(Andy Synn waxes philosophical in this latest edition of “The Best of British”)
I’ve been accused – more than once – of “overthinking things”, especially when it comes to music… or movies… or, indeed, art of any form.
So today I’ve decided that the best thing to do is to lean into these accusations by asking some, ahem, “deep”, philosophical questions during this particular edition of “The Best of British”.
(In a seasonal mood, our friend Neill Jameson (Krieg) has brought us and you a playlist of varied dark music for these chilly days in the northern half of the globe.)
We’re halfway through winter here in the northern hemisphere and, as is tradition by some of the louder dunces on the internet, people are already proclaiming their albums of the year. And while I could spend another few hundred words decrying the shortsightedness of this instant gratification culture we’ve fostered, that would only serve to give Metal Twitter™ more reason to warble on and on about my merits as a human being, which would take away from their time trying to figure out which band you like once shared an elevator ride with someone wearing a Goatmoon shirt.
As I’ve traditionally been a shut-in most of my life, I’ve spent a lot of evenings this winter reading, drinking tea and listening to music to find new projects to admire. I wrote that to sound more sophisticated than it actually plays out in an effort to make you like me. In actuality I’m just old and this is my idea of a wild night now.
Anyway I’ve discovered a lot of interesting and dark music, mostly through the excellent Rites of Pestilence YouYube channel, most of which was unfamiliar to me, and started making a list of what I’ve really gotten something out of. Here’s that list.
Obviously, I had time to pull together a lot of music for this Sunday’s column. I pushed at the usual boundaries by including bands that wouldn’t get a black metal label, but in different ways they’re close enough to blur the borders.
I ordered these seven offerings to create pendulum swings. One of them happens when you reach Lux Sine Lumine, and another happens at the end, with Lesath. In between those two are firestorms. I also thought the flow of the first three worked well, but you’ll be the judge of that.
Les Acteurs de L’Ombre Productions tell us that Räum was founded in Liege, Belgium during the first pandemic year, and perhaps they were influenced by those times. On the debut record’s Bandcamp page you’ll find this description of the music on these four tracks:
“It reveals the vacuity and the auto-destructive nature of the human soul, leading to an endless movement of rise and fall. Like a demon, it needs to burn our world to the ground to [be[ reborn again.” Continue reading »
I had a fairly quiet Friday night, with just enough spirits over dinner to get loose but not enough to feel wrecked and disjointed this morning. Kept making my way through the first season of “Poker Face“, which is enormously entertaining through episode 4, and then another chunk of pages in the latest Murderbot novel, which I’m forcing myself to ration since I’ll be so morose when I have to wait for the next one.
Anyway, thanks for asking about my Friday night. Pretty sure that’s what those whispers were in my head. But now to drown out all whispers with a few more things I got into this morning. Yesterday’s roundup was heavy on the death metal, so I decided to branch out a bit today, while saving most (but not all) of the black stuff ’til tomorrow.
YSKELGROTH (Spain)
Well, as I said, I didn’t save all the black stuff for tomorrow. This first song was just too good a way to wake people the fuck up. It’s a head-spinning amalgam of symphonic grandiosity, bizarro-world guitar convulsions (with a few bracing gallops and insectile quiverings in the mix), full-throttle madhouse drumwork, bunker-busting grooves, and macabre vocals that stretch far to find so many ways to be ugly. Continue reading »
(Professor D. Grover the XIIIth returns to NCS with the following review of the debut album by Majesties, which is set for a March 3rd release by 20 Buck Spin.)
Greetings and salutations, friends. It is well-established canon at this point that your friendly neighborhood professor is a great fan of Tanner Anderson and his work in Obsequiae. Aria Of Vernal Tombs stood easily as my favorite black metal album and I was skeptical that anything could equal it, and honestly nothing did until Obsequiae‘s follow-up, The Palms Of Sorrowed Kings. Asked now, and I swear to you that I could not choose a favorite between the two, as they are both absolutely brilliant.
I tell you this because when I heard first of Majesties, I grew excited nearly to the point of arousal. Driven by my initial impression of the first track released, ‘The World Unseen‘, it seemed that Majesties was essentially Tanner Anderson and friends performing Lunar Strain-era In Flames-style melodeath, an impression bolstered by the release of a second track, ‘In Yearning, Alive‘. My friends, let me tell you, that seemed like a perfect combination, like the genius who first combined chocolate and peanut butter. And then I got to hear the entire album. Continue reading »
(Ahab rose again from the watery depths with a new album that was released last month by Napalm Records, and today we follow that up with a review of the album by our Sacramento-based writer DGR.)
Turns out that when a solid chunk of your region spends the first three weeks of the year under flash flood warnings and with one of its main highways effectively underwater, leading to some very dramatic New Year’s photos that aren’t too far from your house, it’s hard to keep your thoughts cogent around a nautical-doom album, no matter the quality. Who knew? Apologies to Ahab on that one.
It is wild to think about just how large the gap was between albums for Germany’s underwater-doom specializers. You never would’ve figured that a band who had a pretty solid track record of new releases every three or so years would suddenly see a near-eight-year gap between albums, but alas, to keep things succinct, it had been a sizeable wait for the group’s newest album The Coral Tombs – with only live albums and collections in between to keep people interested. Continue reading »
(Andy Synn presents three recent releases which might ease your pain)
As some of you may be aware, the last 18 months or so have been a steady stream of set-backs, fuck-ups, and tragic events for me, all culminating (I hope) in my upcoming surgery to remove an infected wisdom tooth.
So… yeah, I’ve been in quite a bit of pain – both physical and mental – for a while now, and this has clearly carried over into my listening habits (especially in the past month or so).
Still, I’ve always found that a good dose of auditory agony can serve as a pretty effective painkiller in other areas of life, so here’s a selection of things that have been easing my suffering recently.
(Andy Synn recommends four albums from last month which you may have overlooked)
So we’re officially one month into the new year and… my list of artists/albums that we didn’t cover in January is already four or fives times longer than the ones we did write about.
Maybe it’s time to accept that it’s impossible for us to stay on top of everything, and just be happy with what we are able to do?
Hell, usually it’s another couple of months of stress and strife before I/we inevitably come to this realisation, so perhaps this is a sign of what I think they call “growth”?
Whatever… here’s four releases from January that you might have missed (but which, thankfully, we didn’t).
(This is DGR‘s extensive review of the debut album by the multi-national band Mithridatum, recently released by Willowtip Records.)
Mithridatum are a new death metal trio that are part of a much larger musical wave taking place within the metal scene. Over recent years the concept of a dissonant death metal band has been a slow-growing sub-section of an already fractured and widely spread subgenre of metal to begin with. Reflective of the large motions in the quest for the nebulous ‘heavy’, many artists have found new vitality in making some of the ugliest and most unapproachable music out there, where a listener can recognize the barest components but otherwise spend just as much time fighting to find the appeal in any of it, or having the music actively reject the idea of approachability.
There’s so much incredibly cool stuff happening within the spinning vortex of sound that emanates from Mithridatum but you’re just as often subjected to nightmarish sonic hellscapes as best as the band could write them. Fascinating? Yes. Friendly? Not a chance in hell. Harrowing may be one of the more apt titles out there for the five songs and thirty-five minutes of music on the group’s first full-length release. Continue reading »
(Here’s Wil Cifer‘s review of the new album by Ohio-based Sanguisugabogg, released on February 3rd by Century Media Records.)
Normally this brand of death metal is not my thing. Early Cannibal Corpse was once my go-to for this kind of thing, which these days often gets labeled as gore-grind. These guys are clearly tired of being tied to such labels, and aside from the low guttural vocals, they have set themselves apart from being another spawn of Cannibal Corpse’s mutilated womb with their fetish for grooves. There is a pungent whiff of hardcore to some of their riffs, which have the breakdown feel.
Normally when it comes to a band that knocks my headphones back due to the sheer density of their sound, my first concern becomes, can they write songs? The first two here earned a thumbs up in this department. Thus the challenge for a band who lives off brutality for the sake of brutality was to keep interest. Which they did with their evershifting flow of groove-drenched riffs. Continue reading »