Feb 162018
 

 

Let’s begin with the name of this band from Bordeaux, which for someone like me is best copy-pasted to avoid the misspelling that would otherwise inevitably result: It is the Romanian word for Satan — spelled backwards. And there is indeed something about the music of Ssanahtes on their self-titled debut album that is both up-ending and devilish. A couple of songs from the album have emerged so far in the run-up to its March 22 release, and now we present another, the name of which is “Let Down“.

That’s the song’s name, but it will definitely not let you down. A composition that might be thought of as an intersection of post-metal and sludge, it manages simultaneously to be bleak, bone-breaking, and astral (or perhaps “spectral” would be an equally good word). But perhaps above all else, “Let Down” delivers immense, pavement-cracking rhythmic power. In the end, you might feel transported, lifted off your feet, but also battered by the vigorous application of a crowbar to the back of your neck. Continue reading »

Feb 162018
 

 

(This is TheMadIsraeli’s review of the new EP by Seattle-based Stealing Axion, which was released on February 13 and is available now on Bandcamp.)

 

Stealing Axion appeared for all intents and purposes finished once the band announced a more-than-likely-to-be-permanent hiatus after the release of the phenomenal Aeons, an album that was one of my absolute favorites of 2014. Ever since their debut EP, I’ve been a devoted and avid fan of the band’s unique blend of progressive metal song structuring, death metal vocal approach, and Meshuggah/Textures-inspired angular rhythmic and melodic strategies. They became one of my favorite bands to emerge from the 2010‘s, a hallmark of what new-age meets old-school transcendent genius sounds like. I guess I’m really hamming it the fuck up here, but I do adore this band.

Stealing Axion announced last year that they would continue without vocalist/guitarist Josh DeShazo, with no real news to speak of after that. As it turns out, Josh DeShazo ended up rejoining the band, and Eternities is a four-song EP born from this reunion. It brings back everything about this band that made them great. Eternities isn’t particularly ground breaking, nor does it see the band exploring new territory per se, but it is definitely a mish-mash of the more energetic direction of the debut Moments combined with the introspective melancholic approach of Aeons, one that forecasts a direction for a future release that I’m eager to hear. Continue reading »

Feb 162018
 

 

Forgive me for introducing this song premiere with a personal story. By sheer unhappy coincidence, when I first contemplated listening to ThunderWalker’sTo Nonexistence” early one morning I wanted to end my own existence because I had damaged myself so severely. The combination of lack of sleep and a cataclysmic hangover left me a quivering mass of abject misery. I really didn’t want to listen to heavy metal, or any other sound, although I couldn’t stop the low intermittent groans that seemed to be coming from my own throat. But I played “To Nonexistence” anyway… and an unexpected thing happened.

I felt instantly revived. I couldn’t resist moving my head despite how much it hurt. I did that leg-bobbing thing that dudes do when they’re trying to keep time with rhythmically powerful music (but that women never seem to do). The song put a jolt of electricity through my depleted internal batteries. At least for a few minutes, I didn’t feel like death warmed over. Continue reading »

Feb 152018
 

 

The song you’re about to hear doesn’t last long — roughly two-and-a-quarter minutes — but it’s a hell of a fine example of how much can be packed into a short interval by people who know what they’re doing. In this case the song is “The Ones Who Came Back” by the Belgian death metal band Storm Upon the Masses, and it’s the title track to their debut album, which will be released by Dolorem Records on March 23rd.

Clues to the band’s attack can be found in their label’s recommendation of the album to fans of Hour of Penance, Hideous Divinity, and Krisiun, and in the fact that the album was mixed and mastered by Stefano Morabito at 16th Cellar Studio in Rome, who has worked with the first two of those other bands as well as Fleshgod Apocalypse (among others). A further clue might be found in the cover art created by Daemorph (Avulsed, The Black Dahlia Murder, Acranius). Continue reading »

Feb 152018
 

 

Late last month The Obelisk premiered a song called “Pyre” from the forthcoming second album (In Chaos, Solace) by the genre-fracturing Baltimore band Snakefeast. When I heard the song, my eyes probably couldn’t have opened wider without my eyeballs falling out. The Obelisk’s take on the music seemed on-point:  “a fusion of jazz, metal, weighted-groove grind and post-hardcore, but however many subgenres they may or may not be throwing into their scorching aesthetic melting pot, they’re unquestionably working on a wavelength of their own….”

Having been so pleasantly surprised and bewildered by that track, I jumped at the chance to bring out another premiere, a song called “Itch” that’s just as boisterous, as disruptive, and as captivating as “Pyre”. Continue reading »

Feb 152018
 

 

Not for nothing is the music of Byyrth heralded as “vampyric black metal”. Not for nothing is their new album entitled Echoes from the Seven Caves of Blood. And not for nothing is the opening track named “Blood Warfare“.

A venomous riff swirls and squalls in the song’s opening moments, setting the stage for a track that packs plenty of hooks and malignant intent, surrounded by an air of rampant savagery. A hammering drum beat kicks in, anchoring the advent of ominous, groaning, and seething guitar noise, accompanying a cacophony of wild, blood-letting shrieks and incendiary cries. And Byyrth also indulge a side of their sound with punk roots, moving the music with a swaggering rock beat and infectious chords… but never pulling back from the murderous blood-lust that gnashes within the boiling black core of the song. Continue reading »

Feb 152018
 

 

Lendas Baixo O Luar is the debut album of the pagan black metal band Lóstregos from Galicia in the northwest corner of the Iberian peninsula, where the border of Spain meets Portugal. The album was released last November by the Spanish labels Darkwoods and Damnatio ad Bestias, and on tape by Fólkvangr Records (U.S.). It was an album that we somehow overlooked, although it received an extremely positive response from people who were more attentive than we were. And that brings us to today’s video premiere, the subject of which is a track from the Lóstregos album named “Gallaecia“.

One benefit of lyric videos like the one you’re about to see, apart from whatever visual value they might have, is to enable the discovery of music that you might have missed when it was originally released, as this one has done for us. And what a killer discovery this is. Continue reading »

Feb 152018
 

 

(This is a guest review by The Metal Elitist of the new album by the Utah band Visigoth, which was released by Metal Blade Records on February 9th.)

 

I consider myself a wary person. So, while I generally do agree that there exists a “golden era” of heavy metal long since passed, I tend to eye with suspicion many of the so-called NWOTHM bands which seem to coast their way to success on the waves of nostalgia. Though it is certainly true that we’ve been blessed with several excellent releases in this vein (think Sumerlands, Eternal Champion, or Night Demon), there are also countless me-too retro acts which have left me with a bitter taste in my mouth. Visigoth, however, is no such band. When I, like many others, first discovered them in 2015 after the release of their debut, The Revenant King, I knew that they had created something very special.

While The Revenant King certainly had its flaws, I sensed in it a maturity and passion that is missing from many of Visigoth’s leather-clad contemporaries, which is probably why the mournful wails of “Blood Sacrifice” and the thundering grooves of “Mammoth Rider” still manage to hold my attention almost three years later. Not content to simply rehash classic bands like Cirith Ungol, Heavy Load, and Grim Reaper, the Salt Lake City quintet had crafted a perfect chimera of both old and new.

Nevertheless, it was with caution that I patiently anticipated their follow-up. I knew the potential was there, but I felt the ol’ pessimism rising up within me, which couldn’t help but wonder, “Has the band already peaked? Will the successor be a disappointment?” Continue reading »

Feb 142018
 

 

“Crushing” is a word we see tossed around frequently in the case of death metal and some doom metal bands. Bible Black Tyrant isn’t either of those (sludge might be the closest genre term, though it’s an imperfect term here), but you’d have to look long and hard to find any album this year, in any metal genre, more stunningly crushing than this band’s debut album, Regret Beyond Death. The sound is overpowering, the mood is catastrophically bleak, the overall impact is nothing short of flattening. It is, in short, a devastating assault on the senses — and it exerts a primal appeal that’s just as unstoppable.

Bible Black Tyrant is the collaboration between three experienced musicians based in the Pacific Northwest: vocalist/bassist/guitarist Aaron D.C. Edge (Lumbar), percussionist Tyler Smith (Eagle Twin), and additional guitarist/vocalist and soundscape engineer David S. Fylstra (KVØID). They come from different musical backgrounds, but in this project they’ve found a meeting ground and executed on a vision that really is remarkable.

The album will be released on February 14th by Argonauta Records (CD) with a tape release coming from Anima Recordings, and today we have the honor of presenting a full stream of the album, which we’ll introduce first with comments by the band, and then with a few more impressions of my own. This is how Bible Black Tyrant introduces the album: Continue reading »

Feb 142018
 

 

Morbid Angel’s release of Kingdoms Disdained last year provoked a lot of discussion (and heated arguments) about where the album stood among the most revered works of that hugely influential band. Meanwhile, Australia’s Depravity were readying an album that might be an even more powerful bringing-forward of Morbid Angel’s legacy into the current era. Its name is Evil Upheaval.

Transcending Obscurity Records, who will be releasing Depravity’s new album on April 30, also recommends it to fans of the New York Death Metal elite — Immolation, Suffocation, and Incantation — as well as such bands as Hour of Penance, Ingurgitating Oblivion, Drawn and Quartered, and The Furor, whose Louis Rando (also in Impiety) is Depravity’s drummer.

Such adjectives as “vile”, “twisted”, and “deafeningly heavy” also appear in TO’s promotional missives, and that’s not fake news, as you’re about to discover through our premiere of an album track named “Insanity Reality“. Continue reading »