Jun 232020
 

 

Imagine yourself strapped into an electric chair with an executioner who’s having fun maniacally flipping the switch on and off faster than a rat darting through a maze while another rabid maniac brays and barks in your face. Alternatively, if that sounds painful instead of exhilarating, imagine yourself bouncing off the walls like a ball bearing in a container locked into a pneumatic paint shaker. Still sound painful? Give me a minute and I’ll come up with another metaphor — because there’s not one damned thing painful about listening to Sanity Control‘s “War On Life“. It’s a mosh-triggering thrill-ride that’s likely to put a big stupid grin on your face.

As much of a blast as this new song is to hear, it’s also a destructive rocket fueled by fury and disgust. The band explain the song’s title, which is also the title of this Polish group’s forthcoming debut album: “Humans are the most destructive force on Earth. We live to kill and exist only to exploit everything that surrounds us. We are at war with life, at war with ourselves, and at war with this planet in which we live. In the end, can anything be saved?”

Good question. Especially because life is fighting back against us, and holding its own so far against our crumbling lines of defense. Continue reading »

Jun 222020
 

 

During these last few months of covid lockdowns and social distancing, playthrough videos have proliferated like wildflowers in the spring, as ways for musicians to burn off some pent-up energy and to remind us that their bands still exist, even though they haven’t been able to gig and tour. The videos have not all been of equal quality, nor have they been uniformly interesting. And to be honest, we’ve resisted overtures to premiere playthrough videos, preferring to continue concentrating on new music rather than performances of songs that have been out in the world for a while.

But this video premiere is one we couldn’t resist.

In the first place, the subject is “Black Waves“, a tremendously good song from an album all of us here liked A LOT — Abigail Williams‘ 2019 album Walk Beyond the Dark (and you can and should read Andy Synn‘s review of it if you haven’t yet delved into the record).

And in the second place, the play-through is performed by cellist Kakophonix, whose contributions to the album were a significant factor in building the moments of haunting grandeur and epic atmosphere within the record, and it’s fascinating to watch and hear his performance. Continue reading »

Jun 222020
 

 

More than seven years ago I was moved to compile a list of the best Swedish death metal albums I had heard during the five preceding years, i.e., from 2008 through 2013. Just putting that list together was a reminder that the style is not monolithic, even though there are certain common attributes that tend to stand out.

In the intervening years we’ve seen both a revival and resurgence of older bands and the appearance of new bands who’ve been drawn to those ancient yet deathless sounds. One of the releases I included in that 2013 list was Bastard Priest’s second album, Ghouls of the Endless Night. That album came out in 2011, and had followed quickly on the heels of the band’s debut full-length, Under the Hammer of Destruction (2010). But the band broke up in 2013 and we’ve heard nothing further from them… until now.

Just last year the Bastard Priest duo of Matt Mendoza and Inventor re-formed, and are now returning with a new 16-minute EP aptly entitled Vengeance…Of The Damned, which will be jointly released on July 24th by U.S.-based Electric Assault Records, Mexico-based Chaos Records, and Japan-based Record BOY. Today we’re stoked to bring you the premiere of one of the new tracks — “Eyes of the Possessed“. Continue reading »

Jun 222020
 

 

Six years have passed, with one tremendously good EP to bisect the timeline, since the Italian black metal band Fides Inversa released their last album. Now they are returning, finished at last with years of work that have culminated in a new full-length. The new album, Historia Nocturna, has been set for release on July 22nd by W.T.C. Productions. It’s no exaggeration to say that the album is stupendous — larger than life in its sound and profoundly unearthly and diabolic in its atmosphere.

In the intervening years the core of the band –drummer/vocalist Omega and guitarist/bassist Void — have remained intact, joined here by vocalist Wraath (from Behexen, Dark Sonority, and Darvaza, among other groups). In Historia Nocturna they have created a dynamic listening experience, one in which the songs channel ravaging chaos and terrifying, awe-inspiring grandeur but also seem to pass through dimensional veils to join in a communion with spirits of the damned. The song we’re premiering today, “I Am the Iconoclasm“, is a stunning example of all those qualities. Continue reading »

Jun 192020
 

 

This road to this album premiere began in much the same way as yesterday’s premiere of the superb new album by Serment. In mid-May we posted an article by our friend Speelie that focused on Métal Noir Québécois. Along with Serment, it included the news that Sepulchral Productions would also be releasing, on the same day, the debut of Québec project Sombre Héritage, the title of which is Alpha Ursae Minoris.

With our interest having been piqued by that news, we paid close attention to the first track that Sepulchral Productions revealed from the album, a song that shares the band’s name — and it proved to be damned exciting, prompting the inclusion of the song in one of our Shades of Black features. And now we have the chance to bring you a stream of the entire record in advance of its June 24 release date. Continue reading »

Jun 182020
 

 

One thing leads to another, sometimes with terrible results, sometimes with great ones. Fortune has smiled upon us this time.

In mid-May our valued ally Speelie prepared for us an overview of recent and forthcoming black metal releases from Québec (Métal Noir Québécois), and the first band he highlighted was a solo project of Forteresse guitarist Moribond named Serment. A few days later Serment released the first two tracks from the debut album, Chante, Ô Flamme de la Liberté, and presented them together in a single stream. The music was so striking that we were moved to write about it immediately (here).

And now we have the opportunity to premiere a stream of the entire album, which is set for release on June 24th by Sepulchral Productions, a label that has been home to many brilliant releases of Québécois black metal. Continue reading »

Jun 182020
 


photo by Basti Grim

 

Of all the songs on High Fighter‘s tremendous second album Champain (released last summer by Argonauta Records), “Before I Disappear” is one of the most punishing and emotionally piercing. It’s a bruising, battering, and compulsively head-moving experience, coupled with melodies of searing impact. It showcases the whole band’s riveting power but perhaps especially the gripping intensity of Mona Miluski‘s voice in all of its dramatically changing manifestations. No wonder that the band chose it as the subject of the music video we’re premiering today — a video that provides a gripping presentation of a transfixing song.

Champain represents a new chapter in the band’s evolution, revealing a coherent (and heavy-as-hell) amalgamation of contrasting sensations that draws upon elements of doom, sludge, stoner, psychedelia, blues, and more. The changes will be quite evident if you compare it to the band’s 2014 debut EP (Goat Ritual) and their 2016 debut album Scars & Crosses, and it represents a great leap ahead. “Before I Disappear” doesn’t completely reveal all of the album’s many facets, but it definitely displays the marked increase in brutality, ferocity, and emotional darkness, as well as the penetrating intensity of the song-writing. Continue reading »

Jun 172020
 

 

In 2008 the unusual French band Ysengrin released their debut demo, an album-length presentation entitled T.R.I.A.D.E. In the dozen years since then more than a dozen additional releases have followed, including two albums and many splits, but it seems that the life of Ysengrin is drawing to a close, with what will be the final album now slated for release by I, Voidhanger Records on July 17th, to be followed by a final split release.

The new album, Initiatio, consists of four tracks from that early T.R.I.A.D.E. demo, “re-imagined” and re-recorded under the direction of the band’s guiding hand, Guido Saint Roch. In addition, the album includes a revised version of “Monumentum” from the Archivum MMV-MMX demo dating to 2010, plus four new compositions, including two ambient numbers recorded live with the help of Frater Stéphane (N.K.R.T., Rosa Crux). As I, Voidhanger, says, “Initiatio is therefore an ouroboros serpent biting its tail: the end is the beginning, and the beginning becomes the end”.

One song from the new album, “Potencée d’Or”, has alredy been revealed, and we’ll come back to that one later. But our primary mission today is to present another track from the album, “Ode à l’Escarboucle“, which is one of the pieces that had its origins on the T.R.I.A.D.E. demo. Continue reading »

Jun 172020
 

 

As a way of complimenting an unusually long piece of music, it has become almost cliched to say that the time passes without really noticing it, that the music seems shorter than the clock tells you it is. At least in the case of rock and metal, that kind of description may also be intended to break down a barrier to entry, to induce people to listen who otherwise might be deterred by the demands on their time.

But promises of losing track of time are often exaggerated. Hell, even in making my own way through very long tracks that I ultimately enjoy, I sometimes find myself checking the player to see where I am, and how many minutes are left. Life is too full of distractions, and the pestering voice in the back of your head that says you should be doing something else, even if you don’t know what, can often be hard to ignore.

So, we take such promises with a grain of salt, and with good reason, but I’ll still promise you this: time really does seem to vanish in listening to “Silver Screens“, the 19 1/2 minute title track to the new fourth album by the unusual Australian funeral death-doom band Ivan. And the same phenomenon happens again and again over the course of the next three tracks. Getting lost in them is very easy, because they are so incredibly absorbing in so many ways, and so surprising in how they unfold.

You’ll learn that for yourselves today, because we’re premiering a full stream of the album in advance of its June 19 release by Solitude Productions. Continue reading »

Jun 162020
 

 

First time I heard Bulletbelt was back in September 2014. It was a song off their then-forthcoming album Rise of the Banshee (their second full-length), which had premiered at NZ writer Craig Hayes‘ Six Noises blog. I hammered out my immediate reaction on the keyboard: “Punk stomp and black metal acid and heavy metal swagger, gun-shot drumming and gut-shot riffing, risk of serious neck strain, catchy as chlamydia.” Not long after that we premiered the whole album, with Craig Hayes writing an enthusiastic introduction.

Four years later Bulletbelt returned with their next album, Nine Centuries, which was the final album with vocalist Jolene Tempest, but also featured guest appearances by Midnight’s Vanik, Massacre’s Kam Lee, and a string quartet from The New Zealand Symphony Orchestra. We were lucky to have Craig Hayes review it (here). He noted that the record was, in comparison to the preceding one, “a much grimmer release, lyrically”, and that the band had “matched that narrative darkness with a rawer and more visceral sound –– reflecting, perhaps, the violence of the album’s lyrics” — and was all the better for it.

And now Bulletbelt are returning again with another full-length, after an intervening EP (Faster Than Death) and a split with Sabbat. The new album is named Warlords and it’s set for release on July 1st. And today we’re fuckin’ pumped to premiere the first single off the album: “Blade On the Fire“. Continue reading »