172023
 

(This is Wil Cifer‘s review of the new album by Obituary, just released on January 13th by Relapse Records.)

In 1989 I first heard “Slowly We Rot” on a college radio station that played metal at midnight every Friday night. What struck me about Obituary was the deliberate grind of guitars and John Tardy‘s emotive yowl that separated them from the other death metal and thrash bands at the time. Their sound owed more to Celtic Frost than Slayer or Venom.

Those kinds of Celtic Frost like groove do not play as defining a role in their new album Dying of Everything, however I was also not expecting the thrashing ass-kicking the opening track unleashes. Any concerns regarding this album living up to their established legacy were squashed. The more Slayer-like attack is balanced out by Tardy‘s distinctive voice reminding you that this is Obituary. They bring back the headbanging grooves on “Without a Conscience”, and Tardy‘s sneer is given time to articulate the agony. Continue reading »

Jan 162023
 

Straight outta British Columbia’s Okanagan Valley comes the death metal band Nomad and their debut album The Mountain, which is home to songs that are both heavy-grooved and technically adventurous, both fiendishly melodic and strikingly savage, and with a wide-ranging vocal interplay that features three different performers.

As a vivid sign of what Nomad have done with The Mountain, we’re going right to an electrifying and politically charged new song named “Revolution”. Continue reading »

Jan 162023
 

In the video you’re about to witness, esoteric undertakings unfold. By candlelight Tarot cards are turned, texts are examined, a potion is made. Under overcast skies a hooded figure with a gnarled staff and inhuman talons staggers through befogged forests. A spade parts the ground, to unearth a buried medallion bearing the pentagram sign.

The words of the song also delve into ancient occult mysteries. As described by the music’s creator, the Costa Rican musician and producer Max Gutierrez Sanchez, here in his guise as Hermès, the sole creator behind Grandiosa Muerte: “”Destino” is an evocation of the ancient knowledge of the Mayan world, intimately linked with the Sacred Fire and where the figure of the Nahuales, spiritual forces that contain and transmit the perfect human being archetype, emerge in an imposing manner.”

More specifically, the lyrics “invoke Nahual Ajpu, the Solar Warrior and Sorcerer, and intermingle it with other incarnations extracted from the Popol Vuh to materialize in a mental preparation ritual before accessing the domains of man, where the music emerges as a continuous flow of melodies and hypnotic rhythms that keeps in the fast lane of rampant ferocity.”

That preview of the music is no exaggeration. In its rampant ferocity, “Destino” is breathtaking in its electrifying power and intensity. Continue reading »