Islander

Apr 182019
 

 

In October 2017 we premiered a demo named Astral Necrosis by the Italian band Devoid of Thought, whose name I thought would also describe the mental state of listeners exposed to the demo’s three tracks. The music was a whipsawing amalgam of death metal and thrash, with the kind of blazing instrumental performances and brain-spinning intricacy that might lead one to slap a “progressive” label on the ingredients as well — except the music seemed too maniacal and vicious for that word. It was insanely good, and also just insane.

Now Devoid of Thought are returning with a new EP, which proves to be just as severely destabilizing and perhaps even more ghoulishly fascinating than Astral Necrosis. Entitled Cosmic Apoptosis, it will be released on April 19th — tomorrow! — by Caligari Records, but we’ve got a full stream for you today. For those who’ve encountered  the earlier demo, you’ll have a decent idea of what’s coming. The following paragraphs are for everyone else — because it would just be cruel to expose newcomers to these three tracks without some kind of warning. Continue reading »

Apr 182019
 

 

Roughly 18 months ago I came across Saudade, the debut album of a French atmospheric black metal band who call themselves Cepheide. Though commenting about only the album’s first advance track here, I found that it was very easy to get caught up in the music’s wrenching passion, and to get carried away as it rocketed toward a glorious crescendo. Its atmosphere was a mix of depressiveness and delirium, an experience both mortifying and majestic, with a swirling, intense, symphonic melody that glimmered and soared, and rising choral voices mixed with scalding rasps.

The album as a whole proved to be just as gripping, and so it was exciting to learn that Cepheide would be participating in a new split release, especially because the other band on the split, Time Lurker, had also proved through their 2017 self-titled debut album to be such a formidable new force. We’ve already paid attention to one of Time Lurker‘s new tracks on the split, and today we get to present Cepheide‘s contribution, a thoroughly engrossing song called “Lucide“, in advance of the split’s release by Les Acteurs de l’Ombre Productions on May 3rd. Continue reading »

Apr 182019
 

 

The last time I posted a round-up of new music (here) was 15 days ago. At the time I had 10 new songs I wanted to recommend, and no logical way to arrange them, given the diversity of the sounds, other than in alphabetical order by band name.  I got through five bands in the A-M range, with every intention of posting a second installment of five in the M-Z range by the next day. That didn’t happen, and I didn’t get it done by the end of that week, or the next week either, and now it’s Thursday of this week. My fucking day job has been killing me lately.

Of course, a ton more songs have been released in the last 15 days, but I’ve decided to stick with my original plan and finish that selection of 10 that I started more than two weeks ago, even though the music is no longer “hot off the presses”. I have made one change, because one of the songs I had chosen for the second group of five (by Misotheist) coincidentally wound up in eiterorm’s guest edition of SHADES OF BLACK last Sunday, so I made a substitution. Continue reading »

Apr 172019
 

 

Five notes, one minute, a medley of blast-beats, and scorching vocal fury. Those are the key ingredients to “Useless Fake“, though the impact is far greater than such a simple description might suggest. But there’s something else about the song that’s almost equally important, and that’s its historical significance — so let’s begin there.

Useless Fake” first appeared on Expect the Worst, the first EP and second release overall by the Bay Area band Antagony, who became one of the pioneers of deathcore, integrating elements of death metal, grind, and hardcore in ways that really hadn’t been done before. After a decade of making music (from 1999-2009), the group disbanded, and its members went on to form or join such bands as Oblivion, All Shall Perish, Hacksaw to the Throat, Suffokate, Oblige, Misericordiam, Connoisseur, and more.

But now Antagony has risen from the ashes, with a line-up that includes all original members from that first decade of the band’s existence, and they’ve recorded a new album named… Ashes. The album includes new recordings of a selection of tracks that all date back to demos and EPs released from 1998-2000, and the title track, which is brand new. But even the old songs sound new, in part because the performances have now been executed by a veteran group of musicians, and in part because of the power of the production.

Antagony are unveiling one new song every week, concluding with the title track “Ashes” on the day of their album release/comeback show May 25, 2019, at the Oakland Metro Operahouse, and we’re happily presenting this week’s new song — that righteous blast named “Endless Fake“. Continue reading »

Apr 172019
 

 

2019 is shaping up to be a banner year for medieval black metal. For those who are paying attention, it’s also proving the diversity of that particular sub-genre of music as different bands interweave strains of ancient melody from different parts of Europe into their compositions in different ways, and using different instruments, some very old and some modern.

The Spanish band Calyx will certainly be among the front rank of what 2019 has to offer to fans of medieval black metal — or fans of black metal of any stripe, for that matter — through their debut album Vientos Arcaicos, which will be released by Iron Bonehead Productions on May 17th. Their inspirations are described as “firmly entrenched in the Middle Ages, sweeping across the native legends of the Iberian Peninsula as well as castles, ruins, Aragonese Pyrenees, and decrepitude”, but they have channeled those inspirations in melodically memorable black metal of tremendous power and emotional intensity — as you shall discover through our premiere of a track from the new album called “La Sima“. Continue reading »

Apr 172019
 

 

Kneel is the solo project of multi-instrumentalist Pedro Mau from Ponte de Sor in central Portugal, a former member of Kneeldown and Wells Valley. In 2013, with the aid of guest vocalist/lyricist Filipe Correia (Wells Valley, Concealment), Kneel released an album named Interstice, on which Mau was composer, guitarist, bassist, and drummer — and he produced and mixed the record as well.

On May 22nd, the Portuguese label Pulmonary Records will release an updated version of Interstice, which features new mixing and mastering of the music as well as ghostly new cover artwork drawn by Hernan Marin. Today it’s our pleasure to premiere a track from this revamped version of Interstice, a song called “Amend“. It’s a prime example of the visceral, bone-breaking, thoroughly electrifying impact of the music on Interstice. Continue reading »

Apr 172019
 

 

(This is Andy Synn‘s review of the new album by the Swedish band Mephorash, which will be released by Shadow Records on April 18th.)

Black Metal, as we all know, contains multitudes. And within these multitudes it also contains (and practically revels in) a multitude of contradictions.

For instance, despite the genre’s seemingly endless (and not entirely unjustified) fixation on issues of authenticity and artistic purity, it’s also one of the most image-obsessed styles of Metal in existence.

That’s not necessarily a bad thing though. In fact I have a lot of respect for those bands who go to the extra effort of ensuring that their visual aesthetic – from their album art, to their promo shots, to their stage get-up – both reflects and complements their musical identity.

Oh, I’ve definitely seen it go very wrong in the past… just throwing on some cheap robes you bought off Amazon doesn’t suddenly make you more “occult”, and no amount of corpse-paint is ever going to make someone like Carach Angren look or sound any less embarrassing… but those bands who really go the extra mile, bands like Mephorash, who match their appearance to their art in every possible aspect, truly offer something a cut above the standard Black Metal experience. Continue reading »

Apr 162019
 

 

Those of you who are already familiar with Gabriele Gramaglia‘s work in his progressive black metal project The Clearing Path, or his progressive-sludge-post-metal endeavors under the name Summit, know that he is technically accomplished, compositionally inventive, and continually evolving. In his new project, Cosmic Putrefaction, he has turned all those talents in the direction of death metal — and the results are predictably unpredictable.

With the aid of some talented guests, he has recorded a debut album entitled At the Threshold of the Greatest Chasm, which will be released by the always-distinctive I, Voidhanger Records on April 19th, and today it’s our fiendish pleasure to present a full stream of this savagely head-spinning record. Continue reading »

Apr 162019
 

 

(This is TheMadIsraeli’s review of the new album by the French progressive death metal quartet Fractal Universe, scheduled for release by Metal Blade on April 19th.)

I am a HUGE fan of Fractal Universe and what they do.  I find myself, as a result, actually pretty perplexed (from within my small window view) at the extremely mixed opinions on this band across the scene.

It’s progressive death metal with the sort of oddball cross-genre hybridization that I feel we need more of.  The biggest complaint I’ve always heard about this band is that these guys don’t quite have an identity, or that they sound confused in terms of what they want to be. I strongly disagree with this assessment, and honestly wonder if people just don’t “get” it.  I don’t mean that in a pretentious way. I simply mean that I think people don’t get where this band is coming from, or make comparisons that are, in my mind, plainly wrong. Continue reading »

Apr 162019
 

 

(This is DGR’s review of the new EP by Sweden’s Gloson, which was released on April 5th by Black Lion Records.)

The sinister atmospherics that run throughout Gloson’s newest EP Mara — coming in two years after their excellent full-length Grimen — are entirely by design and not a happy accident. If any band has shown a keen mastery of the frightening undertone to their music in recent years, Gloson would be included in the discussion. Our premiere of Mara’s first song “Usurper” touched on the song’s sense of presence early in the writeup, drawing contrast to our compatriot Andy’s review of Grimmen and then highlighting the continued intensity that “Usurper” picks up and carries forward on their newest release.

Gloson describe the concept behind the EP on their Bandcamp page for Mara as such:

The concept of our new EP Mara is about our subconsciousness while being asleep; being stuck between the realm of dreams and reality. Portraying personal demons has usually been the agenda of Gloson, and the most graphic and terrifying ones occur during such states.

So if there was any thought that the almost sixteen minutes of crawling sludge and doom across two songs was going to play nice, then Gloson seek to wipe that away fast. Continue reading »