Mar 032014
 

(DGR wrote this review of the new album by Sacramento’s Alterbeast.)

Alterbeast are a group who have been rapidly moving through the Sacramento music scene for a while now, previously operating under the name Gary Busey Amber Alert (G.B.A.A. for short). Anyone who has ever had the opportunity to catch them live over the years could’ve told you that they had huge potential to go places — at the very least to escape the confines of this cowtown. Seeing the group live was like witnessing a controlled series of explosions through a tech-death lense. Thus it was that the group’s signing to Unique Leader came as no shock; the only question was whether the band could capture the intensity of those live performances on a disc.

The group’s name change came with a lineup change as well, meaning that Alterbeast and their new disc Immortal feels almost like the launch of an entirely new band. We at NCS waited eagerly to hear what would be captured on the album, as Immortal remained in the forge for some time — being hammered out at multiple studios, including familiar names like Mayhemness in Sacramento, Castle Ultimate (who have recorded multiple Sacramento groups — you’ll recognize Zack Ohren’s booming drum recording instantly), and Augmented Audio out in LA.

With Immortal still a couple weeks out, we finally got our grubby, disgusting hands on the album and we can confirm for you this much: Alterbeast have themselves one of the strongest launch discs in some time, a relentless, quick, calculatingly violent mix of the current tech-death metal scene, brutal death, and even some of the dark, heavy groove sounds that bands such as Black Dahlia make their trade on. Continue reading »

Mar 032014
 

Possession’s 2013 demo, His Best Deceit, stirred up a buzz among underground aficionados of black/death bludgeoning, but this Belgian band’s forthcoming 7″ EP, Anneliese, should stoke the buzz to deafening levels. My only regret is that it’s only two songs long. Today, we’re giving you the chance to hear one of them in its entirety.

Possession achieve the kind of sound and aura that many newer bands strive for but few achieve as well. It’s the sound of primordial death metal, rising from the ooze and radiating an otherworldly malignancy.  It’s rough and raw, but there’s a lot more to its appeal than feral ferocity: Possession write some delicious riffs that are as infectious as they are morbid.

The gut-punching drum beats and reverberating chords that form the intro to the title track tell you that something wicked this way comes, but you may still not be prepared for the driving rock rhythms, slashing guitars, and feral howls that follow it. It’s an immediate headband trigger, and if you don’t get a charge out of the grinding bass solo in the song’s back half, there’s no hope for you. The horror-filled atmosphere of the song’s down-paced finish makes a killer of a song all the more lethal. Continue reading »

Mar 032014
 

We discovered Kaunis Kuolematon last August through their release of a striking song named “En Ole Mitään” (I Am Nothing) — so striking that it was the only track we named to our list of 2013’s Most Infectious Extreme Metal Songs that didn’t come from an album or EP. That song was the advance guard of the band’s full-length debut album Kylmä Kaunis Maailma, which will be released through Violent Journey Records on April 25, 2014. Today we bring you the premiere of another song from the album — “Kivisydän” — plus a few words about the album as a whole.

In a nutshell, Kylmä Kaunis Maailma is just as striking as that first advance track that captivated us last year. Kaunis Kuolematon (“Immortal Beauty”) aren’t the first Finnish band to deliver melodic death metal drenched in doom, but they are one of the few to do it this well this fast. Blending gargantuan heaviness with a panoply of wrenching melodies, they’ve recorded nine powerful songs so well-written that they all have the capability of getting stuck firmly in your head.

The music is almost entirely mid-paced and almost entirely somber in its emotional atmosphere, yet the songs never lose their tight grip on the listener’s attention. Apart from all those reverberating melodic hooks, the band are masterful in their creation of contrasts.  They juxtapose jagged, jabbing riffs and booming bass lines with rippling lead guitar instrumentals that shimmer and soar. They’ll hammer your head like an anvil and in the next moment pierce you right in your anguished heart. Continue reading »

Mar 032014
 

(In this post our friend and well-known Eli Manning apologist KevinP interviews Ed Warby, who’s a fixture in a plethora of strong bands, including The 11th Hour, DemiurgAyreon, and Hail of Bullets — whose most recent album we reviewed here.)

 

K:  Now that we are about 5 months post release of Hail of Bullets’ third album, III: The Rommel Chronicles, and you’ve had some time to reflect, how do you feel about it?

E:  To be honest I haven’t listened to it in a while, but I feel good about it. It’s as good an album as we could make. Reviews were great again, the “best album yet” far outweighed any “not as good as the debut”, so that’s fine with me. When I look back I see three slightly different albums that form a cohesive body of work, pretty much the way we envisioned it when we started.

 

K:  So has the recording process changed since the last album?

E:  Dan Swanö did visit the studio this time to help set up the drum mics.  But otherwise it was done just like On Divine Winds: recorded at my place, mixed by Dan (in Germany, he’s moved).  The mixing took a few weeks and we’re constantly in touch about every detail.

 

K:  Was there any consideration of NOT using Dan this time around, just to be different?

E:  None. He did an early test mix for one song and it was dead on, so there was no reason to try something else. Continue reading »

Mar 022014
 

Masha Scream, photo by Greg Shanta

Russia’s Arkona have completed a new album named Yav. It will be released on April 25. I’m very interested in hearing it, not only because I’ve enjoyed previous recordings but also because I’ve enjoyed the hell out of the two live Arkona performances I’ve seen so far in Seattle. The frontwoman Masha Scream is a force of nature on stage, in addition to the fact that  she has a great dual voice (both harsh and clean).

I’ve read that for the new album she wrote almost all of the music and almost all of the lyrics, which was the first time it dawned on me that her role in Arkona goes well beyond that of vocalist and magnetic stage presence. But this post actually isn’t about her, or anyone else in the band. It’s about Gyula Havancsák, the Hungarian artist who created the artwork for Yav.

In addition to creating the album cover, which you will see in a minute, he also created pieces for each of the album’s 9 songs. Beginning last week, Arkona began posting the song illustrations on their Facebook page, along with poetic translations of the Russian lyrics into English. So far, five of the illustrations have appeared, and they’re very cool. You can see them next, along with the album cover. To hear a teaser of the new music, go to this location. Continue reading »

Mar 022014
 

I’m still catching up on news, new music, and video premieres that I didn’t have time to write about late last week while I was on the road for my day job. In addition to what I pulled together yesterday, I’ve got the following four items to recommend.

KHONSU

Khonsu is the Norwegian band started by multi-instrumentalist S. Grønbech. We wrote about Khonsu frequently in 2012 during the run-up to release of their debut album Anomalia (which was reviewed here by Andy Synn). On Anomalia, Grønbech was joined by his brother Arnt (aka Obsidian Claw, guitarist/keyboardist for Keep of Kalessin) as well as Keep of Kalessin’s vocalist Thebon. I hadn’t heard much about Khonsu since then, but last weekend brought a flood of news — and yesterday brought a new song and video.

The news is that Khonsu will release a new full-length album this fall, and a new EP entitled Traveller will be released for download on March 22. Beginning yesterday, and on each Saturday through that release date, Khonsu will add new songs from the EP for streaming on YouTube. There are five in total, including new versions of two KoK songs originally released in 2003 (“Traveller” and “Ix”), a cover of “Army of Me” by Bjørk, and a purely electronic version of “The Malady” from Anomalia. But the first song released yesterday through a music video is a new one that will appear on the forthcoming album: “Visions of Nehaya”. Continue reading »

Mar 012014
 

In my last stream-of-consciousness post I explained that I spent the last three days on the road working. I was able to spend some time conducting my usual surveillance of the interhole in an effort to find new music, but  didn’t have enough time to do much actual listening or writing. Instead, I added to my ever-growing list of things to check out later. I made a small dent in that list this morning and came up with some discoveries I thought were worth passing on.

ESKHATON

Eskhaton are based in Melbourne, Australia. They released a debut album named Nihilgoety in 2012, which I haven’t heard (it’s available on Bandcamp). Their second album is entitled Worship Death, it features killer cover art by Cesar  Valladares, and it’s due for release by the dependable Chaos Records on April 21. Last week a song from the new album began streaming on Eskhaton’s Bandcamp page, and I’ve got it for you here.

“Skeleton Shrine” is a goddamn vicious rampage of bestial blackened death metal. Subtlety and nuance are not the hallmarks of this style of metal — you go to it for the electric jolt it puts through your brain stem and the malevolent destructive force of its atmospherics. “Skeleton Shrine” delivers all that, and the flamethrower burst of the guitar soloing plus the complex tumbling of the drumwork put the icing on this poisonous cake. Continue reading »

Mar 012014
 

“There are two kinds of people in the world…”  That’s the preface to a thousand sentences that end in contrasts usually stated in black and white terms.  Good and bad, happy and sad, fatalistic and optimistic, generous and greedy, self-centered and self-sacrificing, and on and on. But of course most people are not at either end of whatever spectrum you can think of; they’re somewhere along the continuum, and the world is rarely black and white. Except when it comes to music. When it comes to music, there really are two kinds of people in the world. More about that in a minute.

***

I haven’t been able to blog much lately. I spent the last three days in Los Angeles working the job that pays the bills for our humble site. Over time, I’ve spent an accumulation of days in LA that amounts to years. It’s a maddening, frustrating, upside-down place with fucked up priorities, a place where ambitions and honesty go to die. It’s also a beautiful, vibrant, immensely creative place where hopes flourish and dreams become reality. It truly is a city of angels, even if many of them are fallen. All things considered, I usually love being there, even if I love being home more.

Off and on, it rained like a motherfucker while I was there. That played hell with the traffic, which is godawful even on dry days. But during the hours between the storms, the weather was glorious, and the elevated views to the west from the place where I was working were crystal clear, all the way to the swath of blue that marked the edge of the great Pacific.

When I travel for my fucking day job, I tend to have no time to myself, day or night, which sucks, because I feel cut off from the world of metal. I wasn’t able to listen to music for more than fleeting moments before collapsing into bed late at night. Yesterday morning, I had to wake up at 3:30 am for work, and the only reward was that by 8 am I was on a rocky flight back to Seattle. When I woke up, there was a riff running through my head. Continue reading »

Feb 282014
 

(In this post Austin Weber reviews the debut album by Artificial Brain.)

Most mentions of Artificial Brain focus principally on the fact that Revocation guitarist Dan Gargiulo is in in the band and that it’s his group. From what I’ve read in interviews it would seem he helped found it, and he no doubt writes a lot of the music. However, I feel that writing about Artificial Brain from this angle could be a disservice to the highly talented efforts of the other band members. As a group Artificial Brain offer an odd mix of old school and new school death metal shot through with alien black metal, and the way they make it all come together is frequently surprising and varied. They have enough different flavors to interest a wide range of fans as they touch on straight-up brutal, ambient and atmospherically focused, technical, and grimly dissonant jaunts — often within the same song.

If other black/death is a grim peering into hell, then Artificial Brain is the work of Lovecraftian monsters peering out from unearthly realms — ready and willing to inflict horror on the cosmos. Labyrinth Constellation is truly unsettling, and its monstrous, cold depths echo the band’s space themes eloquently. Continue reading »

Feb 282014
 


(Austin Weber returns with another collection of recommended music, this time featuring seven(!) bands.)

Some are of the opinion that the music of the present is on a perpetual downward slide, and if you’re in that group I probably can’t change your opinion because that’s what you believe and feel is true. But I feel the current musical landscape is healthy, and for metal at least, continues to be fertile ground for untapped potential, overflowing with an abundance of new genre crossover acts and developing ever more subgenres at an alarming rate.

This seems to bother purists and others who find such mergers distasteful or (and sometimes I agree) formless and often lacking in a uniquely constructed identity. In spite of that, there will always be that divide between those who intake influence and only create weaker copies of their idols, and those who create something of their own out of what influences them.

What follows below is a hodgepodge of music, equal parts instrumental, kvltdisco, deathqueef, and post-prog. That’s obviously sarcasm, but upon coming up with the joking term post-prog, I thought to check Google and see if anyone else had used it in a serious way. Sadly, Google proved that I was not alone in using the term, and led me to a Last.fm article informing the world about what its contributors deem “post-prog” . As usual, nonsense reigns supreme and reality remains a divided house ruled by individual perspective, as it’s always been. Continue reading »