(Our Vietnam-based writer Vizzah Harri prepared the following highly entertaining review of the latest album by the Tunisian band Znous, released in early June of this year.)
And now for something completely different. No, I’m not referring to the Flying Circus, the music and the band is anything but unserious. Znous hail from Al Rudayyif, Gafsa in Tunisia and were covered by Andy Synn back in 2021 as “socio-political Punk-Metal firebrands” not to miss.
(Andy Synn says that listening to the new Duhkha album is an experience you can’t come back from)
While a lot has been written about the various Death Metal bands incorporating more and more stripped-back, straight-to-the-throat Hardcore dynamics over recent years (some more successfully than others, I might add) much less has been written about bands going the other way.
Which is a shame, because the last few years alone have seen the likes of END, Incendiary, Bridge Burner, End Reign, Underneath and Umbra Vitae (whose latest I still haven’t gotten around to reviewing) all stepping up to demonstrate that the lines between the likes of Earth Crisis and Entombed, Overcast and Obituary, Cro-Mags and Cannibal Corpse, have always been blurrier than the “scene police” pretend.
And now we’ve got Duhkha, whose absolutely devastating debut album, A Place You Can’t Come Back From is here to put one more humongously heavy nail in that particular coffin.
Not long ago we published our Comrade Aleks‘ interview of Ryan Wilson, who is the musical equivalent of a perpetual motion machine and one of the two men behind the Texas-based death metal band Pneuma Hagion. The entire interview is well worth reading, but I found his comments about the Lovecraftian influence in Pneuma Hagion the most illuminating, especially in the context of the band’s new album From Beyond:
“I’ve been a huge fan of Lovecraft’s stories for most of my life. The key thing about Lovecraft is the sublime horror that he evokes; it’s a horror that can’t be seen, can’t be touched, and really can’t even be easily imagined. I love this; something that is beyond comprehension, but just graspable enough to be terrifying….
“Our minds have the power to create much more sinister and frightening ideas and images than anything the physical world can actually produce. The idea of extradimensional entities invading people’s minds is a huge theme in the stories of Lovecraft, and I enjoy trying to evoke similar feelings via the medium of music…. [M]usic is a great platform for the sublime, where the art lies in sound and not in visual cues so that your mind gets to handle all of the relevant imagery.”
Those thoughts resonate powerfully when listening to From Beyond, an album that truly does conjure terrible images of the listener’s own making, no two of them alike just as no two of us are completely alike. Everlasting Spew Records, which will release the new album on August 30th, fleshes out its thematic sources: Continue reading »
(In mid-June we published a preview by our Slovenian comrade Didrik Mešiček of the star-studded Tolminator festival in his home country that was then set to kick off in late July. When it did kick off, Didrik was there, and below you will find his report on the first day. It’s accompanied by excellent photos, including a large Flickr gallery at the end, made by Katja Torkar/Bloodbat Photography.)
Summer brings with it many things – the heat, the impending dread of the next storm and how much damage it’ll do, but most of all it brings the joys of summer, and amongst those what’s better than metal festivals?
Slovenia’s metal scene reputation has taken a bit of a hit lately as you’ll know if you’ve ever heard or read the unfortunate word “Metaldays” but that beast has been fully slain and buried in what has brought nothing but relief to most people. Upon its grave, a new hope has grown, a young and green tree by the name of Tolminator, now in its second year after a generally impressive debut in 2023.
The festival brings a unique location as it’s based on the confluence of two Alpine rivers while presenting a fairly solid extreme metal lineup and what has become a proverbially pleasant atmosphere ever since some 20 years ago when metal festivals first arose in the area. Much like last year, I was once again allowed to pretend to be a real journalist at the festival and this is why you now get to – naturally to your extreme satisfaction – read a bit about what happened at Tolminator 2024. Continue reading »
(written by Islander)
Sadly, this week’s collection of the blacker arts will be brief, not just smaller than yesterday’s Tyrannosaur-sized collection but smaller than the weekly average for this column. I’ve got to get out of the house with my spouse and join up with some other hooligans this morning for day-drinking and ping-ponging words (yes, even people just a stone’s throw from assisted-living age can act like hooligans).
So that’s all the intro I’ve got. I better get to it or this will be even shorter that projected.
I spilled a lot of words about the “devastating magnificence” of this Greek band’s last album, 2020’s World In Ruins — words such as “soaring”, “sweeping”, “near-celestial”, “blazing”, and “tumultuous”, but also “crushing”, “stately”, “dolorous”, and “sublime”. It created ruinous maelstroms but also reached epic heights of glory. Continue reading »
(written by Islander)
What’s a good metaphor for having too many attractive things to choose from? A kid in a candy store? Maybe, except a lot of the sweet things I’m looking at this morning are also poisonous.
Wandering the aisles of an animal shelter trying to make a connection with a small feline you might adopt? Yeah, but some of these small beasts I’m seeing will suddenly swell up and try to claw out my jugular.
How about a child wide-eyed at a pile of presents under a tree on Christmas Eve, wondering what to open first? Sure, except some of these gifts will explode when touched, or might break your heart.
Here’s what I chose to share from the array of musical delights and dangers I surveyed today. As you can see, I grabbed with both hands, pockets stuffed and both hands overflowing. Presented alphabetically, because trying to figure out how to organize this in any other way was too damn taxing. Continue reading »
(Writtenby Islander)
Last year the mysterious U.S. band Mnajdra made a splash with its self-titled debut album. Granted, it was a splash in a far corner of the small tributary of metal that spikes away from the vast ocean of music on a broader scale, but it still sent ripples, especially through devotees of terrorizing yet surprising musical extremity.
We attempted to review the album here, from which this is an excerpt:
The music isn’t easy to sum up, because it draws from scattered wellsprings of black metal, death metal, sludge/doom, post-metal, and psychedelia — whatever works to create wide-ranging sensations of catastrophe…. [B]e prepared to have your head spun and your dreams disturbed.
It is a relief that the secretive people behind Mnajdra, who clearly had done other things before that album, decided not to make the record a one-and-done effort. Instead, they’ve recorded a second album, and we’re thrilled to premiere it today — on the day of its release by Fiadh Productions and Snow Wolf Records. Continue reading »
(Writtenby Islander)
Metal-Archives currently brands the Australian band Mekigah “Gothic/Doom Metal” based on the band’s first four albums. Based on Mekigah‘s forthcoming fifth album they may have to put an “(early)” parenthetical next to that genre description. But what will they put in front of “(later)”? What kind of genre label does the fifth album suggest? That turns out to be a very tough question.
Mekigah itself describes the new album as “a purposely designed ugly, drawn out, raw, awkward journey,” with “no attempt or desire to either embrace the slow slow doom, to aggressively technically impress or to build upon previous motifs”:
“Everything is caught between worlds, as Mekigah itself is caught between worlds. Nothing is where it belongs as things are uncomfortably forced together through the sheer necessity of only gaining satisfaction via sonic self sabotage and harm, creating audial-mazes which then have to delicately be navigated through.”
What does this mean? We’ll find out together, through our premiere stream of this new album, To Hold Onto A Heartless Heart, now due for release on August 15th via the Aesthetic Death label. Continue reading »
As their name portends, the southern California band Crawling Through Tartarus, whose music straddles a line between contemporary death metal and deathcore, have drawn inspiration from ancient Greek mythology, with a particular relish for the most brutal and hellish aspects of those old tales, as proclaimed in their name itself.
But while the band wish to lead us into the deepest region of the infernal underworld where the gods internally imprisoned their enemies and ruthlessly punished the wicked, they don’t… crawl. Their music does succeed in creating hellish experiences, but their forte is bludgeoning listeners within an inch of their lives.
One example of what we mean is a song off their self-titled debut album, released earlier this year, that’s the subject of the lyric video we’re premiering today. In a nutshell, it’s a bone-smashing groove monster, albeit one that becomes haunting before the end. Continue reading »
The appearance of another painting by Mariusz Lewandowski on the cover of a metal album is always welcome, and the album on which the one above appears is also welcome, especially because the music is as hauntingly chilling and as frighteningly colorful as the image.
That album, Blessing of Despair, is the Finnish death metal band Devenial Verdict‘s second full-length, following up their daunting Ash Blind from 2022. What we have for you today is a premiere of the third song from the record released so far, evocatively named “Garden of Eyes“. Continue reading »