Oct 252021
 

 

The resumes of the people in Chicago-based Contrition open eyes. Those people are Jerome Marshall (Cobalt, Yakuza) on vocals, Garry Naples (Novembers Doom, Without Waves) on drums, Jeff Wilson (Chrome Waves, Deeper Graves, ex-Wolvhammer) on guitars and synth, and Jon Woodring (Bones, ex-Usurper) on bass. As an educated guess, they’ve got all sorts of different music swirling through their heads from day to day, even making room for the silence of sleep and maybe a few other silences. So, where did they go under the name Contrition on their debut album, Broken Mortal Coil?

The astute among you will already have an idea, based on the singles that have emerged in the run-up to the October 29 release by Wilson’s Disorder Recordings. Some of you may even know that a couple of these people already collaborated in a band called Doomsday, which released one self-titled EP in 2012 (worth tracking down if you don’t have it), and which itself provides some distant clues.

But I’m going to pretend you don’t know where these four (and their noteworthy guests) coalesced on Broken Mortal Coil, that your minds are as clean as an erased chalkboard, still dusty but ready to be filled, or wrecked. Continue reading »

Oct 252021
 

 

The second album by Russia’s Intaglio, unassumingly entitled II, follows their debut by more than 15 years. It is filled with moments that set off fireworks inside a listener’s head.

That’s probably not something you expect to read about a band whose music is classified by Metal Archives as “Funeral Doom”. Most music so classified is more likely to mesmerize than it is to provoke gasps of wonder. But II isn’t typical, and while it is indeed entrancing, the magnificent spell it casts derives from unusual ingredients and an unusual conception (and Funeral Doom is no longer an adequate description).

In its conception, II was intended to be experienced as a single long piece. It has a 7-part track list (though there are no pauses between the tracks) and consists of movements, but it is accurately described as a single “doom opera” which achieves its full impact only when heard from beginning to end.

For its ingredients, Intaglio assembled a large cast of performers and live instruments. Seven professional singers contributed voices that range from basso profundo to soprano. The instruments included not only a panoply of electric and acoustic guitars and percussive sources but also classical instruments such as upright bass, cello, chimes, and flute, as well as mouth harp. Continue reading »

Oct 242021
 

 

As promised, this is Part 2 of the column I began here earlier today. It includes reviews and streams of two recently released albums, a track from a forthcoming debut full-length, and a very promising two-song demo.

SOL SISTERE (Chile)

In the summer of this year I premiered a song and video for this next album of atmospheric black metal (which is self-titled though it’s the band’s third full-length). Sometimes that’s the best I can do to help spread the word about a new release, but for this one I felt I should do something more.

At eight tracks and an hour of total music, Sol Sistere provides a lot to take in. More than merely the accumulated length, the music itself provides a wide-ranging experience. At their heights of intensity, the songs deliver jaw-dropping panoramas of sweeping, soaring, incendiary magnificence, with an emotional impact equal to the colossal sonic impact. The moods are often wrenching, manifesting anguish in shattering ways (the vocals alone are relentlessly shattering). Even when the breathtaking typhoons of sound soften, sorrow usually reigns. Continue reading »

Oct 242021
 

This turned into a much bigger round-up of black lights than I had anticipated. It started off shorter, but the predicted “bomb cyclone” in the Puget Sound turned into a big fat nothing yesterday, my wife laughed and went off to pal around with a friend, and I had a chunk of time to myself, with the cats peacefully sleeping. And so I expanded this to include three full albums and an EP, in addition to a couple of exciting advance tracks and a debut demo.

To make this large collection more digestible, I’ve divided it into two parts. I’m confident Part 2 will be ready later today, even though at this point it’s only partially written.

Even with the extra time I found yesterday, I’ve still kept my commentary somewhat brief on the longer releases, though I find all of them thrilling and hope you will too. Same goes for the other songs in this collection. Most of the world is a rotten mess, but musicians are still pulling out the stops. Maybe someday people will look back on these days as a covid Renaissance. We’re a miserable species, but we’re indefatigable.

EUCHARIST (Sweden)

Having been one of those rare people who came to extreme metal late in life, I’m not someone who experienced the foundational genre movements of the ’90s first-hand. And so it was only by reading that I came to understand the role of Eucharist. Continue reading »

Oct 222021
 

 

(In late September Prosthetic Records released the second album by the UK band Cognizance, and better late than never we hope, DGR gives it the following very enthusiastic review.)

Upheaval, the newest album by tech-death group Cognizance, looks pretty standard if you go by tale-of-the-tape measurements for a disc, at ten songs and a little over thirty-three minutes. But one of the things that stands out with Upheaval – once you get past the eye-popping artwork – is that this is an album that fucking moves.

It may sound like a joke at first, but Cognizance waste absolutely no time with this one. The band find their groove early and stick to it for a half hour, and often you don’t even notice the time going by until the opening drum hit of “Hymns” reminds you that you’re back at song one.

Cognizance are brutally efficient with their time on Upheaval and it quickly lands the band in the ‘rolling landslide of riffs’ category of albums. You throw the thing on, it just bowls you over, and then the process starts anew. Which can sound wild at first, because it gives the impression that Upheaval kind of blasts by you without a second thought, but then you start breaking it down into individual songs and you realize that because the bar is set so high, so early on, that what is happening here is that Cognizance became ruthless in making hammering tech-death tracks in the interim. Continue reading »

Oct 212021
 

 

I wrote yesterday that there would be a Part 2 of this mid-week roundup. I wrote that to keep pressure on myself to follow through. Self-pressure doesn’t always work, but it did this time.

Just like the music in yesterday’s installment was geared to keep you on your toes as you move through it, or set you back on your heels, I think this collection will do the same. It consists of three EPs and then a couple of songs from a forthcoming album.

BLATTARIA (U.S.)

This makes the third time I’ve raved about this solo project of Oklahoma City musician Manuel Garcia, having done so in considering both the 2019 album Life Is A Disease and the self-titled 2017 debut. What makes it even easier to continue raving in the case of Blattaria’s new EP They Seek Power is the realization that Blattaria just keeps moving from strength to greater strength. Continue reading »

Oct 212021
 

 

The French funeral doom band Funeralium named their 2004 debut demo Ultra Sick Doom, and the name has stuck as a shorthand for their music. But what does it mean? As portrayed in their formidable fourth album Decrepit, it’s music that plumbs the depths of human illness — not so much the magnitude of the diseases that afflict the human body (though as you’ll see, this plays a role) but the deep-seated flaws in humankind which cause us to relentlessly ruin the Earth, our only home.

More precisely, we’re told that the concept of Decrepit was born in 2019 from the conviction that mankind was working tirelessly toward its own demise, diligently destroying its own habitat and the habitat of all other species — only to have these convictions reaffirmed during the first year of the pandemic, a year that seemed to cement the certainty of these convictions, and a likely forerunner of even worse times to come.

And so it was during the pandemic that Funeralium went back to studios in scattered locations to record the four imposing songs that make up Decrepit, creating devastating music on a scale (and with a sound) that matches the magnitude and nuances of the self-destructive human sickness that inspired it. Continue reading »

Oct 212021
 

(Andy Synn brings forth another terrific trio of releases from his green and (un)pleasant homeland)

It’s pretty appropriate that I’m doing another “Best of British” column this week, as I just got back from playing a festival in Manchester featuring a wealth of good/great/excellent bands from the UK underground scene.

Of course, since we were there as performers rather than just punters we weren’t able to catch as many bands as we’d have liked, but I encourage you all to keep an eye out (and at least one ear open) for more from up-and-coming Thrash-core whippersnappers Tortured Demon, groove-driven and harmony-laden Post-Grunge metallers Scare Tactics, and cinematic Symphonic Death-dealers Ghosts of Atlantis (whose latest album was covered by our own DGR not long ago), as what we caught from each of them proved very promising indeed.

However, today isn’t about those bands, today is about God ComplexGreen Lung, and Still.
Continue reading »

Oct 202021
 

What’s in a name?

In the case of extreme metal bands, there has been a long tradition of names that invoke evil, violence, dark fantasy and mysticism, horror, nihilism, and of course death itself in all of its guises. The impact of such names as Slayer, Emperor, Immortal, Immolation, Suffocation, Darkthrone, Hellhammer, Entombed, Mayhem, Bloodbath, and of course Death (to pick just a few) has been long-lasting.

Of course, the tradition hasn’t been rigidly honored — for example, remember the “verb-the-name” formula that dominated at the height of deathcore? — but naming rites to this day still tend to signify something about musical inspirations, many of them continuing to reflect the transgressive nature of the music in serious and shuddering words.

Which brings us to SexMag. So what’s in a name? In the case of this band and their debut EP Sex Metal, more than you might guess. Continue reading »

Oct 202021
 

 

(This is DGR‘s review of the new album by The Breathing Process, which was released on October 8th by Unique Leader.)

Sometimes a song can define a whole album for you. Samsara, the previous release by the genre maelstrom of deathcore, symphonic death, and black metal that is The Breathing Process, definitely had one of those songs. An eight-year gap between albums saw a group with a ton of material available to them, and Samara was one of those albums where every song was different, but if you’ve lurked around these hallowed halls long enough you’ve probably heard me banging the drum about the song “The Nothing” enough times to consider calling the cops and filing a noise complaint.

It was a massive song that was equal parts dynamic and cinematic and it was something that I had hoped The Breathing Process would take cues from in the future. Well, like all good turn-of-the-millennium TV commercials about the internet, “The Future Is Now”. October 8th saw the release of the band’s newest album, Labyrinthian, arriving only three years after Samsara and with a new vocalist in tow. Armed with over fifty minutes of music on their latest release, The Breathing Process have an album that is singularly focused on one objective, in comparison to its predecessor. After a handful of listens the one thing the band really seem to have settled on is sounding massive. Continue reading »