Aug 212014
 

 

The Ukrainian black metal horde Blood of Kingu are on the verge of releasing Dark Star On the Right Horn of the Crescent Moon — their third album and their first in more than five years. As you will soon hear, it is a grim devotional to disease, doom, and decay — an intense, immersive listening experience that over its length builds a wholly enveloping atmosphere of ominous peril.

With Drudkh’s main man Roman Sayenko once again piloting this dangerous vessel, Blood of Kingu drive the music with relentless blasting percussion and huge moving waves of almost ceaseless tremolo-picked chords, accented by eerie and ominous keyboards that effectively deepen the aura of doom. Through these dense moving walls of sound, bleak minor-key melodies ripple like disease vectors, and Sayenko’s monstrous, hollow roars sound like a ritualistic chant in an occult ceremony of death. When the band isn’t storming like a hurricane, they’re pounding like titans hammering nails into granite, or using massive groaning chords in a way that sounds like chains being dragged across a crypt floor.

The album’s savage assault is segmented by two brief ambient interludes, but even those breaks do nothing but further intensify the sense that you have been transported to an arid, decomposing wasteland of perpetual night. Continue reading »

Aug 212014
 

 

(BadWolf introduces our co-premiere of “Archways”, the first track on the forthcoming second album by Sweden’s Stench.)

Stench features members of Tribulation, whose last album, 2013’s Formulas of Death, endeavored to stretch black metal into uncharted territory, whether that be 70’s prog or 60’s surf rock. Tribulation’s approach didn’t always strike gold, or a chord for that matter, but it usually struck a nerve. Successful or not, that band was trying to do something genuinely new and interesting. The same could be said of Arizona’s Take Over And Destroy, who have a new record out this way. Stench finds itself between these bands, vying for an adventurous mix of prog, black, and death metal. It’s not orchestral in a Cradle of Filth kinda way, but there’s definitely some melodrama to Stench’s approach. All the better, I say.

“Archways,” the first track on the trio’s second record, isn’t immediate—it submerges itself in isolated guitar tracks before launching into a full assault part-way between the low-fi onslaught of Bathory and other proto-black bands, and the unforgiving rhythm of something like early Entombed. Likewise, the restless creep factor of both groups is present on this track. You can almost envision the black leather giallo gloves slipping into the hands of an unknown psychopath as the group’s death metal assault is joined by some vintage keys and sound effects. Before you know it, “Archways” is done, but that’s the way we like it, right? Never overstaying one’s welcome. All of Venture is like that—creepy and precise. Check it out in Europe on September 26 and in America on October 28. Continue reading »

Aug 212014
 

 

We have three music premieres coming your way today, but before we begin rolling them out, here are a couple of quick notes that caught my eye this morning.

AT THE GATES

Unless you’ve been living under a rock, you know by now that Sweden’s At the Gates have recorded a comeback album entitled At War With Reality that’s due for release by Century Media on October 27th in Europe and October 28th in North America. Today the band revealed the cover art for the album (above), which was created by one of our favorite metal artists, Costin Chioreanu (twilight13media.com). As for the relationship between the art and the album, and how Chioreanu came to be involved in the project, we received a press release that included these statements.

From AtG vocalist/lyricist Tomas Lindberg:

“The concept of At War with Reality is based on the literary genre called ‘Magic Realism’. The main style within this genre is the notion that ‘reality’ is ever-changing, and needs to be constantly re-discovered and re-conquered. We felt that Costin’s artwork style would be the perfect visual contribution to this album, so he became the natural choice…” Continue reading »

Aug 212014
 

(DGR reviews the third album by Sweden’s Sectu, which was launched in June of this year.)

The discovery of Sectu could not have come at a better time for your lovely reviewer here. While I’ve buried myself in a smattering of different genres recently, there hasn’t really been a traditional death metal disc that has caught mine eye in a bit. You can actually thank Volturyon for this discovery, because while bouncing around to their Bandcamp page to look for a stream we could attach to the review of Human Demolition, I found the Swedish record label ViciSolum Records and their Bandcamp page — and just below Volturyon were Sectu.

Now, I absolutely love record company Bandcamp pages. It’s such an amazing way to discover bands and, if you’re coming across an album that has come out already, an excellent way to get a big sample of what you’ll be in for. It’s the modern-day “stuck in a CD store listening to an album to find out what’s on it” — minus the headphones and the trying your damndest not to rock out in public.

Sectu, who are based in Stockholm, Sweden, are hard to pin down within the death metal genre. They have elements of tech-death, but also a huge treasure trove of Swedish death metal from which to pull, and are even prone to delving into some of Morbid Angel’s more apocalyptic moments. Continue reading »

Aug 202014
 

 

(Austin Weber reviews the new sophomore album by Trioscapes, which is being released today by Metal Blade Records.)

Music that lies at the intersection of jazz and metal has always interested me. The first Trioscapes album that came out not long ago in 2012, called Separate Realities, certainly scratched that itch. What excited me the most about the record was that it certainly seemed like only the beginning of where they could go with their sound, if they followed their heads.

While many are familiar with them as the side-project of Between The Buried And Me bassist Dan Briggs, saxophonist/flute player Walter Fancourt (ex-Mars Volta) and drummer/electronics artist Matt Lynch deserve just as much credit.

When Separate Realities was released, I immensely enjoyed it — but the band have experienced an exponential growth in their sound on Digital Dream Sequence. The leap into larger uncharted waters on the new record is simultaneously jaw-dropping and smile-inducing. They may be the same band toying with the same ideas, but the expanded and more unconventional depths of these new compositions gives the band a fuller, more adventurous sound than they previously exhibited. Continue reading »

Aug 202014
 

 

EDITOR’S NOTE: West Virginia’s Byzantine are nearing the end of a Pledgemusic crowd-funding campaign to help finance the making of their next album, To Release Is To Resolve, and NCS writer TheMadIsraeli caught up with the band’s main man, Chris “OJ” Ojeda, in an exclusive audio interview that we’re streaming at the end of this post. TheMadIsraeli introduces the conversation as follows:

***

Chris “OJ” Ojeda from Byzantine is a riot.  The guy’s got an obvious fire for what he’s doing, and handles the hardships he’s endured with a surprisingly casual and hopeful outlook.  He’s one of my favorite vocalists out there, and his riffs are distinct and have always stood out to me.

As the driving force behind Byzantine, the guy may feel like he’s got a load on his shoulders to prove that the band’s stellar comeback comeback album (2013’s Byzantine) wasn’t a fluke.  From what I’ve heard of the new record, though, I’d say we’re in for something better than even that last one. You’ll get a taste of it at the end of this post. Continue reading »

Aug 202014
 

If you’re a fan of Swedish death metal but you’re also hungry for something out of the ordinary, you need Usurpress in your life. This band from Uppsala have completed recording their second album — Ordained — and it will be coming out later this year via Doomentia Records. It follows the band’s 2012 full-length debut, Trenches of the Netherworld, and a handful of splits and shorter releases. Today we’re bringing you a taste of the new album — and it’s a two-fer: In addition to the premiere of a new song, we’re giving you a first look at the full-gatefold album cover by Ola Larsson, which is just downright gorgeous.

The new song is “Storming the Mausoleum”, and it’s a good representation of the Usurpress sound. Though it’s a compact four-minute affair, it’s packed with enough variations that it seems to end too soon — and if you’re like me, your first impulse after finishing it will be to hit “play” again.

In addition to that distinct, fat, corrosive guitar tone that’s the hallmark of the genre, plus gruff, bone-chewing vocals, the band show their affinity for d-beat rhythms — plus some other twists and turns. It begins with huge, lumbering,  swampy riffs and sledgehammer drum hits but then accelerates, with grinding tremolo-picked guitar parts and knee-capping percussion. Before it ends, the band shift into a galloping rhythm, inject menacing spoken-word vocals, and lace the music with odd, dissonant scales that aren’t exactly par for the course. It’s an excellent song, and an excellent teaser for what promises to be an album that’s both brutal and interesting.

But before we get to the song, feast your eyes upon this (click the image to enlarge it): Continue reading »

Aug 202014
 

Photo by Guðný Lára Thorarensen and Guðmundur Óli Pálmason

Here’s a quartet of things I saw and heard over the last 24 hours that I thought were worth your time. I could have sub-titled this “The Exception to the Rule Round-Up”, because the vocals are almost all of the clean variety.

SÓLSTAFIR

I’ve written about every advance track that has appeared from Sólstafir’s new album Ótta, which will be released by Season of Mist on August 29 in Europe and September 2 in North America. So I guess it stands to reason that I’m going to write about the full-album stream that premiered yesterday at Noisey.

I love the album, but I’m not sure were going to review it. We didn’t get our promo copy of the album from the label until less than 24 hours before the stream went up (and only about 10 days before the European release date), and I do sometimes wonder what the point is of writing a review when everyone can hear the album for themselves, especially when there are so many other albums whose music is less accessible that are also worth praising. There’s always a point to bringing music to the attention of people who might not be aware of it, but anyone who regularly visits our site couldn’t possibly remain unaware Ótta.

Anyway, whether we write more about the album or not, you really should go listen to it. Among the previously unreleased songs, “Non” in particular has been getting repeated spins among our staff. The goddamn riff at the end is just glorious. Go here — you’ll be glad you did: Continue reading »

Aug 202014
 

 

(In this post DGR reviews the new album by Novembers Doom.)

Chicago-based Novembers Doom are a band of many, many albums over the span of a twenty-year career, and many musicians if you want to be funny,. They’re also a band of many descriptors, hailed as a variety of things over the years — a death metal group, a doom metal band, a gothic-doom metal band — and often incredibly hard to pin down. Some even go so far as to call them America’s answer to Opeth… which I’ve seen in more than one review.

With such a long and storied career the band have pretty much earned the right to be whatever the fuck they want at any given moment, but they’ve always stuck to a pretty strong foundation comprised of doom with a heavy gothic influence a la My Dying Bride, a death metal band, and a mournful, clean-sung group that absolutely thrives on despair.

It’s a bastard offspring of differing genres, but ones so closely related that Novembers Doom figured out not only how to combine them but also how to jam them together so well that nobody really veers close to their style. Bled White, with its spare cover art, is only the group’s latest chapter in a very large book at this point. It sees the band sounding as strong as they’ve ever been, and fully confident.

Some of the best and most miserable work they’ve have ever kicked out lies within the album’s hour-and-eight-minute run time — establishing it as a worthy successor to the band’s previous records and also providing an excellent starting point for people who’ve long heard the name but have never jumped in before. Continue reading »

Aug 192014
 

 

We don’t write much about deathcore at this site, which may be why we’re not exactly a “go to” location for bands in that space who are interested in getting some increased exposure for their music. But Fail To Decay from Rochester, Minnesota, happen to include James Benson of Amiensus in their ranks, and that’s a band we’ve written about more than once in glowing terms. So when he asked us to check out Fail To Decay’s new music video, that got our attention — and now we’re bringing the video to you as well.

It was directed, filmed, and edited by Rico Roman Productions (The Human Abstract, Born of Osiris), and it’s for a song named “All Seeing Eye” off Fail To Decay’s 2014 EP, The Black Book., which was mixed and mastered by another favorite of this site, Roman “Arsafes” Iskorostenskiy (Kartikeya, Arsafes). Continue reading »