May 052015
 

 

(Austin Weber reviews the new album by Dendritic Arbor, which is out as of today on Grimoire Records.)

Both black metal and grind share quite a bit of common ground when you think about it; both styles revolve around creating ugly fucked-up music that traditionally lacks any sense of conventional melody, but more importantly, are the two styles of metal most often referred to as “noise” by people who aren’t fans. While black-metal-infused hardcore/grind/etc has become quite a thriving trend these days, up until now I never felt impressed by almost all of it, save for last year’s Plebeian Grandstand record and very few others. However, when I first heard of Dendritic Arbor last year courtesy of their track “Genie” through Islander, I knew these guys were something special, a band who had finally married the two styles in a way that benefits both, and more importantly as creators with their own unique compositional style. Their sarcastically titled new record, Romantic Love, is one of the best albums you’ll hear this year. I goddamn guarantee it.

Romantic Love starts out entrenched in hellfire and contempt for all life with album opener “Murmuration End”, a merciless patchwork of blackened sonic plagues and thundering, complex grind, schizophrenically fighting each other for control of the song’s direction. This is a trait common to many of their tracks — switching from grind-fueled black metal, to black-metal-fueled grind. I’ve yet to hear anyone else do it as well or as memorably as Dendritic Arbor. Continue reading »

May 052015
 

 

About 10 days ago I enthusiastically praised a new EP entitled Don’t Go In the Tomb by a Polish band named The Dead Goats, and today I have the pleasure of bringing you a full stream of the EP.

I’ll resist the urge to just re-print every word from my review, and tell you this instead: This EP doesn’t wear out its welcome. I’ve found myself going back to it repeatedly since first hearing it. It’s become my new-found fix when I’m in the need for a jolt of high-energy rampaging, accompanied by the sweet tones of chainsaw guitar and skin-flaying vocals. Continue reading »

May 052015
 

 

Here’s an assortment of new music I discovered over the last 24 hours with some help from friends. Needless to say, I urge you to give all of it a listen.

GESPENST

Gespenst is a new Danish black band with some experienced members — vocalist/bassist Galskab, for example, is also a member of Woebegone Obscured, Dwell, and Black Dementia, as well as a former member of Horned Almighty and a live performer with Glorior Belli.  Gepenst have recorded a debut album named Forfald (Danish for “Downfall”), and yesterday they uploaded for streaming an excerpt of one of the album’s songs that blew me away when I heard it (it comes with some eye candy on YouTube).

The song’s name is “Life Drained To the Black Abyss”, and it’s a long one. Even the excerpt is more than 7 1/2 minutes long; as I learned from the band, the complete track runs more than 12 minutes. The album as a whole includes over 40 minutes of music, but only four tracks, so each of them is likely to be a long-form piece. Continue reading »

May 052015
 

Ares Kingdom in Berlin, 2011 — photo by Anan Tan

I’m doing something I don’t think I’ve ever done before — re-posting on the site something we’ve previously published (with just a few word changes). There’s a reason why I’m doing this, which you’ll find in a postscript at the end.

I wrote this almost exactly five years ago, when this site was about six months old. I was a little inebriated when I wrote it; I tend to get emotional when I’ve had a few shots. But re-reading it last night, for the first time since I wrote it, I decided it still reflects what I believe. And I think there’s a decent chance that very few people who are visiting our site these days will have seen it five years ago anyway; we’ve grown a bit since then. So, here we go…

******

I suppose this topic is sappy, and sappy isn’t metal. But maybe it really is. You be the judge. And if you conclude this is just too much emotional tripe, chalk it up to an excess of tequila

What motivated me to write about parents (besides too much tequila) was my recent piece on an awesome KC band called Ares Kingdom and their album Incendiary, and some messages we received in response to it. In addition to praising the music, I praised the album art — the kind of thing that many bands do poorly, and that’s often lost in our download culture when it’s done well. Continue reading »

May 042015
 

 

We’ve had a very busy day at our site, but I didn’t want to sign off on this May the Fourth (be with you) without recommending three new songs, two of which come with videos. Two of these are also instrumental tracks and the third involves a lot of clean singing — and so you know I really like them, because these kinds of songs tend to be rarities around here. I hope you enjoy them, too.

TEMPEL

Tempel’s new album The Moon Lit Our Path has been very high on my list of eagerly anticipated 2015 albums, in light of how very much I enjoyed their debut album On the Steps of the Temple. I got even more excited when I saw the album’s cover art by Lucas Ruggieri. And I have to say that, somehow, I’m now even more excited after listening to today’s premiere of a song named “Carvings In The Door”. Continue reading »

May 042015
 

 

The Slovenian death metal band Within Destruction released their debut album From the Depths in 2012, and they’re now at work on their second full-length. But while work on the album proceeds, tomorrow they will be releasing a new single entitled “Carnage“, and today we’ve got for you the premiere of the song along with a music video.

In a nutshell, “Carnage” is just a hell of a lot of fun. It also raises a lot of hell. It’s loaded with gut-punching percussion; thunderous grooves; swarming riffs; and an effusion of hair-raising shrieks and growls. There’s even a melancholy, serpentine melody to go along with some headbangable, mosh-triggering breakdowns.

If you’re the sedentary sort, this high-energy music may not suit you — or maybe it’s just what you need — because it’s tough to sit still while it runs rampant through your head. Continue reading »

May 042015
 

 

We’ve come to depend on I, Voidhanger Records as a source of unusually interesting releases, a label that continually forms partnerships with talented bands whose music is far off the usual beaten paths. The label’s latest discovery is a French band named Absconditus, whose debut album Kατάβασις is now scheduled for release on June 8, with eye-catching cover art by UK talent Bethany White. Today we have the pleasure of bringing you a sample of what Absconditus have created, through our premiere of the album’s third track, “Elegeía (Confession au Cénotaphe)“.

I’ve seen the word “ritualistic” used to describe certain kinds of black metal, and I’ve used the word myself, without ever trying to form a clear mental definition of what it means. There are passages in this new song that bring the word to mind — segments of music that are slow, solemn, and surrounded by an aura of initiation and mystery. Those segments are themselves massively heavy, ominous, and dissonant, with a liturgy voiced by what sounds like a demonic beast. But this is only a part of this long song.

The music also includes movements of ravaging ferocity and power, with booming bass lines that shake the earth, the frenzied writhing of riffs and arpeggios that make a virtue of discordance, and a searing guitar solo. The music is unsettling, but brilliantly inventive and thoroughly engrossing. Continue reading »

May 042015
 

 

The Ohio triumvirate known as UnKured self-released their second album Mutated Earth in limited distribution last fall, but since then Sliptrick Records signed the band and are giving the album the worldwide release it deserves. Beginning tomorrow, the album will also become available for digital acquisition via Bandcamp. But today — today you will have the chance to hear the album on this very site, in this very post, and discover for yourselves what it has to offer.

And what it has to offer is an invasion from extraterrestrial forces bent on seizing control of the neurons in the pleasure centers of your brain — and burning out all the rest.

You could say that UnKured are a thrash band, but that would be like saying a cheetah is a cat. It’s true, but it doesn’t tell you nearly enough about what’s coming after you. The music is fast as greased lightning and just as electrifying. It’s fueled by a flurry of constantly changing riffs and a pinpoint rhythm section. The technical skill of all the performers is genuinely impressive, and there’s a flesh-scraping howler behind the mic. But that still doesn’t tell you enough. Continue reading »

May 042015
 

 

(Austin Weber reviews the new album by Continuum, which is out now on Unique Leader Records.) 

The California death metal scene never ceases to amaze me. What really makes me happy about the music from that region is that much like the Canadian death metal scene, a lot of very talented players are a part of multiple groups, leading to an overall higher quality of material coming from theses areas. And so, for example, we are treated to death metal supergroups such as Continuum, who are composed of: Guitarist/main songwriter Chase Fraser (Decrepit Birth/ex-Son Of Aurelius/ex-Animosity), vocalist Riley McShane (Son Of Aurelius/ex-Inanimate Existence), bass player Nick Willbrand (Eviscerated, ex-Flesh Consumed), guitarist Ivan Munguia (Arkaik, Brain Drill, Deeds of Flesh), and drummer Spencer Edwards (Son Of Aurelius).

In addition, the band’s debut album The Hypothesis includes a guest solo by Matt Sotelo from Decrepit Birth on track 9, “A Surreal Descent”, as well as a sweet guest vocal spot by Anthony Trapani (Severed Savior/Odious Mortem) on the second track, “The Epiphany”. Continue reading »

May 042015
 

 

(BadWolf reviews the Seattle date of the Decibel Magazine 2015 Tour, accompanied by exclusive photos taken by Madison Leiren, except where noted.)

This is the third of four annual Decibel Magazine tours that I’ve reviewed for No Clean Singing (I missed the third installment, featuring Napalm Death headlining, due to Maryland Deathfest. I’m not sorry). At this point in time, the mechanics of the tour itself — the way it interacts with coverage in the magazine, the way that the lineup is formed over time, and the way it is presented artistically — are becoming apparent to me.

Rather than simply assess the show I saw itself, it’s important to discuss these deeper factors, because Decibel Magazine wields a lot of market power in the United States, and the US remains the biggest music market in the world even though metal remains relatively unpopular here. In that respect, however, the tour is operating in an easy middle ground between what I would call respect for profits and respect for the metal zeitgeist. They do that by locking in headliners that already have clout and draw, but aren’t going to pursue metal as a full-time activity, and slotting openers who intend to make a career out of music. At least that’s how it’s worked for the past two years.

It seems as though 2014 was a prototype and 2015 was the first successful rollout of a set Decibel Tour formula. The recipe is as follows: Continue reading »