Aug 022022
 

(Our Denver-based contributor Gonzo was fortunate enough to be at the 2022 edition of Fire In the Mountains, which took place in the shadow of the glorious Teton Range in Wyoming. Today we present the first of his reports about the festival.)

I stepped out of the car and gently shut the door. Raising my arms over my head and interlocking my fingers, palms facing skyward, I stretched my body as if I’d never stood up on my own two feet before. Sitting on my ass for over 7 hours in a Subaru Outback through desolate landscapes and wide-open highways with barely another soul in sight for miles does tend to drain you after a while. And looking around now, it was almost fair to wonder if we’d driven through a portal to another dimension.

That otherworldly dimension, for our purposes, was known as Fire in the Mountains, a deeply unique festival experience that was just about to kick off its first occurrence in three years. Set deep within the Wyoming wilderness just outside of Grand Teton National Park, this gathering of metalheads, artists, hippies, weirdos, psychonauts, and anyone in between had gained a lot of buzz throughout the US festival circuit. Some called past incarnations of it “loose as goose shit,” while others described it simply as the best weekend they’d ever experienced in their lives. High praise for a festival that attracts just over a thousand people each year in a setting that requires you to pack in your own water.

Now that we’d arrived, the anticipation that had been building since 2020 was palpable, like a thunderstorm slowly looming over the mountaintops in the distance. More cars were slowly beginning to pull in, sporting license plates from as far as Canada, Ohio, Florida, California, Minnesota, and more. It was clear this was a destination for many. It was time to set up camp and let this experience take us wherever it would lead us. Continue reading »

Aug 012022
 

 

Living in a dramatic natural setting can be a double-edged sword. Imagine a place bounded by the vast, untamed Pacific Ocean and the Salish Sea, and indeed by water all around, with a mountain range running through it, encompassed by dense, towering forests and sheltered by skies both daunting and glorious. In a state of despondency, such a place might seem like a calculated reminder of how small, insignificant, fleeting, and unattractive your own existence really is. On the other hand, a place like that can so powerfully overwhelm all ugliness as to provide inspiration and hope.

The place we happen to be talking about is Vancouver Island, officially a part of British Columbia in Canada, but really a kind of world all its own. The largest community on that enormous island is Victoria, and Victoria is home to the black metal band Liminal Shroud. It’s no wonder that their natural surroundings have an influence on their music, in ways both dark and blazing — a carefully chosen word, because their forthcoming second album, which you’re about to hear, is named All Virtues Ablaze. Continue reading »

Aug 012022
 

In June of this year we premiered and reviewed a remarkable split release by Florida-based Grave Gnosis and California-based Hvile I Kaos. In part, the split functioned as a teaser for new albums that are in progress from each band, but it was much more than that. It also represented a singular conceptual collaboration, “expressing the nature of parallel spiritual forces, focusing on aspects of the Sun and its Shadow, as seen through the lens of Vedantic Nihilism”.

That term Vedantic Nihilism originated in the writings of Grave Gnosis founding member and Occult author Caine Del Sol, in his book Codex Aversum. It represents a magickal system (briefly described here) that describes a path to “complete immersion in the Void, in purest surrender of our illusion of Self”, as a means of achieving “unity with the beyond”.

With respect to the new split, “Each track represents and invokes a facet of the forces of Moloch as they may be interpreted in both the microcosmic front of the personal psychospiritual, and the macrocosmic sociopolitical and religious egregores. The magickal formulas draw from the alternating modes of invocation and evocation, typified by incitement to fervor and call to action, respectively”. Continue reading »

Aug 012022
 

 

(This is Wil Cifer‘s review of the new Chat Pile album, released last Friday, July 29th, by The Flenser.)

Perhaps this band from Oklahoma City once fit within the neat parameters of a metal subgenre. Then marijuana in their fair city was grown much stronger. Sure, aside from “medical use” the groovy green is illegal, but the sounds made on this album have been created by deeply troubled young men who must surely qualify at dispensaries. Even if they do not, metal is still the music of the outsider. An outsider is not just outside of social norms, but the laws of said norms are coughed at as well. Often with a red-eyed grin.

This band embrace their dark side, though from all the pot talk thus far you must imagine them to be on the wavelength of Sleep or Bongzilla. This is not the case. They are more abrasive than either and owe more to Black Flag than Sabbath. They are angry and put those feelings out on their instruments. Continue reading »

Jul 302022
 

 

A couple of updates for you weekend visitors: First, I’ve had to rush today’s roundup, thanks to a late start on the day and way too many new songs and videos to go through in order to make these choices. Due to the rushing, I had to leave lots of good stuff on “the cutting room floor”, despite how many choices I made.

Except in the context of deadly sins and circles of Hell (the violent and bestial one), 7 is a lucky number, so I initially decided to stop there. But I couldn’t help myself, and so pushed it to 10 instead, presented alphabetically by band name.

Second, I’m going to a big party in Seattle tonight. It was originally scheduled to happen in January, but last winter’s covid surge fucked those plans. It will be very late before I get back to the NCS island headquarters, and there’s at least a 50/50 chance I’ll wake up on Sunday with a hangover, and a 100% chance that most of the morning will be gone by the time I open my red eyes. Which means we may not have a Shades of Black column tomorrow. Continue reading »

Jul 292022
 

Right up there, staring you in the face, is one hell of a piece of cover art. It seizes attention in electrifying fashion, and when combined with the name of the song it accompanies — “Pulverized By Warhammers” — it makes a striking statement. It’s gratifying to see that the photo of the band who made the song — Chicago-based death/thrashers Crusadist — is just as savage and menacing.

But what of the song itself? Does it live up to all these outward trappings? Well hell yes, it truly does, as you’re about to discover for yourselves. Continue reading »

Jul 292022
 

Recommended for fans of: High On Fire, Conan, Mastodon

The story of California riffmongers Behold! The Monolith is one of both tragedy and triumph

Tragedy… because, after releasing two well-received and well-rounded albums of increasingly proggy, doom-laden, sludgery, the band’s long-time bassist/vocalist Kevin McDade was killed in a car accident in 2013.

Triumph… because, after making the decision to carry on, the band roared back with another two fantastic records, the most recent of which was released just a few weeks ago.

Continue reading »

Jul 292022
 

“Super groups” come and go, and more often than not they tend to go quickly, with the members pulling a “one off” stunt and then returning to their main projects. But sometimes the chemistry is so good, and the results so successful, that the groups live on. Such is the case (thankfully) with Heads for the Dead, who arrived on the scene with 2018’s Serpent’s Curse, made further hideous strides with 2020’s Into the Red, and are now running up to the September 2nd release of their third album, The Great Conjuration.

This new one continues the band’s gruesome addictions to supernatural horror in the trappings of chainsaw-powered death metal, and again unites the talents of Wombbath‘s Jonny Pettersson (guitar, bass, keys, FX) and vocalist/lyricist Ralf Hauber from Revel In Flesh, and this time they’re joined by Wombbath drummer Jon Rudin and by Matt Moliti from Sentient Horror, who performs guitar solos.

What we have for you today is the premiere of another song from the new album, to add to those which have already been scourging the ears and terrorizing the minds of the public. This one is called “The Breaking Wheel“. Continue reading »

Jul 292022
 

 

(In this new interview Comrade Aleks spoke with the members of Kansas-based Parthian, whose debut album was released at the beginning of this month.)

Progressive rock and metal seem to be among the most popular instruments used by musicians to describe Cosmic and Lovecraftian Horror. Other musical genres work too, for this Horror is multifaceted and each of its forms could be revealed in different ways. However this Wichita-based progressive / melodic death metal band, Parthian, walks another direction, creating its own mythology on H.P.’s fundament.

Parthian released their concept album Desolation of a Ceaseless Dawn on the first of July, six years after they managed to release their debut EP Perpetual Deconstruction, and we had a talk with the guys. The current line-up consists of Adam Faris (guitars, vocals), D.J.Dixon (drums), and Jacky Patrick (bass), but most of the time it’s Parthian‘s collective mind who answers my questions. Continue reading »

Jul 282022
 

Comparative references are useful but risky techniques in writing about new music — useful because they function as short-hand summing-up’s for experienced listeners, risky because they so often go awry, or remind you of how great the referenced bands are, and by comparison how far short the newcomer falls.

Those reflections occurred to us when seeing the press materials for An Eternity of Misery, the debut album by an Italian band named In Grief that’s headed our way in September from Iron Bonehead Productions. Those materials included this passage, which might naturally provoke skepticism among some readers:

“Like much/most melodically inclined doom-death, the spectre of “the Peaceville Three” – My Dying Bride, Paradise Lost, and Anathema – looms large here, but one can equally detect trace elements of the earliest works of Katatonia, The Gathering, and especially Tiamat‘s pivotal Clouds.”

That such words were offered in support of a band who only formed during the plague year of 2020, with only an EP and a demo to their name in advance of this album, is even more likely to inspire doubts. But it turns out those reference points are quite useful, and that In Grief‘s music indeed lives up to the billing. Continue reading »