Jun 272018
 

 

If it were possible to do a comprehensive census of metal bands who released their first demo in 1988, we’d undoubtedly find that the vast majority are no longer among the living. The same could be said of metal bands whose first releases were in 1989… or 1990… or just about any other year preceding the current decade. If there were a catacombs for deceased metal bands, it would be filled to overflowing with dried bones and moldy bullet belts. Of course, mere longevity isn’t something that requires celebration: Some bands have survived for a very long time who should have been laid to rest years ago.

And then there is that very small group of long-lived survivors who just continue to slay rather than be slain, who seek neither fame nor fortune, who don’t compromise or sniff hungrily along the trail of trends, and who deserve a lot more credit than they’ve gotten. Which brings us to Sathanas.

They did indeed release their first demo in 1988, and nine albums (plus many shorter releases) since then, and a tenth one is on the way via the band’s new label, the rapidly expanding Transcending Obscurity Records. Necrohymns is the name of the new full-length, and today we’re bringing you another beast of a track off that record — “Throne of Satan” — before which you shall bow down. Continue reading »

Jun 272018
 

 

(We present DGR’s review of the three-way split between Organ Dealer, Nerve Grind, and Invertebrate, which will be released on July 1st by Arizona-based Night Animal Records.)

Spinning the new 7″ split from the trio of West Coast and East Coast grinders comprising New Jersey’s Organ Dealer, Los Angeles’ Nerve Grind, and Oakland’s Invertebrate is like firing the grind genre into a prism and watching it refract off into three separate directions. It’s easy to see the common object that unites the three bands, but where each one takes things outside of the short-song, burst-of-excitement style of songwriting is what makes this sub-twenty-minute split a whole lot of fun.

Organ Dealer show up with their branch of frenetic and hyperactive grind spread across six songs (fun fact: when added to the material from their split last year with BirdFlesh and the “Insominia Chamer” single, this means the band have now completely cleared the amount of material they put on their 2015 album Visceral Infection). Contrast that with the West Coast tag-team, starting with the three songs of Napalm Death’s long-lost relative, Nerve Grind, the music thick-as-hell and hammering tuned low to the bowels of hell, and Invertebrate closing out the whole affair with another burst of songs, coming across as a slimmer and more punk-rock-leaning branch of the grind tree — leaving just one song “Untitled”, granting a different one the name of “Fuckface”, and from a sheer numbers perspective making up half the track listing with a snappy and teeth-bared nine songs that all keep the run times sub one-minute-thirty. Continue reading »

Jun 262018
 

 

This is a collection of three short reviews of three short releases that I recently encountered, one from an old favorite, the others from newer projects. If you’re not a fan of death and black metal, you might want to spend your time elsewhere. If you are, there are some ghastly treats in store for you here.

INTO DARKNESS

To begin, I have the latest release from an Italian band whose every release I’ve written about —  their 2012 debut demo (here), their 2013 demo Cosmic Chaos (here), their 2013 EP Transmigration of Cosmic Creatures Into the Unknown (here), their 2014 split with Ghoulgotha (here), and their 2015 split with Profanal (here). And now there’s a new one, and I’m keeping my record of slavish devotion intact. Continue reading »

Jun 262018
 

 

We’re going well off our usual beaten paths with this premiere, and onto a kind of parallel path, running alongside in a different musical dimension. For this writer, it provided the opportunity for exploration and discovery. Merely curious at first, I found myself more than tantalized by the end and therefore concluded this would be worth sharing with you as well.

This side trip begins with Kosmogyr, a contemporary black metal band consisting of two people divided between Shanghai and Prague. Their marvelous debut album Eviternity was released earlier this year, and we had the pleasure of premiering its title track. But Kosmogyr have now launched that album into a different musical world, collaborating with nine producers around the world to present Eviternally: The Remixes, which will be released on July 13th. And that’s what Eviternally consists of — remixes of the original songs by other artists who’ve give the music very different shapes. Continue reading »

Jun 262018
 

 

Given what I’ve planned to write for the site today, I don’t have time to compile the kind of typically large SEEN AND HEARD round-up I’d like to assemble, but enough time to do something shorter. And so I’ve resorted once again to the QUICK HITS concept that ran almost every day for a week not too long ago. Better than nothing, right?

GOJIRA

In August 2010 one of the people who started this site with me, but hasn’t been involved since 2011, wrote a post with this title: “Why Gojira Is the Best Metal Band in the World“. Almost eight years later, I’m pretty sure he still believes that. And after almost eight years that post still gets hits; in terms of traffic, it’s in the all-time Top 5 pages visited on our site.

Eight years ago, that writer was trying to draw more attention to a band that had only toured the U.S. once, as a support band for In Flames, and not even principal support — that position went to All That Remains. Now, of course, Gojira are a global phenomenon, and still have a soul. And In Flames and All That Remains? The less said about them in their current musical incarnations, the better. Continue reading »

Jun 262018
 

 

So far, the German band Imperceptum has released two EPs and three albums. I’ve reviewed all of them excerpt the first EP. At the risk of oversimplifying the experience of these releases, its creator (who calls himself Void) combines elements of atmospheric black metal, funeral doom, ambient music, and post-metal to create long, void-faring journeys that are both terrifying and beautiful.

To borrow from what I’ve written elsewhere, the richly textured music moves from immense hurricanes of cataclysmic fury to slower, earth-shattering, and crushingly bleak expositions of doom, to illuminating drifts through astral planes or across the yawning maw of deep space. Sweeping and soaring movements of vast and alien grandeur are juxtaposed against harrowing, blood-freezing storms of shock and awe. All of the releases are immersive; the songs are long, but for this listener the minutes seem to pass without any consciousness that time is passing.

And so I’m very happy to report that Imperceptum will be releasing a new album at the end of June or early July. Entitled Heart of Darkness, it will consist of four tracks and about an hour of music, and today we present the second of those tracks, “Lightdevourer“. Continue reading »

Jun 252018
 

 

I try to be as honest as I can be in writing about music at our putrid site, but in the case of the Canadian progressive/technical death metal band Bookakee, I need to be brutally honest: Knowing very little about their previous musical output before listening to the group’s new album, Ignominies, I was initially quite skeptical. Maybe “put off” would be even more accurate.

The band’s name, coupled with their outlandish full-body make-up, their reported use of gory props on stage, and the PR brandishing of the band as “Montreal’s answer to GWAR“, made me suspicious. Rightly or wrongly, I glumly surmised that the music wouldn’t be worth taking seriously — that no matter how much fun their live shows might be, this would be a band who relied more on gimmickry than song-writing or performance skill. (The fact that I’m not a huge GWAR fan undoubtedly played a role.)

Having listened to Ignomonies despite all my misgivings, I am here to confess, with some embarrassment but without reservation, that I couldn’t have been more wrong. And if you happen to be approaching the album with a similar judgmental skepticism, hear me out — and then by all means hear this album through the full stream we’re premiering today in advance of its release by Transcending Records on June 29th. Continue reading »

Jun 252018
 

 

The allure of Oltretomba’s new album L’Ouverture Des Fosses is difficult to explain, and to be honest, its twisted mechanics may prove to be most alluring to those whose minds are already unbalanced. Or perhaps I should just speak for myself. “Nihilistic black doom, languishing eternally in the psychic realms of the half-dead” is the way Caligari Records describes the music. It is an unsettling combination of primitive and futuristic (or alien) ingredients — uncomfortable music that nevertheless mesmerizes, like a strong audio narcotic that grips the pulse, clouds the brain with nightmarish visions, and brings a sheen of cold sweat to the surface of the skin.

We’re told that the album was recorded in a World War II bunker, presumably one still haunted by the spirits of those who were mangled and burned within its confines. Perhaps the music was intended to bring them back to life; perhaps they participated in the recording; it wouldn’t be surprising if they had, given the chilling, spectral emanations captured within these six tracks. Continue reading »

Jun 252018
 

 

(In this post Andy Synn discusses the phenomenon of metal bands releasing remastered or re-recorded versions of older albums, and recommends two recent examples of the practice, by Vader and Hetroertzen.)

For all that we’re supposedly in another “Golden Age” of television, I know there are quite a few people out there (thousands upon thousands of them) who are becoming a little tired of the seemingly constant stream of reboots and remakes of supposedly “classic” (and some not-so-classic) shows from previous eras, under the assumption that some sort of ingrained sense of nostalgia will help sell them more than something like, say, quality writing or a new, interesting premise, would.

Don’t get me wrong. Some of these new versions of older shows are absolutely fantastic, and benefit greatly not only from the new and improved technology of today, but also a greater freedom to reimagine things which comes from a more modern idea of what television can be, when given the chance to do more than simply entertain. It’s just that, as you might expect, the number of lazy remakes vastly outweighs the more creative ones.

The same sort of thing goes on in the music world too, particularly in the Rock/Metal world, where artists with long-running, wide-ranging careers often feel the need to at least remaster, if not entirely re-record, material from their early days, if only because they feel that the technology or budget available to them at the time simply wasn’t sufficient to allow them to properly capture what they were really trying to convey.

And, let me tell you… I’m not entirely against this process. Continue reading »

Jun 252018
 

 

(This is Wil Cifer’s review of the new album by the Swedish black metal band Craft, which was released on June 22nd by Season of Mist.)

Either bands change or they become stagnant. Going into this album I hoped the venom this Swedish band would unleash might make black metal hate again. It stands to reason, however, that after 20 years in existence the band’s fifth album might find them tiring of the punk-tinged aggression that drove the first four. I loved how Void (2011) was a big middle finger, and that is the soundtrack I think the world needs, but these guys have other ideas.

This is obvious right from the smoother guitar tone of the first song (“The Cosmic Sphere Falls”). Normally I would tell you how I have grown weary of blast beats and want black metal bands to not depend on them. Blast beats prove not to be the problem, as the band creates enough of a sonic sprawl that they don’t sound like they are just playing color-by-numbers with only marginally different shades of black, Instead we are getting a dark coat of gray dripping from these songs. Continue reading »