May 052014
 

Behemoth, Goatwhore, 1349, Inquisition, Black Crown Initiate, and Drawn and Quartered performed at Studio Seven in Seattle on Saturday night (May 3, 2014). It was one of my most eagerly anticipated shows of the year. But I had a sinking feeling about it before the concert began.

I paid extra to get advance VIP tickets for myself and some friends (for what turned out to be a sold-out show) because they promised a meet-and-greet and early admission. An e-mail from the ticket-seller notified us that we needed to be at the venue no later than 3:45 for the meet-and-greet, and even earlier than that to pick up the tickets at will-call. This provoked groans, given that the show wasn’t scheduled to begin until 6:00. Of course, this was a metal show, and the odds were high that nothing would actually happen at 3:45, but we didn’t want to risk missing what we’d paid extra for. So we were there at 3:30. And of course nothing happened until 4:15.

In the meantime, we got soaked when the drizzling rain outside the venue became a downpour. And while shaking ourselves like wet dogs in a doorway we speculated that since this was the last stop of the tour, the promoters might have been having trouble waking up any of the musicians for the meet-and-greet. This suspicion was strengthened when we were finally ushered inside, to find obviously fatigued representatives from all the touring bands sitting along a long row of shadow-shrouded tables in the dark venue, waiting one-by-one to sign tour posters we were given at the door. Continue reading »

May 042014
 

“The wait is over. You can now listen to the new Agalloch album “The Serpent & The Sphere in its entirety over at NPR.”

Those are the words that appeared less than an hour ago on Agalloch’s Facebook page. And they are true words — you can indeed listen to the new album (which NPR praises in its review as “another metallic masterpiece from Agalloch”) in its entirety right now.

We just got our promo of the album late last week, about 10 days before its official release on May 13. I was hoping to have a review ready to post tomorrow, and we probably still will review it. But if I were you, I’d listen to it here while you can: Continue reading »

May 042014
 

 

Serpents Lair are from Sjælland, Denmark.  The members have not disclosed their identities or musical pedigrees. Two shrouded figures appear in a photo on their Facebook page, so I assume there are only two people in the band, but that’s merely an educated guess. Beyond that, all I know is that on May 2 they released a two-song demo on Bandcamp, and I’m tremendously impressed by it.

I’m perfectly happy with black metal that just tears, rips, and froths the waters like a school of piranha on a fresh carcass, and Serpents Lair certainly do that — and do it with a ravenous appetite. But the music is so much more than that.

Ominous, dissonant melodies heave and swell through the music like storm tides, even when the band are racing, and that creates a potent, sinister atmosphere. But they don’t always race. The music also falls into slow, menacing processionals, with big ominous chords that reverberate like bells of doom and rhythms that methodically strike like hammer blows. There is almost as much an air of bitterness and anguish in this music as there is righteous fury. Continue reading »

May 042014
 

(TheMadIsraeli reviews the brand new two-song promo from The Arcane Order.)

You guys may remember that a ways back I did a week-long series on quality, under-the-radar melodic death metal bands via reviews of select albums.  One of the bands I wrote about was Denmark’s The Arcane Order, a group for whom I really haven’t adequately expressed my enthusiasm on this site.  These guys are melodic death metal of the most imperial strain — bombastic, titanic, with blackened ice and symphonic typhoon wind.

The Arcane Order have been MIA for some time now.  Their last album, In the Wake of Collisions, came out way back in 2008.  I’ve followed them eagerly nonetheless, especially when they started talk of writing a new album last year and have since actually begun working on a new record.  To whet peoples appetites, I suppose, the band decided to debut two new songs just to let people know how things are coming along. Continue reading »

May 032014
 

Here are a few new things I found this Saturday morning that I thought were worth recommending for your entertainment and edification. Can you guess what they have in common?

DEATH ANGEL

As I’ve said before (without repeating the reasons) I don’t listen to a lot of thrash and would not consider myself a seasoned, well-educated expert in the genre. But I’ve been a fan of Death Angel since seeing them perform live in Seattle 3 or 4 years ago — that was one electrifying set. This morning I saw that they’ve released a video for the title track off their latest album, 2013’s The Dream Calls For Blood (Nuclear Blast), and it reminded me of that show in a good way.

I like this particular song, too. There’s a lot of jolting kick in the music, and compared to what I suppose I’d call “thrash standard”, there’s also some beefiness in the production (which I prefer). On top of that, the song exemplifies the biggest factor that (for me) separates Death Angel from the run-of-the-mill: Rob Cavestany’s soloing, which isn’t just mindless shred. And hey, I’ll also admit that the song makes me want to stupidly yell along with Mark Osegueda: “Dream! Calls For! Blood!” Continue reading »

May 022014
 

This is one of those days when the old fuckin’ day job is going to wipe out my blog time.  So this will likely be our last post of this Friday.  What I’ve done — hurriedly — is to feature a handful of things I heard last night that I think you should hear, too.

LOUDBLAST

Burial Ground — the new album by the long-running French band Loudblast — is one I’ve been anxiously awaiting. In late March I featured the album’s first advance track, “Ascending Straight In Circles”, and yesterday DECIBEL premiered an official video for the same song. As I’ve written before, the music is part thrash, part death, part doom — and as catchy as it is decimating (with thoroughly ravaging vocals).

It appears the album will now be released on June 10, by Listenable Records. It can be pre-ordered here. Check out the video next. Continue reading »

May 022014
 

I would like to see the 2014 edition of the SUMMER SLAUGHTER tour. It includes Morbid Angel, Dying Fetus, Goatwhore, Origin, Decrepit Birth, Fallujah, and other bands. I bet it would be a good time. But as much as I would like to see SUMMER SLAUGHTER, SUMMER SLAUGHTER does not want to see me.

Last night the tour schedule surfaced (I saw it on Origin’s Facebook page), and it doesn’t include Seattle, though it has in many previous years. In fact, everything north of San Francisco is getting snubbed this year. Somehow, I will survive the snubbing.

If you would like to see if you have been blessed or snubbed, check the dates after the jump. Continue reading »

May 012014
 

On May 15, Eihwaz Recordings (a sub-label of Bindrune Recordings) will release an unusual split by West Virginia’s Infirmary and UK-based Aetherium Mors: The split really consists of a full four-track EP by each band. Two songs from the split have previously debuted (here), and today we bring you two more — one from each of the bands.

INFIRMARY

Infirmary are a West Virginia duo consisting of guitarist/vocalist Aaron Carey (Nechochwen, Unwilling Flesh) and bassist/drummer Andrew D’Cagna (Nechochwen, Obsequiae, Brimstone Coven, Unwilling Flesh). Their EP included in this split is entitled Suffering For Eternity.

If you’re familiar with the other bands of Infirmary’s line-up, you may not be prepared for the devastation they unleash under the Infirmary name — but you will become educated when you hear our premiere of “Forced Into the Flames”, which is the first track on this striking split. Continue reading »

May 012014
 

Here are three select items I’d like too throw your way from my recent crawls through the interhole and the NCS in-box.

WOLVES IN THE THROWN ROOM

I was motivated to mention this first album by the stunning artwork you see above. The image is a collaboration between Rachel Carns and Nathan Weaver for Celestite, the forthcoming release by Wolves in the Throne Room. In addition to the unveiling of the artwork, the album’s release date was also announced yesterday: July 8, 2014 — which will make it a nice birthday present for yours truly.

I’ve mentioned this album before, but to recap, it has been described as “an instrumental, experimental companion” to the band’s 2011 album Celestial Lineage and as “a deeper excursion into the crystalline synthesizer-driven domains that have long intrigued them.” Here’s the track list: Continue reading »

May 012014
 

I chuckled when I first saw the name of this band, and then chuckled more volubly when I saw the cover of their debut EP, Masks of Ash. That is indeed one hell of an ornamental headpiece. Someday maybe I’ll find out how they picked their name, but of course what really counts now is the music, and Masks of Ash is awfully good.

The band’s membership is somewhat obscure, though it includes Damian Master (aka Deathless Maranatha of A Pregnant Light and Dukula Menelek of Aksumite), as well as one or more people from a band named Citizen and another from Detroit named Freedom. For me, Master’s presence made the EP immediately worth checking out — and I was hurried along in doing so by NCS supporter Utmu.

The four-song offering only lasts about 11 minutes total, but it’s a compelling 11-minute ride. The dominant style is black metal — on the raw, blasting, lo-fi end of the spectrum — but there are other ingredients in the mix as well. Continue reading »