Oct 032013
 

Ihsahn’s fifth solo album, Das Seelenbrechen, will be released by Candlelight Records on October 22 in North America. It can be pre-ordered here. Last month a song from the album named “Hiber” debuted on a BBC radio show. It was available at the station’s on-line site for a week. Today Candlelight made “Hiber” available for listening at Soundcloud.

“Hiber” is how the name is shown on Candlelight and Ihsahn’s Facebook pages and on the Soundcloud stream. However, previous press releases announcing the album’s track list spell it “Hilber”. A rose by any other name . . .

I’ve already raved about the song. I’ll rave about it again: It swirls and it stomps, it echoes and it pounds, the guitar spirals around complex rhythms, a string section takes wing, and Ihsahn claws with his voice (no clean singing on this one, thank you very much). It’s dark, disconcerting, and occasionally dissonant, but it will also stick with you. Imaginative, heavy music.

If you missed it when it was on the radio, have a listen now: Continue reading »

Oct 022013
 

In this post I’m finishing up the round-up of recommended new songs I heard yesterday and this morning. For the first batch of goodies, go here.

MONOLITHE

I seem to have stumbled across quite a lot of doom-oriented music in the last 24 hours, what with Hamferð and Tombstoned in Part 1 of this post and now Monolithe in this one. But if you listen to all three songs you’ll hear different approaches to musical misery and ruin.

This French band, the creation of one Sylvain Bégot, has released a series of three 50-minute, single-track albums since 2003, along with two free EPs. The fourth album in the series — Monolithe IV — has now been completed and will be released by Debemur Morti Productions on October 18 (it can be pre-ordered here).

I haven’t listened to any of this band’s previous works, and was first attracted to this new one mainly by the striking cover art (by Norwegian artist Robert Høyem — click the image above to see a larger version). And then today I heard a 6-minute excerpt from the new album, which was recently unveiled on Soundcloud. Continue reading »

Oct 022013
 

I ran roughshod through the interhole yesterday and this morning, and it seemed like around every corner was new music worth sharing. Even more good tunes were lurking in the NCS e-mail inbox. So, I’ve divided what I found into two posts, this one being the first.

HAMFERÐ

I first came across Hamferð in August 2012 because they were the first band from the Faroe Islands (population: 49,000) to enter the globe-spanning Wacken Metal Battle competition — and they won the whole thing, earning the right to play at the Wacken festival on August 6 of last year. That remarkable story is what snagged my interest, and listening to their 2010 EP Vilst er Síðsta Fet made me a fan (for more details about their story and a review of that EP, go here).

Hamferð have now finished their debut album Evst, and a couple of hours ago they announced that it will be released on October 11 in The Faroe Islands and November 15 in Germany, Austria, and Switzerland (it will also be released digitally worldwide on the same day). It will be a concept album and appears to be a continuation of ideas developed on the EP. Once again, the lyrics will be in Faroese (the band’s name is a Faroese term for the apparitions of sailors appearing before their loved ones).

Interestingly, although winning Wacken Metal Battle gave Hamferð the option for a label contract with Nuclear Blast, they turned it down “to be able to continue their work without unwanted influences”. Continue reading »

Oct 022013
 

The prolific one-man show known as Benighted In Sodom who has released about three-dozen demos, splits, EPs, and full-length albums since 2006 has yet another album in the works. The album doesn’t yet have a title or artwork, but Matron Thorn did have the wonderfully good taste to pick that painting at the top of this post by Zdzisław Beksiński to stand in for the album art in a YouTube clip released last night for a new song.

For those who may not be familiar with Thorn (who relocated to Portland, Oregon, last year), he is not only the sole member of Benighted In Sodom but also plays all instruments on the recordings of Ævangelist, which is a fantastic band I’ve featured frequently in past posts (they have their own new album — Omen Ex Simulacra — due for release later this month). In fact, it was through my interest in Ævangelist that I recently began following Benighted In Sodom.

The song that appeared last night — “Sometimes I Don’t Mind” — isn’t the first new Benighted song that has surfaced recently. Just a few days ago Thorn put another one on Soundcloud with the title “Even the Nice Things”. I’m not going to bother trying to compare these songs to Benighted’s previous output, mainly because I’m not that familiar with it but also because, based on what I’ve read, Thorn doesn’t seem to have ever been wedded to the same kind of music for very long. So let’s just take them as they come. Continue reading »

Oct 012013
 

In February we had the privilege of premiering a full stream of Furor Incarnatus by Feared. Now the group are already storming back with a new album set for release on November 25 — Vinter — and today Revolver magazine premiered a lyric video for one of the new songs: “Erased”

Feared originated as the project of guitar wizard Ola Englund (The Haunted, Six Feet Under) and he’s now joined on Vinter by Demonoid vocalist Mario Ramos, bassist Jocke Skog (ex-Clawfinger), and drummer extraordinaire Kevin Talley (Battlecross). Revolver quotes Ola Englund as follows:

“After Furor Incarnatus, I quickly felt the need to show our fans that we are not resting, even though we are all working with our other bands. I’ve always felt that Feared is an ongoing experiment and with Vinter I feel like we’ve found our home. It’s a dark and beautiful album, and I think we’ve all matured a lot from making it.”

There is indeed a dark keyboard melody that comes and goes in “Erased”, but what will grab your attention first is a downright convulsing groove; you’ll want to loosen up your neck muscles before listening. Working with elements of hardcore, melodic death metal, and (yes, again) groove, Feared have delivered an attractive teaser for this new album. Continue reading »

Sep 302013
 

I haven’t attempted to compile a round-up of noteworthy findings in several days, so I’ve had to ruthlessly cut what interested me or this post would have been longer than a reticulated python. Even truncated, it’s as long as a boa constrictor. And everything in here is awfully bloodthirsty, right up until the final item.

ELIRAN KANTOR AND ICED EARTH

Is that a fuckin’ brutal album cover up there or what? It’s the latest cover art by Eliran Kantor, who I watch like a hawk because he’s so damned good, and it graces the 11th album by Iced Earth, which is planned for release by Century Media in January 2014. With a grisly cover like that and song titles such as “Democide”, “Cthulhu”, and “Parasite”, in addition to the title track, this could be very interesting.

Speaking of brutal, how ’bout a new Deicide track? Continue reading »

Sep 292013
 

We’re actually going to have a “THAT’S METAL!” — BUT IT’S NOT MUSIC” post today, but we’re beginning with something on the flip side of that, using a title that I think BadWolf originally coined for something else we posted that doesn’t fall within our usual ambit. We don’t do this often, because we know people don’t usually come here for non-metal music. Also, I almost never listen to anything but metal. But I did yesterday.

One of the blogs I follow is written by fellow Seattle-ite Gemma Alexander. Yesterday she wrote about two live performances she caught on Friday night at Seattle’s Decibel Festival, “a world class celebration of underground and experimental electronic music”. Her vivid description of what she saw and heard (which I highly recommend) intrigued me so much that I went in search of music by the two performers — Nils Frahm from Germany and Ólafur Arnalds from Iceland.

Later, having spent more than an hour immersed in the music of both, I decided I ought to share what I found, because it’s pretty amazing.

NILS FRAHM

Nils Frahm is a Berlin-based contemporary/experimental composer whose principal instrument is the piano — and an assortment of electronic effects that transform the sound. I gather that in his live performances, Frahm improvises and experiments, in essence creating new works using his recorded music as the template. Here’s how Gemma described what she witnessed: Continue reading »

Sep 282013
 

Happy Saturday motherfuckers (and of course I mean that in the nicest possible way). You haven’t asked what I’ve been listening to this morning, but I’m going to share that with you anyway, because sometimes people want things that they don’t know they want, and I feel sure this is such a time.

PHANTOM

In listening to the kind of albums I, Voidhanger releases, I’m used to getting my brain pureed in a blender or torn apart by black hurricanes of harrowing noise. But this morning I listened to the first song on a forthcoming I, Voidhanger album that takes a different turn. The album is Incendiary Serum by a Danish band named Phantom, and it’s scheduled for release before the end of this year. The opening track is “Ghostly”, and it is ghostly (and ghastly).

The aura of the music is still very black and bleak, still filled by vocal vomit, but it’s slow, crushing, and melodic. Powerful degraded riffs stomp and moan, twisted tremolo trills flit through the murk, minor-key piano melodies sing the songs of dead, homeless souls. You can headbang, and you can sink into a state of melancholy bereavement. This is an excellent melding of doom, death, and black metal. I, Voidhanger does not disappoint. Here’s “Ghostly”: Continue reading »

Sep 272013
 

I know it seems like all we’ve done recently is collect new songs for you to hear, but there’s a good reason for this: All we’ve done recently is collect new songs for you to hear. In fact, we’re doing it again in this post, though we’ll be breaking the habit with a review or two later today. I’ve had more time than usual to go exploring, and I continue to find new music that get’s me pumped up. So, here we go again… and the bands, in alphabetical order, are MindGrinder (Norway), Vaura (U.S.), and Year of No Light (France).

MINDGRINDER

Until about two days ago I didn’t know MindGrinder existed, despite the fact that they produced two albums in 2004 and 2005. But in my defense, eight years is a long time between albums, and yes, they did release a new album on September 20 entitled Prop Agenda. I found out about it haphazardly, because the artist who created the cover (Eliran Kantor) is someone who I follow on Facebook and he happened to post the cover on his page.

That peaked my curiosity and I went in search of music and found two cuts from the album. The first one I heard is a cover of Emperor’s “I Am the Black Wizards”, on which the father of Emperor’s Samoth (who is a renowned blues artist in Norway) laid down the bass track. It blew my fuckin’ mind (you can tell I’m enthusiastic because I can’t help but use the F word when I get excited). Continue reading »

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 »