Jul 022019
 

 

We are told that *dʰg̑ʰm̥tós, the title of the new album by the Swiss band Arkhaaik, is a representation of an ancient Indo-European language that dates to the Bronze Age, and that the same language is used in the song titles and the lyrics. The music itself seems equally to be an attempt to penetrate the barriers of time, to unearth and reimagine primitive rites that might link our modern selves with more primal incarnations of humanity — and with inhuman spirits.

The music’s ritualistic aspects are never far away, especially in the album’s title track, in which the reverberating rhythms sound like the beat of a hide drum, and the tones of other ancient percussive instruments and deep, droning horns join together — along with an array possessed voices — to create a mystical (and frightening) feeling of supplication, ecstasy, and enlightenment.

But while the sense of participating in ancient rites runs through the entire album, the other two tracks portray the rituals through a powerful (and often terrifying) hybrid of “sepulchral death metal, blackened bestiality, and lava-like doom” — to quote the spot-on words of the publicist for Iron Bonehead Productions, who will release the album this coming Friday, July 5th. Today we present a full stream of the album in advance of that release. Continue reading »

Jul 022019
 

 

(This is Vonlughlio’s review of the latest release by one of his favorite bands, Australia’s Disentomb, which is set for release on July 12th by Unique Leader Records.)

This time around I have the opportunity to review the new release by one of the my favorite BDM bands from Australia, the amazing Disentomb. This project formed back in 2009 and released a demo the same year. Late in 2010 they released their debut album, entitled Sunken Chambers of Nephilim. I discovered the band in 2011, as did many others — that debut took the whole BDM scene by storm, a massive slab of pure raw and filthy BDM with Disgorge influences.

That release quickly took its place among my favorite debuts in the genre. Their musicianship was impressive even though the guys at that time were (I believe) still in their teenage years. Regardless of their age, this is one album that every BDM fan is aware of, and it’s time to recognize it as a classic that will pass the test of time. Continue reading »

Jul 012019
 

 

To get this new week off to a rousing start I have a round-up of new music from six bands, culled from the good, the bad, and the ugly sounds that found their way to my earholes this past weekend. As is often the case, part of my design in this culling was to provide a selection of metal that might appeal to a range of tastes.

SORCERY

2019 has already proven to be another banner year for death metal, but the news that Sorcery will be releasing a new album still lit up my head like a Roman candle. I know it seems like my enthusiasm overflows on a daily basis around here (the appearances, by the way, aren’t deceiving), but Sorcery still occupy a special place in my black-hearted affections. (The fact that their new album is adorned with another fantastic piece of artwork by Juanjo Castellano is sweet icing on the cake.) Continue reading »

Jun 282019
 

 

(In this month’s edition of THE SYNN REPORT, Andy Synn focuses on the albums released to date by the Swedish band This Gift Is A Curse, including a review of their most recent album A Throne of Ash, released by Season of Mist on June 14th.)

Recommended for fans of: Dragged Into Sunlight, Celeste, The Secret

The type of Black Metal meets Sludge meets Hardcore hybrid championed by Swedish spitfires This Gift Is A Curse has always appealed to me on a deep, dark level. I can’t necessarily tell you exactly why, but it’s true all the same.

There’s just something about the sheer, bloodthirsty intensity of the music, the absolute refusal to pull any punches or offer any quarter, that makes it impossible to resist.

It’s an ugly, nasty, nihilistic sound, make no mistake about it, but it’s also thrillingly visceral and alive. And the three albums produced by This Gift Is A Curse (the most recent of which was only released a couple of weeks back) are three of the very best examples of the style in all its grim and gruesome glory. Continue reading »

Jun 272019
 

 

With their second album, released in 2005, the Greek band Order of the Ebon Hand began drawing Tarot cards from an unholy deck, embarking on a plan to explore the signs of each card drawn through the perspectives of black metal. The plan has been slow to evolve. That second album, XV: The Devil, followed the band’s 1997 full-length debut by eight years, and their new album, VII: The Chariot, is now arriving a long 14 years following the second one. It is so sweepingly powerful that we can only hope the next card in the deck will be revealed much sooner.

Today marks the official release of VII: The Chariot by the Russian labels Satanath Records and More Hate Productions, and coinciding with the release we have the good fortune to debut a full stream of this tremendous album — preceded by a flood of thoughts about the experience. Continue reading »

Jun 262019
 

 

(In this post Andy Synn combines reviews of two recently released death metal albums, by the Massachusetts band Fuming Mouth and the French band Towering.)

Maybe it’s my google algorithm or something, but considering that Fuming Mouth’s The Grand Descent and Towering’s Obscuring Manifestation are two of the downright best Death Metal albums I’ve heard all year, I’ve seen a real dearth of reviews for them, particularly the latter release (which has been out for almost a month now).

Hopefully this co-review will go some way towards correcting this egregious oversight on behalf of the Metal community though, and hopefully a lot of you will discover your new favourite band(s) as a result of what you’re about to read! Continue reading »

Jun 242019
 

 

(This is Andy Synn‘s review of a new album by the Moscow-based metal band Morokh.)

I originally had this album lined up as part of a double-review alongside the latest release from a band who, due to various factors, have ended up becoming this month’s focus of The Synn Report (keep an eye out for that later this week).

But, due to changing circumstances, it’s Russian Blackened Hardcore crew Morokh who are getting top billing today, and will hopefully also garner themselves a few new fans (and sales) from being featured here. Continue reading »

Jun 212019
 

 

(What follows is Andy Synn’s review of the new album by the UK’s Abyssal, which is being released today by Profound Lore Records.)

Over the years only three bands have been deemed worthy of making repeat appearances in my end of the year “Critical Top Ten” list.

Those bands are Alkaloid (The Malkuth Grimoire, Liquid Anatomy), Cattle Decapitation (Monolith of Inhumanity, The Anthropocene Extinction), and Sulphur Aeon (Gateway to the Antisphere, The Scythe of Cosmic Chaos).

But, with the release of A Beacon In The Husk, out today via Profound Lore, there’s a very good chance that Abyssal – whose third album, Antikatastaseis, made an appearance on my 2015 list alongside several of the other records mentioned above – might just be joining them. Continue reading »

Jun 202019
 

 

And now for something completely different, and quite extraordinary on multiple levels — a smorgasbord of strange delights, mind-warping delicacies, and blood-freezing terrors for the adventurous listener, a work of mad and marvelous genius that discerning consumers of sound will not soon forget. This is Flawed Synchronization With Reality, the debut album by an experimental black metal project that has taken the name Deemtee.

Deemtee is the work of Spanish multi-instrumental artist NHT from Garth Arum, As Light Dies, and Aegri Somnia — though one should not be misled into guessing that this record will be in the vein of any of those other bands. Perhaps the best way to begin (succinctly) is to share some of the descriptive references in the press materials that have paved the way for the record’s June 22 release (by GrimmDistribution and Suprachaotic Records): Continue reading »

Jun 192019
 

 

Yesterday I wrote about almost everything that mattered to me about the recently concluded Ascension Festival MMXIX in Mosfellsbær, Iceland, EXCEPT the music. If you happened to wade through that long post, you’ll know that a lot of things mattered to me besides the music — and I think most other people who attended the event experienced the same extremely positive feelings about what surrounded the sounds. But I suspect all that enthusiasm would have been diminished significantly if the music hadn’t also been great.

Fortunately, it was. With very few exceptions, my own reactions to the bands’ performances ranged from pleasantly happy to wide-eyed, slack-jawed, and aghast in wonder. All that good feeling easily carried over into conversations with friends and new acquaintances in between sets, in beautiful surroundings and sustained by good food and drink. In turn, the fun of that camaraderie carried right back over into the music hall for the next set, in a kind of thrilling feedback loop. Continue reading »