Jun 282019
 

 

Holocausto’s new album Diário de Guerra is the closing of a circle, an enormous circle of time that began moving 35 years ago. It brings this Brazilian band back to where they began, and may be the completion of a changing career as well.

The new music stands defiantly on its own, but should be considered in the context of history, too. That history began in Belo Horizonte, Brazil, in 1984 when Holocausto first began to take shape. As recounted by J. Campbell in his narrative for Nuclear War Now! Productions, which will be releasing the new album on July 31st: “Along with Sepultura, Sarcófago, Mutilator, and a handful of other bands, Holocausto played a particularly sinister-sounding strain of deathrash (or deathcore, as they used to call it in 1987), which, owing to the evil edge it exhibited, is now regarded as an early expression of the then-emerging black metal movement.” Continue reading »

Jun 282019
 

 

(In this month’s edition of THE SYNN REPORT, Andy Synn focuses on the albums released to date by the Swedish band This Gift Is A Curse, including a review of their most recent album A Throne of Ash, released by Season of Mist on June 14th.)

Recommended for fans of: Dragged Into Sunlight, Celeste, The Secret

The type of Black Metal meets Sludge meets Hardcore hybrid championed by Swedish spitfires This Gift Is A Curse has always appealed to me on a deep, dark level. I can’t necessarily tell you exactly why, but it’s true all the same.

There’s just something about the sheer, bloodthirsty intensity of the music, the absolute refusal to pull any punches or offer any quarter, that makes it impossible to resist.

It’s an ugly, nasty, nihilistic sound, make no mistake about it, but it’s also thrillingly visceral and alive. And the three albums produced by This Gift Is A Curse (the most recent of which was only released a couple of weeks back) are three of the very best examples of the style in all its grim and gruesome glory. Continue reading »

Jun 282019
 

 

The Spanish melodic death metal band Eternal Storm made their advent in 2013 with an EP named From the Ashes, and followed that the next year with one of the wonderful splits released in the Elemental Nightmares series (which is how we first learned about the band). Now, five years later and with a new drummer in the line-up, Eternal Storm are poised to release their debut album, Come the Tide, which Transcending Obscurity Records will reveal in its fullness on August 23rd.

The talents of Eternal Storm were quite evident even in the nascency of those previous releases, but those talents have flourished in striking fashion on this new album, which demonstrates the kind of assured compositional complexity that finds a sublime balance between emotionally involving melody and physically compulsive heaviness. The song we’re presenting today, “The Scarlet Lake“, is a great example of those qualities, a multi-faceted and completely captivating piece in which the minutes fly by. Continue reading »

Jun 272019
 

 

“…the atmospheric heft of Fallujah… the punishing hardcore of Wolf King… the brutal technicality of Behold the Desecration and Anisoptera… influences that range from alternative rock to slamming brutal death metal… an intersection between all things dark, melodic and heavy…”

Well, that seemed like an intriguing come-on for this new California band Black Passage, whose line-up actually does include members of the bands referenced above. And as it turns out, their music actually does harness those divergent musical ingredients, and does so in ways that prove enticing rather than forcing them together like manacled prisoners on a chain-gang.

We have an example of Black Passage‘s successful hybrid of contrasts for you today, a video for a track called “Tables Turn” off their new album The Veil, which will be released on July 26th. Continue reading »

Jun 272019
 

 

With their second album, released in 2005, the Greek band Order of the Ebon Hand began drawing Tarot cards from an unholy deck, embarking on a plan to explore the signs of each card drawn through the perspectives of black metal. The plan has been slow to evolve. That second album, XV: The Devil, followed the band’s 1997 full-length debut by eight years, and their new album, VII: The Chariot, is now arriving a long 14 years following the second one. It is so sweepingly powerful that we can only hope the next card in the deck will be revealed much sooner.

Today marks the official release of VII: The Chariot by the Russian labels Satanath Records and More Hate Productions, and coinciding with the release we have the good fortune to debut a full stream of this tremendous album — preceded by a flood of thoughts about the experience. Continue reading »

Jun 262019
 

 

The devotion of Burial Remains to old school Swedish death metal is extravagant, and masterfully expressed. But it’s almost misleading to call the death metal of Burial Remains “old school”, because that assumes they’ve left the beloved institution still standing, when it sounds instead like they’ve taken sledgehammers to teh structure and then burned the remnants to the ground.

Burn With Me” is in fact the name of the song from their debut album Trinity of Deception that we’re premiering today, in advance of its July 12 release by Transcending Obscurity Records. Actual flames do come to mind in listening to it, but perhaps more often the heated imagery is of the racing fever of a fatal disease. But those aren’t the only images spawned by the track. It proves to be a changing mix of rampaging violence, gruesome putrefaction, and funereal grief. Continue reading »

Jun 262019
 

 

With a name like Mourner, a musical genre described as doom/death, and a debut album entitled Apogee of Nihility, one might expect the music created by this Russian trio to be a relentless descent into dragging oppressiveness and the extinguishment of hope. To be sure, they have a sure-handed talent for creating sensations of gloom and anguish, but what really sets their music apart is how multi-faceted and utterly captivating it turns out to be.

The song we’re presenting today, “Cobweb of Captivity“, is a stellar example of Mourner’s dynamic talents, a constantly changing and ultimately enthralling sequence of movements that merits that perhaps over-used phrase “a musical journey”. Continue reading »

Jun 262019
 

 

Voiceless visions vary, with highly variable results. Subtracting the vibrations of a human larynx doesn’t diminish the appeal of most orchestral compositions or of jazz, for example (though solemn choirs enhance a requiem, and the smoky sultriness of a soulful voice brings dimensions of sound that a saxophone can’t capture). But in genres of extreme metal, entirely instrumental performances seem to face special challenges. It’s not immediately clear why this should be so — after all, a voice is just another instrument of sound, and usually a harsh and ugly one in our circles — but the absence of such assaulting sensations seems to leave a void that many instrumental performers have difficulty filling, leaving the attention of listeners to wander.

On the other hand, the music of the instrumental Belarusian band Essence of Datum leaves no noticeable void at all. To the contrary, it might not go too far to say that the addition of vocals to their music would be a subtraction — an unwanted intrusion that might prove to be a distraction and a diminution of their achievements. That’s quite a testament to their powers, especially because this duo are firmly rooted in the extremity of death metal rather than feeling compelled to layer in symphonic excesses or indulge in meandering proggy diversions as a way of filling the voiceless void.

Essence of Datum‘s success in surmounting the challenges identified above led to their signing earlier this year by Season of Mist, who will release the band’s new album Spellcrying Machine on August 30th. How they achieved that success is not fully revealed on any single song; listening to the entire album provides the best answer. But the first single we’re bringing you from the album today through an attention-grabbing performance video — “Pendulum” — is certainly a great introduction to the album’s manifold attractions. Continue reading »

Jun 262019
 

 

(In this post Andy Synn combines reviews of two recently released death metal albums, by the Massachusetts band Fuming Mouth and the French band Towering.)

Maybe it’s my google algorithm or something, but considering that Fuming Mouth’s The Grand Descent and Towering’s Obscuring Manifestation are two of the downright best Death Metal albums I’ve heard all year, I’ve seen a real dearth of reviews for them, particularly the latter release (which has been out for almost a month now).

Hopefully this co-review will go some way towards correcting this egregious oversight on behalf of the Metal community though, and hopefully a lot of you will discover your new favourite band(s) as a result of what you’re about to read! Continue reading »

Jun 262019
 

 

(We’ve been the beneficiary of many interviews conducted by Norway-based writer Karina Noctum at this year’s Inferno Festival in Oslo, and this is one more — a lively conversation with drummer Daniel Tveit and vocalist/guitarist Andreas Fosse Salbu, who performed with their band Sepulcher at Inferno but are also members of Reptilian and Inculter.)

In my series of interviews conducted at this year’s Inferno Festival I wanted to include an up-and-coming underground band because my heart is always with the underground. And besides, I really like the Old School Death/Thrash/Heavy style that is coming out of Norway. Out of the bands available I chose Sepulcher. I find their sound heartfelt, true to the beloved roots we all cherish. and raw!

They come from a small town on the western coast of Norway called Fusa. This interview deals with particulars about the emerging scene they come from; a conversation about their sound, recording, and producing; and it also deals with how they try to stay as faithful as possible to the sound that characterizes them. Continue reading »