Sep 302020
 

 

This is an example of “better late than never”, to put it mildly. Humanity Is Cancer wrote the songs on their forthcoming self-titled debut EP back in 2014/2015, as guitarist Thomas Haywood was just about to launch his two labels, Redefining Darkness Records and Seeing Red Records, whose releases have received considerable acclaim in the ensuing years. As a result of the effort devoted to the labels, the EP was put on hold — but it will now finally see the horrid light of a November day in a truly terrible year that has abundantly proven the truth of the band’s name.

And it is definitely better late than never. The four songs on the EP are all terrific, delivering with considerable mastery a style of death metal that draws upon the influence of Aeon, post-Barnes Cannibal Corpse, Morbid Angel, early Decapitated, and Bloodbath. The music’s immediately addictive rhythms are pulverizing, its morbid, preternatural melodies are memorable and haunting, and it achieves heights of ferocity that are spine-tingling. Continue reading »

Sep 302020
 

 

(For the September 2020 edition of THE SYNN REPORT, Andy Synn focuses on the discography of Minnesota-based Feral Light, including a review of their 2020 album Life Vapor.)

Recommended for fans of: Tombs, Cobalt, Wolvhammer

So while these guys weren’t my original choice for this month’s Synn Report, the truth is I’ve been itching for a chance to write more about them for a while now, particularly since we didn’t manage to publish a review of the band’s third album, Life Vapor, (although we did host a premiere for it) when it was released back in May, so I’m more than happy that things worked out this way.

Hailing from the grim, snowbound wastes of… Minneapolis, Minnesota… Feral Light (who comprise the dynamic duo of Andrew Reesen on drums and Andy Schoengrund on guitars/vocals) deal in a gritty, gruesomely groovesome brand of Black ‘n’ Roll which has, over the years, also developed an increasingly savage-yet-sombre (not to mention ever-so-slightly proggy) edge to it.

And with three full-length albums now under their belt, I felt it was high time that more of our readers got to know (and love) them as well as I do. Continue reading »

Sep 302020
 

 

Conveniently, the first three tracks from Apochryphal Revelation‘s new album — the three that actually open the record — can be streamed right now, one after the other. Today, leading up to the November 1 release of Primeval Devilish Wisdom by Nuclear War Now! Productions, we’re adding a stream of a fourth song — “Obscure“. It comes later, sitting close to dead-center in this 15-track destroyer. Probably the right way to do this is for you to run the gauntlet of that opening trio before doing anything else.

We’ll make that easy for you, but as a preview we can say this: The first two of those tracks, the title song and “Wickedness”, are short ones, and that title track is a dream-like organ prelude (with a few rumbles of thunder in the distance). It’s the second one that begins to give you a sense of what this band are up to, even though it’s also an instrumental track — and what they’re up to is indeed wicked. The music pulses with primal, carnal vitality. It melds dirty, thrusting riffage, gut-busting drum blows, and eerie, screaming tones, like the emanations of a tortured specter.

On the other hand, the third track in the opening triumvirate, “Profane“, is longer than the first two combined. Still very wicked it is, still very devilish, but more than a little insane too. You get to hear voices (inhuman echoing roars bouncing from ear to ear), and while the music does continue to have a “stripped-down” sound, its galloping, hammering beats and raw, seething and searing chords channel blood-lusting frenzy. The guitar rakes like obsidian claws too, and becomes a demented, feverish, shrieking poltergeist as well. The music surges into wild chaos, a combination of maniac drumming, boiling fretwork, and rabidly sadistic vocals. Might make you imagine the ecstasy of demon lords raping and pillaging the damned souls given to them for an eternity of agony. Continue reading »

Sep 302020
 


photo by Jay Dixon

 

(This is DGR’s review of the latest EP by Pig Destroyer, which is out now on Relapse Records.)

Honestly, before it was made clear what Pig Destroyer‘s latest EP The Octagonal Stairway was meant to be, there was the briefest of double-takes, as I could’ve sworn there was already an “Octagonal Stairway” single released way back in 2013. Eventual digging would prove that memory true, and it didn’t take much more to clarify what this EP was.

Pig Destroyer have made a name for themselves catching people off guard with some of their EP work, usually with grander aspirations than just a rocket-fueled grind assault. Their latest full-length Head Cage did the same thing but with giant mosh riffs and huge grooves instead of artistic exploration into other genres. That being the case, even with a name like Pig Destroyer it’s still fun to see what the band are going to hurl at you through your speakers.

In this case the EP is a newly approached version of its title song, a collection of two of their singles that came out in 2019 – one via Decibel flexi disc and another an Adult Swim singles release, much like the title track here – and then three electronic experiments that either resolve into sound or are otherwise meant to slowly crawl under the skin and unnerve you. If it feels to you as a listener like a release with multiple personalities fighting for some sense of identity, you wouldn’t be the only one in thinking so, but it is very convenient to finally have these songs under one roof if you weren’t able to find them otherwise. Continue reading »

Sep 292020
 

 

(We present Vonlughlio’s review of the new album by Incinerate, which will be released on October 9 by Comatose Music and features cover art by Jon Zig.)

This time around I have the opportunity to write about Incinerate, a project originally hailing from Minnesota in the United Stated, formed back in 1998. I have been a fan for over 20 years, while witnessing their changes and evolution.  Their debut album Dissecting the Angels in 2002 — that was in-your-face BDM with a raw production that worked rather well in their songwriting.

For their second album, Anatomize, it took them six more years to get it finished and released, and it was evident that the time brought about big changes in songwriting and sound, and the incorporation of a technical aspect in both. The song titles were simple and on-point, while the lyrics maintained their anti-religion sentiment. This was a great progression musically, it showcased guitarist/vocalist Jesse Watson‘s finest work to that date,  and the musicians on this release were spectacular.   This album gained a lot of attention and a lot of fans, and the release would become one of those that would pass the test of time. Continue reading »

Sep 292020
 

 

Following the release of two well-received EPs, Fire the Torches (2016) and In the Cremation Ground (2018), the monstrous Finnish death metal band Cynabare Urne are at last ready for the release of a debut album, one that harnesses the extensive experience and gruesome talents of the three performers. Entitled Obsidian Daggers and Cinnabar Skulls, it will be released by Helter Skelter Productions on October 30th, and as you can see, we’re about to bring you the premiere of a genuinely evil piece of music named “Misotheist“.

Cynabare Urne‘s ghoulish songwriting and horrifying tonal proclivities don’t lend themselves to any neat and succinct comparisons with better-known bands — witness the references made in the PR materials to a range of stylistic influences that “span Sadistic Intent to Necros Christos, classic Grave to recent Dead Congregation, early Vader to later Repugnant, and plenty of other points in between.” All those compass points are one way of trying to capture the appealing ways in which the band create multi-faceted and dynamic music, albeit without ever surrendering their adherence to dreadful power and preternatural ghastliness. Continue reading »

Sep 292020
 

 

(Andy Synn introduces our premiere of “Wind and Fog” from the new third album by the U.S. black metal band Serpent Column — and reviews the album — in advance of its September 30 release by Mystiskaos and Iron Bonehead.)

To quote the late, great, Arthur C. Clarke:

All human plans [are] subject to ruthless revision by Nature, or Fate, or whatever one prefers to call the powers behind the Universe.”

This was made eminently clear to me when, in preparation for this month’s edition of The Synn Report, I enquired as to whether we’d received a promo copy for the new Serpent Column album Kathodos.

Dutiful as ever, Islander reached out to the band’s label, who responded that they generally don’t do advance promo copies but, if we were really that interested in the band, they’d make an exception in our case… oh, and would we mind hosting an exclusive and unannounced last minute premiere at the same time?

Talk about an offer you can’t refuse… Continue reading »

Sep 282020
 

 

Just a bit earlier today I was writing about the special thrill that heavy metal addicts can experience when discovering a band who are adept at blending stylistic influences in unexpected ways, and in the new EP by the Sacramento-based duo Sarcoptes, entitled Plague Hymns, we have another prime example of that.

In the most brutally shorthand way of describing these two songs, they’re a fashioning of blackened thrash, but that label really under-represents how remarkable they are. They do indeed blaze like hellfire driven by gale-force winds, but they also feature beautifully chosen symphonic accents as well as the kind of glorious guitar-work that brings to mind bands from the forefront of classic heavy metal.

One immediate sign that these two songs aren’t your typical black/thrash rippers is their length: The first song, “The Vertigo Soul“, is almost seven minutes long, and the one we’re premiering today, “La Moria Grandissima” almost reaches the 11-minute mark. Both songs really are stupendous, and it’s our devilish pleasure to bring you streams of both of them in advance of the EP’s release on October 2nd by Transcending Obscurity Records. Continue reading »

Sep 282020
 

 

Genre gene-splicing in heavy metal, as in all forms of music, offers the potential for glorious highs and abysmal lows. When it works, the results can be electrifying, particularly when the differing strands woven together by the music would hit a whole bunch of a listener’s sweet spots individually. Pulling them all together in a way that doesn’t feel jarring but instead seems intuitive and natural compounds the pleasure in ways that just focusing on one style would not (and honestly, sometimes that pleasure derives from a feeling of pleasant surprise that the feat has been pulled off so well).

On the other hand, we are all familiar with the pitfalls of genre-splicing that has gone awry, when bands have strained to do something — anything — different, as a way of standing out from the ever-expanding pack, and the result is a Frankenstein’s monster of stitched-together parts, a forcing together of ingredients that sounds, well, forced-together.

With those observations as a prelude, it will come as no surprise that the subject of today’s premiere — Boston-based Lord Almighty — are a band who pull from different genre wellsprings, and achieve a union among them that in my humble opinion is hugely successful. Continue reading »

Sep 282020
 

 

I finished my hike through a grand forest yesterday, more than three miles. My wife and her friend didn’t even have to drag me to the finish, though the fact that we had an hour break for lunch is the only reason I made it. I slept like a dead man last night and, to use an old idiom, was all “stove up” (google it) when I staggered out of bed this morning.

Confronting a massive list of new songs that could have been fodder for this post, I decided to make it easy on myself and just use a quartet that Andy Synn recommended to me late last week. This was a bit of a shot in the dark, since I hadn’t yet listened to any of them, but not completely in the dark since Andy has decent taste. On the other hand he’s not completely disinterested, because he performs with one of these bands. But that’s where I come in, to bring some objectivity to bear (through the waves of muscle and joint pain).

APATHY NOIR (Sweden/UK)

Wonderful cover art on this one, credited to the band’s sole instrumental performer on this release, Viktor Jonas, based on the original artwork “Grappling for the Lost Cable” (ca. 1866) by Robert Charles Dudley. It’s for a single called The Shipbreaker’s Song, with a B-side track named “The Sunken Place“. And yes, our own Andy Synn wrote the lyrics and performed the vocals on these two songs. Continue reading »