Mar 072014
 

I intended to get this roundup posted yesterday, but obviously my word is no good. So it comes today

BLOODLET

The artwork at the top of this post grabbed my attention. It was created by Aaron Turner (of Isis fame, and a prolific graphic artist) for a 12″ release coming on Record Store Day from A389 Recordings. The title is Bloodlet – Live on WFMU-FM (03.23.95), and as the title suggests it’s a previously unreleased live recording from about 20 years ago that was recently mastered for this release.

Bloodlet is a name I’ve heard before, though I can’t remember if I ever heard their music. They made a name for themselves in the 90s as a metallic hardcore band (long before the “metalcore” label came into currency). They’ve been on hiatus since 2003, but reunited to play the A389 Records X Anniversary Bash in Baltimore on January 18, 2014.  Continue reading »

Mar 062014
 

As previously advised, I’m on the road again in the grasp of my fucking day job, but I did carve out some time to make the rounds in search of new things and, as usual, found quite a lot to like. Because time is short, I’ll divide what I found into two posts, this being the first.

HOUR OF PENANCE

Almost exactly two years have passed since Italy’s Hour of Penance delivered their last album, Sedition, which was excellent. Today the band announced details about the release of their next album: The name is Regicide, and it will be coming our way via the Prosthetic label on May 13 in North America (May 12 in the UK and EU, May 16 in Germany).

From a previous Facebook post by the band, I know that the album art was created by the same Gyula Havancsák (Hjules Illustration and Design), whose work for Arkona’s new album we featured here recently. He also created the covers for HoP’s Sedition and Paradogma. Continue reading »

Mar 052014
 

I’m headed for the airport again this morning, and then winging my way back to sunny Southern California for my day job, returning to sodden Seattle on Sunday. This will again restrict my blog time. Before leaving, I wanted to share a few recent discoveries.

THANTIFAXATH

This Toronto band, whose three members prefer to remain anonymous, released a self-titled EP in 2011, and now they have a debut full-length on the way. Entitled Sacred White Noise, it’s coming out on April 15th via Dark Descent. Not long ago the band premiered an advance track named “The Bright White Nothing At the End of the Tunnel”.  I’ve been meaning to check it out, and finally did so last night — and I’m in love.

There’s a writhing, dissonant guitar lead that begins almost immediately and then intermittently continues to whip and squirm its way throughout the rest of the song, and once heard it’s hard to forget. But that’s only part of the music’s attraction. The song also includes hammering percussion, scalding riffs, bestial black metal vocals, and a load of other strange but magnetic repeating motifs. Continue reading »

Mar 032014
 

This round-up of news and new music is skewed toward the especially dark, depraved, nihilistc end of the extreme metal spectrum, hence the name “Shades of Black”, even though only two of the bands march under the black metal banner.

LORD MANTIS

Once you’ve seen Jef Whitehead’s cover for the new album by Chicago’s Lord Mantis, you really don’t forget it. I splashed it across the top of our site when it became public about two weeks ago, though back then I hadn’t yet heard any of the music from Death Mask. Now I have, and man, it makes a scarring impression, too.

The song that premiered last Friday is the album’s searing opening track, “Body Choke”. Three things about it stand out. First, there’s the visceral pounding of the rhythm section, with Charlie Fell’s bass and Bill Bumgardner’s drumming interacting like men at work on a demolition project. Second, there are Fell’s vocals, which sound like a man drowning in sulfuric acid. And third, there are the doomed, devastating, degraded riffs; they create a choking, noxious atmosphere.

You will want to headbang. You may also want to open a vein. Continue reading »

Mar 022014
 

I’m still catching up on news, new music, and video premieres that I didn’t have time to write about late last week while I was on the road for my day job. In addition to what I pulled together yesterday, I’ve got the following four items to recommend.

KHONSU

Khonsu is the Norwegian band started by multi-instrumentalist S. Grønbech. We wrote about Khonsu frequently in 2012 during the run-up to release of their debut album Anomalia (which was reviewed here by Andy Synn). On Anomalia, Grønbech was joined by his brother Arnt (aka Obsidian Claw, guitarist/keyboardist for Keep of Kalessin) as well as Keep of Kalessin’s vocalist Thebon. I hadn’t heard much about Khonsu since then, but last weekend brought a flood of news — and yesterday brought a new song and video.

The news is that Khonsu will release a new full-length album this fall, and a new EP entitled Traveller will be released for download on March 22. Beginning yesterday, and on each Saturday through that release date, Khonsu will add new songs from the EP for streaming on YouTube. There are five in total, including new versions of two KoK songs originally released in 2003 (“Traveller” and “Ix”), a cover of “Army of Me” by Bjørk, and a purely electronic version of “The Malady” from Anomalia. But the first song released yesterday through a music video is a new one that will appear on the forthcoming album: “Visions of Nehaya”. Continue reading »

Mar 012014
 

In my last stream-of-consciousness post I explained that I spent the last three days on the road working. I was able to spend some time conducting my usual surveillance of the interhole in an effort to find new music, but  didn’t have enough time to do much actual listening or writing. Instead, I added to my ever-growing list of things to check out later. I made a small dent in that list this morning and came up with some discoveries I thought were worth passing on.

ESKHATON

Eskhaton are based in Melbourne, Australia. They released a debut album named Nihilgoety in 2012, which I haven’t heard (it’s available on Bandcamp). Their second album is entitled Worship Death, it features killer cover art by Cesar  Valladares, and it’s due for release by the dependable Chaos Records on April 21. Last week a song from the new album began streaming on Eskhaton’s Bandcamp page, and I’ve got it for you here.

“Skeleton Shrine” is a goddamn vicious rampage of bestial blackened death metal. Subtlety and nuance are not the hallmarks of this style of metal — you go to it for the electric jolt it puts through your brain stem and the malevolent destructive force of its atmospherics. “Skeleton Shrine” delivers all that, and the flamethrower burst of the guitar soloing plus the complex tumbling of the drumwork put the icing on this poisonous cake. Continue reading »

Mar 012014
 

“There are two kinds of people in the world…”  That’s the preface to a thousand sentences that end in contrasts usually stated in black and white terms.  Good and bad, happy and sad, fatalistic and optimistic, generous and greedy, self-centered and self-sacrificing, and on and on. But of course most people are not at either end of whatever spectrum you can think of; they’re somewhere along the continuum, and the world is rarely black and white. Except when it comes to music. When it comes to music, there really are two kinds of people in the world. More about that in a minute.

***

I haven’t been able to blog much lately. I spent the last three days in Los Angeles working the job that pays the bills for our humble site. Over time, I’ve spent an accumulation of days in LA that amounts to years. It’s a maddening, frustrating, upside-down place with fucked up priorities, a place where ambitions and honesty go to die. It’s also a beautiful, vibrant, immensely creative place where hopes flourish and dreams become reality. It truly is a city of angels, even if many of them are fallen. All things considered, I usually love being there, even if I love being home more.

Off and on, it rained like a motherfucker while I was there. That played hell with the traffic, which is godawful even on dry days. But during the hours between the storms, the weather was glorious, and the elevated views to the west from the place where I was working were crystal clear, all the way to the swath of blue that marked the edge of the great Pacific.

When I travel for my fucking day job, I tend to have no time to myself, day or night, which sucks, because I feel cut off from the world of metal. I wasn’t able to listen to music for more than fleeting moments before collapsing into bed late at night. Yesterday morning, I had to wake up at 3:30 am for work, and the only reward was that by 8 am I was on a rocky flight back to Seattle. When I woke up, there was a riff running through my head. Continue reading »

Feb 282014
 


(Austin Weber returns with another collection of recommended music, this time featuring seven(!) bands.)

Some are of the opinion that the music of the present is on a perpetual downward slide, and if you’re in that group I probably can’t change your opinion because that’s what you believe and feel is true. But I feel the current musical landscape is healthy, and for metal at least, continues to be fertile ground for untapped potential, overflowing with an abundance of new genre crossover acts and developing ever more subgenres at an alarming rate.

This seems to bother purists and others who find such mergers distasteful or (and sometimes I agree) formless and often lacking in a uniquely constructed identity. In spite of that, there will always be that divide between those who intake influence and only create weaker copies of their idols, and those who create something of their own out of what influences them.

What follows below is a hodgepodge of music, equal parts instrumental, kvltdisco, deathqueef, and post-prog. That’s obviously sarcasm, but upon coming up with the joking term post-prog, I thought to check Google and see if anyone else had used it in a serious way. Sadly, Google proved that I was not alone in using the term, and led me to a Last.fm article informing the world about what its contributors deem “post-prog” . As usual, nonsense reigns supreme and reality remains a divided house ruled by individual perspective, as it’s always been. Continue reading »

Feb 272014
 

I’m still being squeezed by my day job, with a road trip adding to the squeezing, but I do have the following four discoveries from yesterday that I’d like to toss your way.

IFING

Ifing is a two-man band consisting of Fritz Petersen and Tim Wicklund. They live in the wilds of Grand Rapids, Michigan. They named their band after the great river in Norse mythology that separates the realms of the gods from the giants. And if you think that may be the beginning of a clue to the music, you may be right.

They have recorded a debut album entitled Against the Weald, and it’s scheduled for release by the excellent Finnish label Blood Music on May 6.  Yesterday Terrorizer premiered a song from the album named “The Stream”. At more than 13 minutes in length, “The Stream” takes up almost half of Against This Weald‘s running time. I still thought it was too short. Continue reading »

Feb 262014
 

Here’s the second round-up of new music I promised earlier today. It doesn’t include everything I had originally planned to cover because… fucking day job… so I’ll try to shoe-horn the rest into a post tomorrow.

WHITECHAPEL

Metal Blade announced today that it will be releasing the fifth album by Tennessee’s Whitechapel on April 29 in NorthAm. The title is Our Endless War, and the cover art by Aaron Marsh (with a new logo) can be seen above. The band have described the album as one that includes “dashes of every record we have done so far mixed with the intensity of a new sound.” And they’ve also given us a first taste of what’s coming through a lyric video for a new song: “The Saw Is the Law”.

This track betrays the band’s death core roots in some respects, which could be a plus or a minus depending on your perspective. But it’s also a very heavy storm — a bludgeoning, howling hurricane loaded with interwoven cut-throat riffs, hammer-smashing grooves, and a dose of rapid-fire vox. Continue reading »