Oct 012020
 

 

As you can see, the cover art for Hell:On‘s new album, Scythian Stamm, is spectacular. And apart from seizing the attention of the eyes (and of the viewer’s imagination), it also very well suits many aspects of the music crafted for the album by this Ukrainian death metal band. Like the artwork, the music itself generates visions of otherworldly menace and power, of monstrosity and hideous glory.

Now fifteen years into their career, Hell:On have had plenty of time to focus and hone their sound, and this new sixth album makes that clear through superior songcraft and a combination of shuddering force and mesmerizing sorcery. This much is evident even from the single song we’re premiering today in advance of the album’s release on November 1st by Hell Serpent Music. Its name is “The Architect’s Temple“. Continue reading »

Sep 302020
 

 

This is an example of “better late than never”, to put it mildly. Humanity Is Cancer wrote the songs on their forthcoming self-titled debut EP back in 2014/2015, as guitarist Thomas Haywood was just about to launch his two labels, Redefining Darkness Records and Seeing Red Records, whose releases have received considerable acclaim in the ensuing years. As a result of the effort devoted to the labels, the EP was put on hold — but it will now finally see the horrid light of a November day in a truly terrible year that has abundantly proven the truth of the band’s name.

And it is definitely better late than never. The four songs on the EP are all terrific, delivering with considerable mastery a style of death metal that draws upon the influence of Aeon, post-Barnes Cannibal Corpse, Morbid Angel, early Decapitated, and Bloodbath. The music’s immediately addictive rhythms are pulverizing, its morbid, preternatural melodies are memorable and haunting, and it achieves heights of ferocity that are spine-tingling. Continue reading »

Sep 302020
 

 

Conveniently, the first three tracks from Apochryphal Revelation‘s new album — the three that actually open the record — can be streamed right now, one after the other. Today, leading up to the November 1 release of Primeval Devilish Wisdom by Nuclear War Now! Productions, we’re adding a stream of a fourth song — “Obscure“. It comes later, sitting close to dead-center in this 15-track destroyer. Probably the right way to do this is for you to run the gauntlet of that opening trio before doing anything else.

We’ll make that easy for you, but as a preview we can say this: The first two of those tracks, the title song and “Wickedness”, are short ones, and that title track is a dream-like organ prelude (with a few rumbles of thunder in the distance). It’s the second one that begins to give you a sense of what this band are up to, even though it’s also an instrumental track — and what they’re up to is indeed wicked. The music pulses with primal, carnal vitality. It melds dirty, thrusting riffage, gut-busting drum blows, and eerie, screaming tones, like the emanations of a tortured specter.

On the other hand, the third track in the opening triumvirate, “Profane“, is longer than the first two combined. Still very wicked it is, still very devilish, but more than a little insane too. You get to hear voices (inhuman echoing roars bouncing from ear to ear), and while the music does continue to have a “stripped-down” sound, its galloping, hammering beats and raw, seething and searing chords channel blood-lusting frenzy. The guitar rakes like obsidian claws too, and becomes a demented, feverish, shrieking poltergeist as well. The music surges into wild chaos, a combination of maniac drumming, boiling fretwork, and rabidly sadistic vocals. Might make you imagine the ecstasy of demon lords raping and pillaging the damned souls given to them for an eternity of agony. Continue reading »

Sep 292020
 

 

Following the release of two well-received EPs, Fire the Torches (2016) and In the Cremation Ground (2018), the monstrous Finnish death metal band Cynabare Urne are at last ready for the release of a debut album, one that harnesses the extensive experience and gruesome talents of the three performers. Entitled Obsidian Daggers and Cinnabar Skulls, it will be released by Helter Skelter Productions on October 30th, and as you can see, we’re about to bring you the premiere of a genuinely evil piece of music named “Misotheist“.

Cynabare Urne‘s ghoulish songwriting and horrifying tonal proclivities don’t lend themselves to any neat and succinct comparisons with better-known bands — witness the references made in the PR materials to a range of stylistic influences that “span Sadistic Intent to Necros Christos, classic Grave to recent Dead Congregation, early Vader to later Repugnant, and plenty of other points in between.” All those compass points are one way of trying to capture the appealing ways in which the band create multi-faceted and dynamic music, albeit without ever surrendering their adherence to dreadful power and preternatural ghastliness. Continue reading »

Sep 292020
 

 

(Andy Synn introduces our premiere of “Wind and Fog” from the new third album by the U.S. black metal band Serpent Column — and reviews the album — in advance of its September 30 release by Mystiskaos and Iron Bonehead.)

To quote the late, great, Arthur C. Clarke:

All human plans [are] subject to ruthless revision by Nature, or Fate, or whatever one prefers to call the powers behind the Universe.”

This was made eminently clear to me when, in preparation for this month’s edition of The Synn Report, I enquired as to whether we’d received a promo copy for the new Serpent Column album Kathodos.

Dutiful as ever, Islander reached out to the band’s label, who responded that they generally don’t do advance promo copies but, if we were really that interested in the band, they’d make an exception in our case… oh, and would we mind hosting an exclusive and unannounced last minute premiere at the same time?

Talk about an offer you can’t refuse… Continue reading »

Sep 282020
 

 

Just a bit earlier today I was writing about the special thrill that heavy metal addicts can experience when discovering a band who are adept at blending stylistic influences in unexpected ways, and in the new EP by the Sacramento-based duo Sarcoptes, entitled Plague Hymns, we have another prime example of that.

In the most brutally shorthand way of describing these two songs, they’re a fashioning of blackened thrash, but that label really under-represents how remarkable they are. They do indeed blaze like hellfire driven by gale-force winds, but they also feature beautifully chosen symphonic accents as well as the kind of glorious guitar-work that brings to mind bands from the forefront of classic heavy metal.

One immediate sign that these two songs aren’t your typical black/thrash rippers is their length: The first song, “The Vertigo Soul“, is almost seven minutes long, and the one we’re premiering today, “La Moria Grandissima” almost reaches the 11-minute mark. Both songs really are stupendous, and it’s our devilish pleasure to bring you streams of both of them in advance of the EP’s release on October 2nd by Transcending Obscurity Records. Continue reading »

Sep 282020
 

 

Genre gene-splicing in heavy metal, as in all forms of music, offers the potential for glorious highs and abysmal lows. When it works, the results can be electrifying, particularly when the differing strands woven together by the music would hit a whole bunch of a listener’s sweet spots individually. Pulling them all together in a way that doesn’t feel jarring but instead seems intuitive and natural compounds the pleasure in ways that just focusing on one style would not (and honestly, sometimes that pleasure derives from a feeling of pleasant surprise that the feat has been pulled off so well).

On the other hand, we are all familiar with the pitfalls of genre-splicing that has gone awry, when bands have strained to do something — anything — different, as a way of standing out from the ever-expanding pack, and the result is a Frankenstein’s monster of stitched-together parts, a forcing together of ingredients that sounds, well, forced-together.

With those observations as a prelude, it will come as no surprise that the subject of today’s premiere — Boston-based Lord Almighty — are a band who pull from different genre wellsprings, and achieve a union among them that in my humble opinion is hugely successful. Continue reading »

Sep 252020
 

 

Par-Delà Noireglaces et Brumes-Sinistres, the new album by the French band Crépuscule d’Hiver, is a time machine for the mind. It brings back memories of the more mysterious and fantastical strains of black metal from the ’90s, and also sends the imagination looping much further back, into a medieval age — or at least a long-lost age we romantically imagine it might have been, where even in blood, suffering, and death there was glory to be found, and an appreciation of elegance to be treasured.

The album is substantial in its length and tremendously elaborate in its experiences, produced by a combination of medieval black metal and dungeon synth, among other ingredients. It combines the talents of the band’s alter ego Stuurm, who is the composer, guitarist, keyboardist, lyricist, and principal vocalist, and NKLS, whose contributions as bassist and drummer play a vital role in the music’s overall success. In addition, credit must be given to an array of guest vocalists and guitarists — Hexēnn, Aker, 
Wÿntër Ärvń, Vettekult, and Spellbound — whose carefully chosen contributions make a richly multi-faceted album even more spellbinding.

The album is being released today by Les Acteurs de L’Ombre Productions, and it’s our pleasure to present a full stream of all the music, with our own thoughts about each of the seven songs. Continue reading »

Sep 252020
 

 

Gluttons of the most malignant and mutilating strains of death metal, open your maws wide and prepare to become engorged in your feeding. Everyone else, get ready to cower in the corner. Because on October 23rd Sentient Ruin Laboratories will release the debut album of Vancouver’s Ceremonial Bloodbath, aptly named The Tides of Blood.

The album is startling in the degree to which it plumbs the toxic depths of death metal darkness and dementia, and in its ability to discharge sonic sickness and chaos with such fiendishly ingenious calculation and such cleverly sadistic flourishes. That a new band have been able to achieve such heights of well-constructed slaughtering and drag the listener into such abysmal descents is not surprising when you learn that their line-up consists of members of such established bands as Scum Division Cult, Nightfucker, Encoffinate, Radioactive Vomit, Grave Infestation, Mass Grave, Temple of Abandonment, and Deathwinds.

As they say in the trade, the music’s not for the faint of heart. But for connoisseurs of top-shelf bestiality and supernatural dread, it’s a gem. And the album track we’re presenting today, “Primitive“, is proof positive of that. Continue reading »

Sep 252020
 

 

After beginning their career under the name Abysseral Throne in 2011, and thereafter releasing an album and an EP, Ancient Thrones both chose a new name and shifted ground among the Canadian Maritime Provinces from New Brunswick to Nova Scotia. In the process their line-up changed and they shifted ground in their sound as well. Now with a new name, in a new place, and having embraced some different influences than before, Ancient Thrones are poised to discharge a new concept album named The Veil, which will be released on November 6th.

You’ll see “Blackened Epic Heavy Metal” as Metal Archives‘ summing up of Abysseral Throne‘s music, and while that might not be entirely accurate, Abyssal Thrones recommend The Veil for fans of Revocation, Skeletonwitch, and The Red Chord — and their current name was inspired in part by a lyric from a Wolves In the Throne Room song.

It’s evident from the first single off The Veil (“The Soul to Flesh“), as well as from the song we’re premiering today (“The Sight of Oblivion“) why those afore-mentioned band references make sense. Both are high-voltage thrashers that show off impressive technical chops, with elements of black and death metal in the mix. But both also include evocative melodic accents that create contrasts with the songs’ hard-charging savagery and head-spinning instrumental flair. Continue reading »