Apr 082021
 

(Andy Synn closes out the week a little early by throwing on the new record from India’s Moral Collapse)

Let’s be honest about something – music writers, especially Metal music writers, are often an inherently insular, introverted, slightly egotistical, group. We’d have to be, after all, to think that anyone wants to read our rambling opinions in the first place!

On the positive side, these little cliques, cults, and covens that we form are often extremely supportive places, characterised by a certain level of mutual respect and empathy fuelled by our shared experiences.

On the other hand, they do occasionally engender a certain amount of “group think”, where one writer (or group of writers) publishes an opinion or analysis which, for whatever reason (often simply because people don’t want to be seen attacking or undermining their cohorts) sets the tone for everyone else going forwards.

It doesn’t mean they’re necessarily wrong, but it does often result in certain ideas and assumptions being codified as “fact” and makes it difficult for alternative viewpoints to get a word in edgewise.

Case in point, some of the hype that’s been built up around the recently-released debut album from Indian duo Moral Collapse might have you believing that this is the most mind-bending, head-spinning record since… name a band/album/date… but the truth is it’s not quite as complex or crazy as its been made out to be.

It is, however, very, very good.

Continue reading »

Apr 082021
 

 

(Nathan Ferreira brings us this review of the new album by the black metal band Rampancy from London, Ontario, Canada — out now via Mutual Aid Records.)

It’s not often I get the chance to write about music from my neck of the woods, much less black metal – London, Ontario’s got a passionate but small metal scene for a city with a population of almost 400,000, and generally the inhabitants are more partial to thrash, groove and melodic death metal, as is evidenced by most of the bands that come out of here. Some examples of the more widely known ones: Kittie, Baptized in Blood and Thine Eyes Bleed. It’s not known as a well of growth for the more extreme tendrils of the music I crave constantly.

Amidst this nebulous and fragmented landscape, there’s been one constant consistently cranking out noisy, despondent extreme music for almost a decade now: Preston Lobzun, a.k.a. Oculus Tod, the sole curator and musician behind all of the instruments you hear on Rampancy’s third full-length album, Coming Insurrection.

Oculus has a handful of different projects he contributes to, most notably Saudade and Odol, and has piled up dozens of releases to his name, in addition to recording and mixing credits for countless other bands – but Rampancy is his only solo venture, and you could make the case it’s what he saves his most groundbreaking ideas for. Continue reading »

Apr 062021
 

(Andy Synn keeps the ball rolling with a review of the recently-released third album from Russia’s Crust)

Sometimes, if you’re really lucky, an artist will produce an album which seems like it was tailor-made just for you.

Every song strikes a chord, every track touches a nerve, and every piece of the puzzle just fits so perfectly that you’d think the band was actively capable of peering directly into your brain.

It’s always exciting, especially when the band in question has a deeper discography for you to dig into too, as was the case when I stumbled across the new album from Russia’s own Blackened Sludgelords Crust recently, as not only did I instantly fall head over heels in love with the group’s hypnotically grim and humongously groove-laden sound, I was also compelled to go and pick up their entire physical back-catalogue (along with their entire digital discography) as part of last week’s #BandcampFriday.

And while I originally intended to save writing about these guys until the end of the month (as part of the next edition of The Synn Report) I quickly realised I couldn’t wait that long to lay out just why Stoic has become one of my favourite albums of the year so far.

Continue reading »

Apr 062021
 

 

Ever since discovering VEGAS (aka VVEGAS and V.E.G.A.S.) through their four-song EP Sagevisule in 2014, I’ve been repeatedly transfixed by their music. In their own words, their shifting amalgams of metal and hardcore embrace the “confrontational nature of Japanese punks G.I.S.M. via early-80’s ferocity of LIFE’S BLOOD & apocalyptic tenets of bands like INTEGRITY“, but passing time has seen them draw in other ingredients as well. The inability to predict exactly what they will do from release to release is part of the attraction — along with the persistently visceral intensity that burns at the core of every recording.

They also don’t let much grass grow beneath their feet. Their most recent album …not ever appeared last summer, but they’ve already been hard at work on a new one. Hints of it surfaced through singles that were scattered through the remaining months of last year, and most recently in a track named “Recovery” that was released last month. But we’ve been privy to even more of what the new album holds in store, with an advance peak at 10 pre-mastered tracks (four more are also in various other stages of completion). Continue reading »

Apr 052021
 

(Andy Synn couldn’t wait any longer to share his thoughts on the new Zao album, set for release this Friday)

For those unfamiliar with the “Ship of Theseus” paradox, this two thousand year old thought experiment asks the following question:

If an object (in this case, the infamous ship) has all its parts and pieces (first its oars, then its planks, its mast, its keel, so on and so forth) replaced as time passes, at what point does it cease to be itself?

Or is it still, fundamentally, the same object? Is there some essential soul or essence which maintains continuity, even as all the individual components wear out and are replaced?

So it’s more than a little appropriate that Zao’s new album, the second since their fantastic 2016 comeback The Well-Intentioned Virus, features a song named “Ship of Theseus” right at the start, because The Crimson Corridor showcases a strikingly different – fundamentally darker, denser, and borderline doomier – version of the band than the one you might be familiar with…

Continue reading »

Apr 052021
 

 

The creative energies of Swiss artist Bornyhake Ormenos seem boundless, and so multifarious that each impulsive surge of them may give rise to some new project, which seems to be the case in the spawning of his solo project Nivatakavachas.

Undoubtedly, this new menace has been gestating for some unknown period of time, building up its stockpile of evil power, but it is now ready to be revealed through a debut album named Ascraedunum, set for release by Satanath Records and Azif Records tomorrow (April 6th). One day early, we have a full stream of it for you. Continue reading »

Apr 022021
 

 

On the 4th day of April the German black metal band Phreneticum will release their debut album Der Stille Zerfall through the collaboration of Satanath Records and Onism Productions, but you won’t have to wait until then to be consumed by it, because we’re presenting a full stream of all the madness today.

From the band’s inception in 2015 the line-up has varied, but this new full-length is the work of only two performers — vocalist Leichenfresse and multi-instrumentalist Tino Fluch (from Abigorum, Trond, and Wulfgar). As a hint of what they’ve done together, the releasing labels recommend the album for fans of Sarkrista, Imperium Dekadenz, and Darkened Nocturn Slaughtercult. But here are a few more hints about what you’ll be experiencing: Continue reading »

Mar 312021
 

 

We’ve been following the progress of Ohio’s Plaguewielder since discovering their 2017 single “Writhing in Mental Torment” almost exactly four years ago — a single that was the first release after their 2015 debut album Succumb to the Ash. The name of that single captured a through-line that continued emerging in the band’s music in the following years, feelings of hopelessness, frustration, and fury that always seemed to be fighting to get out into the songs — music as catharsis.

But the music itself has changed over the years, as Plaguewielder has found increasingly multi-faceted and expansive means of expression. In its creative evolution Plaguewielder has reached an apotheosis in Covenant Death, the album that we’re proud to premiere in full today. Undeniably the band’s best work yet, it’s also one of the most striking and memorable works yet to emerge in this still young and still wretched second year of the plague. Continue reading »

Mar 302021
 

 

Let’s cut to the chase: We’re premiering a full stream of the new album by Poland’s Nekkrofukk on the day of its release by Putrid Cult. Like the last album two years ago, the title of this one is packed with evocative words: Mysterious Rituals in the Abyss of Sabbath & Eternal Celebration of the Blakk Goat. In its music, it’s primitive, crushing, pestilential, and foul, a blending of doom and black metal that seems to have bubbled up like poisonous ichor from a by-gone age.

Rarely do the songs accelerate beyond an earthquaking, mid-paced stomp, or provide reprieve from their moods of cruelty, oppression, and plague. Never do the vocals reveal any sense of humanity, so steeped as they are in bestial expulsions of disgust and damnation. When other melodic accents come in, they create an atmosphere of supernatural horror, rather than casting the listener a life-raft. Heads will move when listeners hear the music’s enormous carnal rhythms, and as ugly as the experience is, you may nevertheless find yourself falling into a narcotic trance as the album unfolds — albeit one that’s infiltrated by terrors. Continue reading »

Mar 292021
 

(Our man Andy Synn has been busy recently, but not too busy to help catch us up with a bevy of new (or new-ish) albums from the first quarter of 2021)

We’re now at the end of March and I can officially say that the stream of new releases, re-releases, and surprise releases, has finally gotten the better of me and I have fallen well behind on my “to review” list.

Sacrifices will, inevitably, have to be made, and some things I intended to write about will either have to wait until an opening appears in my schedule somewhere down the line or, in the worst case scenario, have to be content with appearing in one of my year-end round-ups.

But I’m not going to give in to the inevitable without a fight, which is why, in a desperate effort to provide some interesting coverage, commentary, and – in some cases – criticism about a bunch of records (some dating back to January, some only just about to hit the streets) I’ve decided to pen a few thoughts about six different albums – three Death Metal, three Black Metal – which I’ve been meaning to write about for quite some time.

So, without further ado…

Continue reading »