Sep 262013
 

Amoral are a Finnish band who I first heard about almost two years ago through my internet pen pal fireangel of the Night Elves. They released their fifth album, Beneath, in 2011, but they recently announced that they’ve completed a new one entitled Fallen Leaves & Dead Sparrows that will be released next year. Today they began streaming the first advance track from the album, a song called “If Not Here, Where?”

I gather from some info that fireangel sent me in the past that Amoral’s sound began to change following the addition of new vocalist Ari Koivunen before the recording of the fourth album — more melodic songs with big choruses, more clean vocals, a drift toward more “classic” metal, with even some glam overtones. You can probably guess why I didn’t dive right into Beneath. I did post a video for one of the songs from that album (“Wrapped In Barbwire”), because it was such a catchy motherfucker, with groovy riffs and a repeatable chorus — but the vocals still weren’t my kind of thing.

The new song, on the other hand, has hooked me — and not just because the clean vocals are balanced by jagged howls. At more than 9 minutes, it’s an ambitious undertaking, one that begins with an extended, primarily acoustic overture and Koivunen’s power-metal-styled tenor in the spotlight. For some reason, I thought I was about to hear a previously unreleased Journey or Yes song. And then the heavy riffing began, and the song grew progressively more interesting as it grew more  . . .progressive. Continue reading »

Sep 252013
 


Within the last day or two, a number of new albums became available for streaming in full. Here are four that I think are worth checking out. In some cases I’ve been able to embed the streams here. In other cases, I’ll have to give you a link to hear it elsewhere. The bands are listed in alphabetical order; as you’ll discover, this selection includes a lot of Exceptions to the Rule around here (you know, the one about singing).

DOOMRIDERS

Doomriders, the Boston outfit fronted by Converge bassist Nate Newton, are releasing Grand Blood on October 15 via Deathwish Inc. It’s the follow-up to Darkness Comes Alive. Stream it at Pitchfork Advance here. Continue reading »

Sep 172013
 

It’s becoming increasingly difficult to make headway in listening to entire new EPs and albums when one is continually being distracted by the premiere of individual songs, especially when so many are so good. And that’s been the way the last several days have gone. So here’s one more round-up, though I’m limiting this one to two songs.

INQUISITION

As previously reported, Season of Mist will be releasing the next album by Inquisition — Obscure Verses for the Multiverse — on October 29 in North America and October 25 elsewhere. In our last post about these developments, we included a collection of excerpts from all the songs on the album, but today brought the premiere of one complete track — “Darkness Flows Towards Unseen Horizons”.

There are good reasons why this duo are so highly regarded by lovers of extreme music, and this song proves the case again. It unleashes a flood of mounting intensity, yet couples the storm front of razored riffing and attacking percussion with ringing melodic chords and twisted soloing that provide the magnet for repeat listens. I still prefer the vocal roars to the cracked croaking, both of which are in evidence on this song, but this really is a thoroughly compelling song. Listen via the lyric video that comes next. Continue reading »

Sep 162013
 

Over the last 36 hours, your humble editor has been preoccupied with matters of both great importance and trivial insignificance, i.e., one being Seahawks football and the other being the demands of my paying job, and of course you know which is which, am I right? While these matters were distracting me from the glorious world of metal, it turns out that a flood of new things swept through the byways of the interhole. At this point, I don’t have time to collect everything of interest that I found, but I thought I’d at least throw two of them your way, selected in order to provide contrast. I’ll round up the rest for a post tomorrow morning.

PYRE

In June I reviewed (here) a new split by Pyre from St. Petersburg, Russia, and Entrapment from The Netherlands. That was only the second release by Pyre (it followed their 2012 EP, Ravenous Decease), but I was mighty impressed. And now I’m impressed all over again.

Today they released a new 2013 demo track called “We Came To Spill Thy Blood”. So far, I haven’t found that any of my own has been spilled, but the song certainly did accelerate its transit through my veins and arteries. The song reminds me of Wolverine Blues-era Entombed. It has that old school guitar tone, riffs galore, and rhythms that will get your head nodding and your feet moving. The vocals still remind me of LG Petrov. Continue reading »

Sep 122013
 

(Andy Synn reviews the new DIY album by Norway’s Ulver, with an album stream at the end of the review.)

Sometimes you have to wonder… why do Ulver albums still get reviewed on metal blogs? After all, the band themselves haven’t had a shred of “metal” in them for a long time.

Still, there’s a connection – and it’s more than just nostalgia or a sense of obligation due to the band’s “seminal” early years.

I know quite a lot of metal fans who love the strange, otherworldy music that Ulver make, but don’t really have anything else even vaguely similar in their music collections.

I think, ultimately, what draws people in, and what makes them stay with the band through all their digressions and deviations, is the boundless (stubborn, even) sense of artistic integrity they display. From poppy exuberance to dark psychedelia, they are a band who embrace, and revel in, contradiction. Each of their albums is simultaneously daring and difficult, challenging yet compelling, filled with a warmth of emotion yet governed by a calculating intellect.

And Messe I.X-VI.X is no different, in that regard. Continue reading »

Sep 082013
 

We’re kind of light on the metal at NCS this weekend, and I’m about to explain why.

At the beginning of the summer my wife and I watched a documentary about a band. My wife, to put it mildly, is not into metal, so it was more a question of me going along on her ride than me being behind the wheel. The movie was History of the Eagles. In a word, it was superb.

I suppose it helps to like The Eagles’ music, which I do, but as a look at the rise and fall and resurrection of an unlikely group of very talented and collectively dysfunctional singers, songwriters, and musicians over a 40-year period, the movie is a fascinating story in its own right. (Did you know that The Eagles, Their Greatest Hits 1971-1975, which was released in 1976, was the best-selling album of the 20th Century in the U.S.?  True story.)

Right after we finished watching the movie, my wife asked if we could find out whether the Eagles were touring again — and of course, they are. Because she and I almost never hear live music together and because we haven’t taken even a short vacation together in quite a while, I splurged on a very pricey pair of tickets to an Eagles show in Vancouver, BC, which finally took place two nights ago on September 6, 2013. We hit the road from Seattle that morning.

With five hours of the indie rock and alt-folk favored by my wife blasting in the car on the round trip and a long evening of The Eagles in between, the closest I got to metal until arriving home again last night was driving past The Rickshaw venue on the way into downtown Vancouver. But I couldn’t help thinking about the contrasts with metal that the weekend revealed. Continue reading »

Aug 182013
 

This is a surprising piece of news about a band who seem to specialize in surprises. Norway’s Ulver have changed their sound dramatically over the years, losing and gaining different groups of fans as their music has changed. Their latest album (their 12th) is named Messe I.X–VI.X. We’ve been expecting it, but the delivery came today in a way we didn’t expect. Here’s the full text of the message that appeared this morning on Ulver’s official site (and thank you BadWolf for the tip about this):

GLOOMY SUNDAY

Dear parish, as CDs are airborne – and leakage is imminent – we have decided to accelerate the digital release on our own platforms. We have held back as long as we can. Messe I.X–VI.X is now available from our webshop and Bandcamp. Just like that.

Again: we urge all conscientious music lovers to purchase digital from our platforms. WAV and all other formats at Bandcamp, 320 kbps MP3 via our webshop. Spotify and iTunes will follow in September, along with the release of Kscope’s standard editions.

Please share and spread the word. We hope you enjoy the somber sound of the wolves’ mass.

Ulver, Oslo, August 18 2013. Continue reading »

Aug 122013
 

(Well, we might as well start off the new week by confusing the shit out of people.  Here’s DGR’s review of the latest album by Norway’s Leprous, released in May 2013.)

Fair Warning: Tons of clean singing ahead, very few screams.

We in the metal community tend to use the phrases “prog” and “avante-garde” somewhat interchangeably to describe those situations in which the caveman side of the brain doesn’t fully grasp what is going on in the music. Either that or we call it “prog” when it’s soft music that we really like but don’t want to own up to it. Norway’s Leprous fall into the former camp, where even though things seem relatively straightforward at first glance, they’re really just a little off.

They have gained quite a bit of the spotlight since receiving Ihsahn’s blessing, as well as performing as his backing band for his discs and a bunch of shows. They’d been going for a good while before, but those developments coupled with the release of Bilateral really launched them onto a lot of radar screens.

Bilateral threw a lot of people for a loop. Nothing was really conventional outside of the instruments present. Every song had a strange, unnerving approach to it. When a song like “Restless” and its curveball of a music video was one of the most normal-sounding songs, who could imagine what oddities lay in the rest of the album? Bilateral was also incredibly difficult to describe and led to some stumbling examples of attempts to so – which proved amusing to watch.

Befitting their avante-garde/prog label, Leprous have returned with another album in the form of Coal filled to the brim with strange song arrangements, odd vocal approaches, and conventional instruments played in weird ways. Like Bilateral before it, Coal is incredibly difficult to describe. As before, the band have again deftly managed to avoid genrefication in any sense and have provided an experience that is all their own. Continue reading »

Aug 092013
 

Well, this was just too damn cool not to share.

It’s a new video produced by The Onion’s AV Club of Melvins covering a song by Butthole Surfers in Chicago’s Humboldt Park. Joining in on the song was the Surfers bassist Jeff Pinkus in place of Jared Warren. Behind them is an ice cream truck.

According to the AV Club, the ice cream truck was basically there as a prop. But then Buzz Osborne had the bright idea of yelling “free ice cream!”, and before you know it the band had an enthusiastic audience. The fact that the audience consisted of a bunch of kids didn’t stop the band from playing “Graveyard”, or from causing the song to collapse into a squall of bass-driven feedback while Osborne tossed ice cream into the crowd and Melvins drummers Dale Crover, and Coady Willis beat the shit out of their kits.

“You lie in the graveyard / Well, you’re rotting away / When I talk to you daily / You’ve got nothing to say”. Such wholesome lyrics. Such a heart-warming sight. Watch the video after the jump.

Continue reading »

Aug 062013
 

(TheMadIsraeli reviews the debut album by Witherscape, the highly anticipated joint effort of Dan Swanö and Ragnar Widerberg, which hits the streets today via Century Media.)

Without a doubt, the Swedish have an innate ear for metal of the melodic sort.  The Gothenburg scene, the forming of formidable death metal titans such as Bloodbath, Hypocrisy, and Grave, who retained a distinctly more melodic bent than many of their contemporaries, the proggy labyrinth-crafters like Opeth and In Mourning — all are testament upon testament to what can truly be called Swedish excellence.  When you tell people in a metal context that the music is Swedish, people tend to know exactly what you mean.  It’s melodic, yet retains a darkness and ferocity in a combination that’s distinctive.

If there were ever a single figure who sits on the throne of the Swedish pantheon, as the prime example of what I’m trying to describe, Dan Swanö is the man.  His musical endeavors, whether it be the groundbreaking Edge Of Sanity, his work in Bloodbath and Nightingale, his Moontower solo album, his influence has been staggeringly overpowering.  He has consistently produced music that is stellar, always at the top of its respective field.

Swanö has been on a hiatus for a while now, the last anyone heard from him being his collection of cover songs as Odyssey.  Now he has returned with a new album, with a new project named Witherscape, the album called The Inheritance.  It’s a concept album and one that will divide the Swanö fan base, to be sure, because this is a risky, unorthodox album for a figure best-known for his brutal yet melodic offerings. Continue reading »