Jun 152022
 

The lyrical themes of Aptera‘s debut album You Can’t Bury What Still Burns (which is set for imminent release by Ripple Music) leap across millennia, from legends of ancient Greek mythology to modern-day race-based murder at the hands of police and personal resistance against daily experiences of repression. What ties these time-spanning topics together is a through-line of anger and defiance, of rebellion and revenge, of refusal to be silenced and at times a call for violent resistance. It’s no wonder, then, that the album’s cover art, like its title, embodies a burning refusal to be buried and silenced.

This Berlin-based quartet’s interest in Greek mythology as a vehicle for some of their lyrical themes is also reflected in the name they chose for themselves, which was the site of a battle between the Sirens and the Muses, where the Sirens lost their wings and were cast into the sea. “Joining the sirens and muses at the table,” as the press materials recount in a further summation of the narratives, “are a coven of reanimated witch spirits and a gang of man-eating mermaids with a healthy appetite for destruction”.

We don’t know what came first, the lyrical themes or the music. But even if the band cooked up the riffs and rhythms before crafting the words, it seems obvious that the same spirit behind the lyrics fueled the music. The fires of rebellion unmistakably burn through both of them again and again, but the band’s music also doses the listener’s mind with hallucinatory vapors and ferries us into perilous supernatural realms. Continue reading »

Jun 142022
 

 

This weekly column is two days removed from its usual Sunday spot. I had picked the music and was all ready to begin writing on Sunday morning, and then remembered I had agreed to do a premiere that day and then go on an excursion with my wife. And then there was a neighborhood picnic I’d also forgotten about, which went on into the night. Monday brought a different set of obstacles. So, we’re two days late.

Anyway, what I’ve picked for this Shades of Black column is a mix of one advance track and three complete records, including an EP that’s 3 1/2 years old but just hit my radar recently (and shorted it out).

THERIOMORPH (Finland)

Theriomorph is a solo project of P.E. Packain (aka Vainaya), best known for his solo work in the now-defunct Cornigr and as a key instrumental performer and songwriter in Adaestuo. Earlier this year I frothed at the mouth about a preview track from Theriomorph‘s debut album Diabolical Bloodswords, and last Friday it emerged in full bloom (via Terratur Possessions). Continue reading »

Jun 132022
 

(Andy Synn continues our ongoing love-exchange with Ukraine’s White Ward)

To be honest with you, for the longest time I really wasn’t sure how to start this review.

After all, White Ward hail from a country that is still, over 100 days on, in the throes of an invasion, and to fail to acknowledge that fact seems somehow wrong.

And yet, at the same time, I don’t have the words to describe how this must be affecting the band… because I truly can’t imagine what they’re feeling or what they’re thinking right now.

So if I choose to just focus on the music, I hope that’s ok.

Continue reading »

Jun 102022
 

The press materials for Truent‘s debut album Through The Vale of Earthly Torment recommend it for fans of early Revocation, early Gojira, Fit For An Autopsy, and Archspire. Those turn out to be good clues to what this Vancouver-area band have achieved on their first full-length following a pair of EPs.

Across eight tracks, most of them rushing ahead at a turbocharged pace, Truent create an electrifying death metal amalgam that features tour de force technicality, non-stop prog-metal adventurism, eye-popping vocal barbarity, and grooves that hit hard enough to cause visions of ruptured organs. To leap ahead in our review, which precedes a premiere stream of the entire record one week before its release, it’s a true spectacle of sound, an experience that’s both head-spinning and bone-smashing. Continue reading »

Jun 092022
 

(Andy Synn offers up four more recommendations of albums you may have overlooked last month)

Boy howdy, did we ever miss a lot of stuff last month.

But, then, you could say that about every month really, as I’ve come to accept (after many, many years in denial) that it’s impossible for us (that’s the royal “us”) to catch and cover everything that’s released.

Accepting this fact, however, has definitely helped me to relax a little bit, as while I still feel a smidgen of guilt that I’m/we’re not covering more bands (or, at least, more underground bands, because, let’s face it, the big dogs don’t need our help or attention quite so much) I’m more at ease with the fact that whoever we do end up writing about will definitely/maybe/probably/hopefully benefit from it.

And, if worst comes to worst, there’s always my annual series of year-end round-ups to help bring attention to some of the more unsung artists and albums.

Speaking of… here are four albums from May that you might just have overlooked (but really shouldn’t).

Continue reading »

Jun 082022
 

The new album by Eggs of Gomorrh is lyrically devoted to a general disgust for humanity (or at least the Christ-worshiping segments of it) and to blasphemous occult visions of sadistic punishment and merciless retribution — scenes of mutilation, degradation, inhuman monstrosity, ruinous violence, and sexual perversion, all of it frothing in oceans of blood and semen. They revel in the foul riot of their words, and the music within Wombspreader is a fucking riot too, carrying the band to new heights of terrorizing excess.

But this should come as no surprise. Over the course of their 2016 debut album (Rot Prophet), a 2019 EP (Outpregnate), and a 2019 split with the Turkish blasphemers Sarinvomit (Encomium of Depraved Instincts), these Swiss fiends have already established a reputation for delivering astonishingly savage forms of jet-speed sonic annihilation with impressive technical skill — and slipping in some grooves and eerie melody in the midst of their slaughtering tirades.

As you’ll discover from our premiere of their forthcoming second album on the Godz Ov War label, all these qualities are again explosively displayed Continue reading »

Jun 082022
 

(On June 17th Unique Leader Records will unleash a new album by the French technical death metal band Exocrine, and in advance of that we present DGR‘s extensive review.)

French tech-death group Exocrine‘s 2020 release Maelstrom landed pretty hard with me here at the site. Up to that point the group’s albums had always been a particular highlight of the given year of their release but Maelstrom really felt like the stars aligning for them. Their combination of head-spinning songwriting and sheer musical heft mixed well with the group’s experimentation throughout the album with varying synth lines, clean backing vocals, occasional brass and trumpet section solos for scene-setting, and atmospheric works, which oftentimes was more excessive than necessary.

It all worked for Maelstrom though, and made that album into an adventure, more than just the latest headspinner from a group known for making headspinners. Once you reached “Wall Of Water” on that album, you’d essentially reached the top of the roller-coaster and were now ready to accelerate downhill into whatever Exocrine had in store for you. That’s why the announcement of the group’s newest album, The Hybrid Suns – nearly two years later – was an exciting one. Continue reading »

Jun 072022
 

(Our riff-loving dope/doom maven fetusghost has returned to NCS with the following lively review of a new album by Germany’s Ølgod, which was released in late May.)

Kiel, Germany puts THC in the water. What other explanation could there be for such great dope-loving doom calling the city home? Ok, fine, maybe a sample size of two is too small, but Earthbong (more on them in a moment) and Ølgod traffic in the sort of resinous riffage that stoners love, and aside from unchill war-themed black metal from Endstille, I can’t name any other bands from Kiel. So it’s decided! “Kiel: Get High-drated” will be the new city motto. That one is on the house, City Council.

Ølgod‘s sound is appropriately rock ‘n’ roll, loud and loose, like a practice-space jam with a bit more post-production polish. If you love loud, slow riffs and plodding, heavy drums, and German dudes yelling at you, you’ll have a fine time here. This is where the underground thrives. Continue reading »

Jun 072022
 

Some dreams take a long time gestating before they come screaming into the world. Many others die in the womb. Suffer Decay Alone is a dream realized, but it did take a long time for that to happen.

We’ve written often over the years about the Ohio band Plaguewielder, whose fantastic latest album Covenant Death we had the privilege of premiering here last year. What we didn’t know until more recently was that Plaguewielder‘s primary member Bryce Seditz has harbored a desire to make industrial music ever since the first time he listened to NIN‘s 1994 album The Downward Spiral. It took the covid quarantine to begin making that dream a reality.

Above & Below is the name Seditz chose for this plague-spawned project, and Suffer Decay Alone is the title he gave to its first fruits, an album that will be released on June 10th by Jeff Wilson‘s Disorder Recordings. The title has meaning, a sign of the times in which the music was made. It reflects some of the overarching moods of the music as well, but anyone familiar with Seditz‘s work in Plaguewielder could have already guessed that despite a change in genre-style this would be confrontational music with a raw and intense core — and so it is.

By the same token, anyone familiar with Covenant Death might also guess (correctly) that although Suffer Decay Alone is frequently dark as midnight, it isn’t a monotone, either emotionally or in its sonic textures. Continue reading »

Jun 072022
 


Nechochwen

(With another month now in the history books, we welcome back Gonzo, who again has recommendations for you of wide-ranging albums released in the preceding month – somewhat delayed only because our editor completely lost track of time while at Maryland Deathfest.)

When doing the legwork that goes into these monthly columns, there are some months when I have to reach deep into the metal underbelly to extract whatever hidden gems I stumble across, and there are others where the onslaught of new releases just looks downright overwhelming and perhaps menacing.

May turned out to be the latter. I actually had to trim this one down from what I had originally planned out, if for no other reason than the fact that I’m disappearing into the mountains for most of the weekend without many plans to be in front of a computer. Fuck that nonsense, I say. I get enough of that during my 9-5 job, and any excuse to hit the road for an escape is a good one.

Read on and prepare to abuse your eardrums with the best of what I stumbled into through May. Continue reading »