Jun 212020
 

 

I had a big block of uninterrupted time to myself yesterday afternoon, with my spouse out of the house at a safe birthday celebration and the cats sleeping. So of course I spent the time digging through my list of new black metal(ish) music in preparation for this column. You see the results: More time means more picks.

NON SERVIAM (France)

I have Cvlt Nation to thank for this first discovery. The introduction to their premiere was brief and didn’t include much detail about the music, but the blaring headline did the job: “Listen To Non Serviam’s Salem – It’s Depraved And Sick! This Band Sounds Like NO OTHER!” I also thought the cover image was fantastic, and so decided to see what was going on with the music. Continue reading »

Jun 202020
 

 

In many weeks the title of this round-up hasn’t been entirely accurate, because although I post them on Saturdays, sometimes I’ve listened to the songs before Saturday has arrived. Not this time.

This time I let the entire week go by without listening to much new music other than what I had agreed to premiere. My day job has been unusually annoying this week, and I continue to be distracted by the unnerving daily news of what’s happening in the world around us. This time, after gulping a couple of cups of coffee, I started the day by trying to catch up, and these selections survived that Saturday morning sifting process.

Needless to say, I didn’t make much headway in my giant list of things I wanted to check out from the past week (and the weeks before), but I had really good luck with what I did decide to check out.

PRIMITIVE MAN

I contend that there’s no better “intro” to a Primitive Man song than the gashing of ears with feedback, because what usually happens next is an ugly and unnerving experience. Why sugarcoat it? Continue reading »

Jun 192020
 


Acârash

(This is a collection of reviews and full-album streams assembled by Andy Synn.)

As everyone knows, the devil has all the best tunes, so today’s “Alternative Release Day Round-Up” has a demonic, Black/Death theme to it.

It also, for once, actually includes quite a few albums which are only just seeing the light of day today… although even the “oldest” albums featured here were all released within the last month or so. Continue reading »

Jun 192020
 

 

This road to this album premiere began in much the same way as yesterday’s premiere of the superb new album by Serment. In mid-May we posted an article by our friend Speelie that focused on Métal Noir Québécois. Along with Serment, it included the news that Sepulchral Productions would also be releasing, on the same day, the debut of Québec project Sombre Héritage, the title of which is Alpha Ursae Minoris.

With our interest having been piqued by that news, we paid close attention to the first track that Sepulchral Productions revealed from the album, a song that shares the band’s name — and it proved to be damned exciting, prompting the inclusion of the song in one of our Shades of Black features. And now we have the chance to bring you a stream of the entire record in advance of its June 24 release date. Continue reading »

Jun 192020
 


The just-discovered original handwritten “Juneteenth” military order informing thousands of people held in bondage in Texas that they were free

 

Today is Juneteenth, the oldest nationally celebrated commemoration of the ending of slavery in the United States. It was on June 19, 1865, that Union soldiers landed at Galveston, Texas with news that the war had ended and that the enslaved were now free. To help celebrate the day, Bandcamp has announced that “from midnight to midnight PDT, and every Juneteenth hereafter, for any purchase you make on Bandcamp, we will be donating 100% of our share of sales to the NAACP Legal Defense Fund.”

To be clear, this isn’t the same as what Bandcamp did on June 5th (and will do again on July 3rd), when it waived its share of sales of digital music and merch on the site. Today it will still collect its share, but it is promising to donate that share to a cause that aligns with the Juneteenth celebration. And that provides an added reason to consider purchases on Bandcamp today.

It also provides a reason for me to do what I’ve been meaning to do for a couple of weeks — to spread the word about some recently released compilations of underground music on Bandcamp. I know that I probably overlooked some, but these are the ones I made note of when I saw them. If you know of others, please leave a Comment. (Some of these are name-your-own-price downloads, but if yoiu kick in some money for those, Bandcamp’s pledge will still apply.) Continue reading »

Jun 182020
 

(Here’s Andy Synn‘s review of the new album by the Polish band Biesy, which was released by Godz Ov War Productions on May 8th.)

Black Metal is, let’s face it, an inherently contradictory genre.

By turns both fearlessly progressive and rigidly (some might even say “religiously”) conservative, infinitely malleable yet stubbornly inflexible, it’s the sort of place where bands can preach rebellion and non-conformity on one hand while ostracising anyone who dares to colour too far outside the lines on the other.

And while I love pretty much everything about it – the sound, the fury, the blending of avant-garde artistry and punk-as-fuck attitude – I’m also not afraid to acknowledge the high camp of it all either, considering how much time I’ve spent in small, dark rooms, watching shirtless, make-up covered men with pseudonyms like “Goat Impaler” and “Ultra Sodomite” hammering out priapic hymns of uber-masculinity, all while rocking a borderline-erotic amount of leather.

So it’s actually kind of surprising that it’s taken so long for someone to connect the obvious dots between the nihilistic escapism of Black Metal’s corpse-painted pageantry and the performative, provocative world of drag, but that’s exactly what the mastermind behind Biesy has done, adopting the persona of blue-haired punk-rock princess “Faustyna Moreau” to create an album designed to make you question your own prejudices and preconceptions about the necro-metallic arts. Continue reading »

Jun 182020
 

 

One thing leads to another, sometimes with terrible results, sometimes with great ones. Fortune has smiled upon us this time.

In mid-May our valued ally Speelie prepared for us an overview of recent and forthcoming black metal releases from Québec (Métal Noir Québécois), and the first band he highlighted was a solo project of Forteresse guitarist Moribond named Serment. A few days later Serment released the first two tracks from the debut album, Chante, Ô Flamme de la Liberté, and presented them together in a single stream. The music was so striking that we were moved to write about it immediately (here).

And now we have the opportunity to premiere a stream of the entire album, which is set for release on June 24th by Sepulchral Productions, a label that has been home to many brilliant releases of Québécois black metal. Continue reading »

Jun 182020
 


photo by Basti Grim

 

Of all the songs on High Fighter‘s tremendous second album Champain (released last summer by Argonauta Records), “Before I Disappear” is one of the most punishing and emotionally piercing. It’s a bruising, battering, and compulsively head-moving experience, coupled with melodies of searing impact. It showcases the whole band’s riveting power but perhaps especially the gripping intensity of Mona Miluski‘s voice in all of its dramatically changing manifestations. No wonder that the band chose it as the subject of the music video we’re premiering today — a video that provides a gripping presentation of a transfixing song.

Champain represents a new chapter in the band’s evolution, revealing a coherent (and heavy-as-hell) amalgamation of contrasting sensations that draws upon elements of doom, sludge, stoner, psychedelia, blues, and more. The changes will be quite evident if you compare it to the band’s 2014 debut EP (Goat Ritual) and their 2016 debut album Scars & Crosses, and it represents a great leap ahead. “Before I Disappear” doesn’t completely reveal all of the album’s many facets, but it definitely displays the marked increase in brutality, ferocity, and emotional darkness, as well as the penetrating intensity of the song-writing. Continue reading »

Jun 172020
 

 

In 2008 the unusual French band Ysengrin released their debut demo, an album-length presentation entitled T.R.I.A.D.E. In the dozen years since then more than a dozen additional releases have followed, including two albums and many splits, but it seems that the life of Ysengrin is drawing to a close, with what will be the final album now slated for release by I, Voidhanger Records on July 17th, to be followed by a final split release.

The new album, Initiatio, consists of four tracks from that early T.R.I.A.D.E. demo, “re-imagined” and re-recorded under the direction of the band’s guiding hand, Guido Saint Roch. In addition, the album includes a revised version of “Monumentum” from the Archivum MMV-MMX demo dating to 2010, plus four new compositions, including two ambient numbers recorded live with the help of Frater Stéphane (N.K.R.T., Rosa Crux). As I, Voidhanger, says, “Initiatio is therefore an ouroboros serpent biting its tail: the end is the beginning, and the beginning becomes the end”.

One song from the new album, “Potencée d’Or”, has alredy been revealed, and we’ll come back to that one later. But our primary mission today is to present another track from the album, “Ode à l’Escarboucle“, which is one of the pieces that had its origins on the T.R.I.A.D.E. demo. Continue reading »

Jun 172020
 

 

As a way of complimenting an unusually long piece of music, it has become almost cliched to say that the time passes without really noticing it, that the music seems shorter than the clock tells you it is. At least in the case of rock and metal, that kind of description may also be intended to break down a barrier to entry, to induce people to listen who otherwise might be deterred by the demands on their time.

But promises of losing track of time are often exaggerated. Hell, even in making my own way through very long tracks that I ultimately enjoy, I sometimes find myself checking the player to see where I am, and how many minutes are left. Life is too full of distractions, and the pestering voice in the back of your head that says you should be doing something else, even if you don’t know what, can often be hard to ignore.

So, we take such promises with a grain of salt, and with good reason, but I’ll still promise you this: time really does seem to vanish in listening to “Silver Screens“, the 19 1/2 minute title track to the new fourth album by the unusual Australian funeral death-doom band Ivan. And the same phenomenon happens again and again over the course of the next three tracks. Getting lost in them is very easy, because they are so incredibly absorbing in so many ways, and so surprising in how they unfold.

You’ll learn that for yourselves today, because we’re premiering a full stream of the album in advance of its June 19 release by Solitude Productions. Continue reading »