Jun 102023
 

Tough choices to make today, but that’s every Saturday morning, even when I manage to round up some recent selections the day before (which I did this week). Knowing that I’ve got a third chance to make recommendations tomorrow (via Shades of Black) makes it slightly easier, though I didn’t shove off all the black metal into tomorrow.

There’s no real theme to today’s choices, other than the tennis-ball-in-the-tumble-dryer theme that I also used yesterday. Prepare to get bounced around again. (I did decide to book-end the collection with horrors.)

UNDERGANG (Denmark) / SPECTRAL VOICE (U.S.)

I’m drawn to new Undergang releases like a fly to honey, though in their case the better analogy may be flies drawn to a steaming pile of fresh viscera. Even sweeter, the latest Undergang release is a split with Colorado’s Spectral Voice. Continue reading »

Jun 092023
 

I was supposed to premiere and review an EP today. Despite knowing better, the label and band decided to publish the stream and circulate it to fans without waiting on us. Not the first time something like that has happened around here, but I no longer ignore it when people care so little about our unpaid efforts to help. Time is better spent in other ways, and so rather than finish that premiere write-up I decided to pull together this round-up of new songs and videos that mostly surfaced just this week.

I’ve not put much thought into some clever way of arranging the flow of them, in part because there are so many stylistic twists and turns in what I chose. Just think of yourself as a tennis ball thrown into a dryer with a lot of other tennis balls and start tumbling.

GRAND CADAVER (Sweden)

This week Grand Cadaver released a third single from their new album Deities Of Deathlike Sleep. They sum up the album as “Swedish Fucking Death Metal, the way we love it”, and the lack of pretension extends to the name of the newest song: “Vortex of Blood“. Continue reading »

Jun 092023
 

(We’re nearing the end of a long string of reviews DGR prepared in advance of his travels to Seattle for Northwest Terror Fest, and in this one he talks about a new album by the Japanese band Kruelty that was released in March by Profound Lore Records.)

At some point we’re going to have to come up with some sort of clever portmanteau to describe the level of ‘stupid’ that takes place within the scraping-hands-on-ground style of music that is working its way through the current death metal scene, and is especially present on the latest album Untopia from Japan’s Kruelty.

The best we’ve come up with so far is ‘Ridicudumb’ but it feels like three syllables too many for the type of low-end rumbling, brain-turned-to-jelly style of music that is happening here. You start to feel a little like Tom Hardy in Mad Max: Fury Road, pointing out of the car and declaring ‘that’s bait’ after instantly recognizing the situation around him. So too, can you listen to something like Kruelty‘s Untopia and know near-exactly what the hell it is aspiring to do within the first two minutes as the drums settle in to the solid and consistent groove that forms the backbone of death metal like this.

We’ve been to many a show where the vocalist has proclaimed to the crowd at one point or another that ‘now is your chance to hurt somebody!’. Kruelty’s Untopia is written to be just like that; it is an album that has set out for the sole purpose of hurting somebody. Continue reading »

Jun 092023
 

 

(We present here an interview by our Norway-based contributor Karina Noctum of Steffen Kummerer, a member of Obscura and leader of the German band Thulcandra, whose newest album was released last month by Napalm Records.)

Thulcandra have released one of the best and most beautiful melodic black metal albums this year so far. Hail the Abyss is a display of excellent musicianship and top-notch composition that pays attention to the details. The sound is a tribute to Scandinavian melodic and symphonic black metal while at the same exploring other tempos and structures that make it even more interesting.

In this interview Steffen Kummerer not only talks about his new release, but also gives us some Obscura updates. Continue reading »

Jun 082023
 

We almost never copy/paste what labels and PR agents write about the music they’re promoting. Not because they’re never right, but because we prefer to reach our own conclusions and express it in our own words, even when we’re enthusiastic enough about what we hear to host premieres. But sometimes, the word-smithing we receive is so glorious that it’s hard to resist. In the case of Sentient Ruin‘s come-on for the forthcoming debut album of Portland’s Disimperium, it’s gloriously horrifying:

As the debut 2021 7″ “Malefic Obliteration” had already hinted at, human ears will fall prey yet again to an entity whose quest for total sensorial destruction has now reached implausible and horrific extremes, far beyond the confines of sanity which had already been obliterated on the inaugural release. In its nine tracks and thirty two minutes of pure concentrated terror, “Grand Insurgence Upon Despotic Altars” discharges an inescapable payload of death that impacts the listener with the force and speed of an apocalyptic shockwave escaping the fireball of a nuclear warhead.

And there’s more where that came from, such as this: “Where bands like Diocletian, Impetuous Ritual, Tetragrammacide, Knelt Rote and Damaar had already tested and established the limits of human resistance against abstract ideas of omnipotent negativity and horizonless sonic bedlam, Disimperium explore these outer limits even further, venturing out and establishing a new era into which there is no more measure to the very definition of musical insanity sought and achieved for the sole sake of aggression”.

That’s all vividly evocative enough that you’ve probably already got a good idea of what you’re about to experience in the album track we’re premiering today, but we’ve got to justify our own existence, don’t we? So here goes…. Continue reading »

Jun 082023
 

White noise is a term that technically refers to a sonic sensation which equally includes all frequencies across a spectrum of audible sound, a meaningless commotion of static that can be used to drown out other sounds, which is why white noise generators are sometimes used as sleep aids. Sometimes it’s compared to the emissions of an old radio whose dial hasn’t yet found a station.

The New York avant-garde post-metal band Guhts had their reasons for naming their new single “White Noise“, but it’s not because the music sounds like some meaningless background drone, and it most definitely is not soporific. Far from it, as you’re about to learn for yourselves.

People who’ve heard Guhts‘ 2021 EP Blood Feather or their summer 2022 single “Burn My Body” won’t be surprised by that observation. Both of those releases were the kind of sonic and emotional powerhouses whose impact could be likened to meteor craters on Saturnian moons (not our moon, because it’s too familiar, and the music of this band tends to be startling). Continue reading »

Jun 082023
 

(We were very fortunate that our Denver-based friend Gonzo made the trip to Seattle for the recent fifth edition of NCS-sponsored Northwest Terror Fest, and took it upon himself to report on the experience of all three days. You can find his report on Day 1 here, and below you’ll find his impressions of Day 2, accompanied by photos made by the excellent photographers John Malley and Jimmy Stacks, and by our editor islander.)

Despite the transcendent ass-kicking YOB dealt out at the close of the previous night, I woke up feeling like my body had not been put through a cement mixer on Friday morning. This was both a welcome surprise and a relief.

Historically, Fridays at NWTF are always when the party feels like it gets kicked into 12th gear. There’s just more of everything – more people, more intensity, more energy. Even for only two stages in a relatively small venue, this festival always manages to capture lightning in a bottle. Tonight, I felt, would be no exception.

Once more unto the breach, dear friends. Continue reading »

Jun 082023
 

(Andy Synn shares his thoughts on the new album from Grant The Sun, out tomorrow)

Remember when – oh, about a month ago now – I mentioned how it was looking like 2023 was going to be a distinctly proggy year for me?

Well then, you may recall that I also committed to reviewing three albums in particular which I had high hopes for, so consider this write-up of Voyage step one in my attempt to fulfil that promise.

Continue reading »

Jun 072023
 

The story of New England-based I, Destroyer is an unusual one, perhaps best summed up as a tale of indomitable perseverance in the shadows of the underground. As we write this, the band are on the eve of their 20th anniversary, and yet (with a new lineup in place) are only now about to release their first official EP as a label release.

Those two decades did see the production of four I, Destroyer demos, but they were self-released and usually passed along by hand to friends, fans, and other bands. Moreover, although those four demos collectively included 21 songs, they totaled only about 38 minutes of music. The new EP — Cold, Dead Hands — is nearly 25 minutes all by itself, spread across 6 tracks. If you do the math, you’ll figure out that these songs on average are longer than anything the band have done before.

These songs are also dynamic and expertly executed assaults. And make no mistake, they are indeed vicious assaults, relentlessly pulse-pounding attacks of black thrash and speed metal, but with enough changes in momentum and mood (and plenty of technically eye-popping performances) to keep listeners perched on the edge of their seats. It’s raw and nasty, fetid as well as ferocious, both feral and freaked-out — a wild ride from beginning to end.

And so, it’s with fiendish pleasure that we present a full stream of Cold, Dead Hands today in advance of its June 9th co-release by Eternal Death and Born for Burning. Continue reading »

Jun 072023
 

In 2019 very few (if any) people foresaw all the global upheavals that the immediately following years would produce — a global pandemic, the damage caused by rapidly accelerating climate change, and a ravaging war in Europe, among other catastrophes. The Australian band Claret Ash didn’t foresee them either, at least not in all of those specifics, but what happened did depressingly dovetail with an imaginative narrative they had already begun, and informed where it would then unfold in a tale of societal collapse.

In December of last year, almost five years after the release of their last album The Great Adjudication: Fragment Two, the band began a new musical sequence called WORLDTORN. As explained by the band in an exclusive interview you’ll find at the end of this feature, it “picks up from where the last album, The Great Adjudication, finished by focusing on events after the collapse of society and the eradication of humanity”.

Clarest Ash launched WORLDTORN in December with the single “GATEWAYS” (reviewed by us here). Thematically, it described a world in turmoil, reeling from an “anthropocentric holocaust” during which nature had mutated and become the supreme force and humans were forced into hiding.

And now Claret Ash will be following that initial chapter of their continuing narrative with a second installment, a new EP named WORLDTORN: Anemoia that’s set for release on CD and digital formats by Hypnotic Dirge Records on August 11, 2023. In addition to the afore-mentioned interview, it’s our pleasure today to premiere the EP’s electrifying opening song, “Cascadence of the Twilight“. Continue reading »