Mar 052022
 


Septicflesh – photo by Stella Mouzi

I wasn’t able to pull together any roundups of new songs and videos this past week, which means that today I’m only scratching the surface of what surfaced. It’s more like scratching just the top molecular layer of a solid block of steel. I’ll be back tomorrow to do some more scratching. Maybe some of your musical itches will be scratched too.

SEPTICFLESH (Greece)

Yesterday Nuclear Blast released news about a forthcoming album by SepticFlesh and a video for its first singe, “Hierophant“. It’s a conceptual song that begins a story which continues in the track “Self-Eater”.

This first part of the story (to quote band member Sotiris Anunnaki V) “depicts the experience of a high priest, acting as a human conduit between Heaven and Earth. Having never heard a single word from the mouth of God, he grows tired of preaching the preordained words of the clergy. He turns to performing primitive and powerful rituals that have been long forbidden, as he seeks the guidance of a chaotic elemental consciousness”. Continue reading »

Feb 052022
 


Photo Credit: Evelina Szczesik

 

I heard a couple of the following tracks last Saturday and saved them for what I hoped would be one of these collections during the last week, but I never had enough time to put one together. The rest of them I checked out this morning (they’re even more recent), along with others I took a pass on, and more that I’ve saved for tomorrow’s Shades of Black column.

In assembling this collection I followed one of our fairly standard strategies: I decided to include some big names at the outset, in the hope that would lure people into the more obscure names that follow, and I included a curveball at the end.

WATAIN (Sweden)

When you know the band is Watain and you see they’ve released a song named “The Howling“, you already have a good idea what’s coming. But Eric Danielsson spelled it out: “‘The Howling‘ refers to the wordless voice of the wild, wailing eerily through the ages, urging us to leave our safe spaces and explore the dark recesses of the great Abyss both within and without. To see it, to learn from it, to know it.” Continue reading »

Jul 272020
 

 

I’m trying to get back into the more normal swing of things after some recent disruptive events I’ve already written about. I made a start yesterday with a two-part SHADES OF BLACK, and am continuing today with this round-up of other music I’ve recently been enjoying. As you’ll see, I probably could have made this Part 3 of yesterday’s column, because it does lean pretty hard into blackened sounds.

OTTONE PESANTE

If you suspect, or perhaps have already concluded, that metal made exclusively with trumpet, trombone, and drums isn’t your kind of thing, I urge you (again) to reconsider. And if you’ve already embraced what Ottone Pesante do with those instruments, the first track in this collection will cause you to squeeze them harder to your chest (figuratively speaking, of course, because hugs may be disease-riddled these days). Continue reading »

Jun 262020
 

 

On Sunday I mentioned that I had a big block of time over the weekend that I was able to spend listening to new music. Almost everything I’ve selected for the following set of recommendations came out of that listening session. I resisted the impulse to replace a lot of those selections with things that came out this week, but I did add three of the tracks that surfaced during this week. Hopefully I’ll get to more of those in tomorrow’s round-up. The music today is presented in alphabetical order by band name.

ANOPHELI (U.S.)

I’m starting with something that’s not entirely new. It’s a debut album by Anopheli from Oakland, California (and other places), that was originally released in 2o15 (and I wrote about it here at that time). But the band had the album re-mastered by the same man who mastered the original release — the veteran producer Jack Shirley at Atomic Garden. He explained the changes: “”Things to listen for. It’s less overloaded and everything is more articulate. The overall low end is deeper, the high end is clearer. The drums snap better and interfere less with the other instruments.” Continue reading »

Oct 202018
 

The subject of this little Saturday round-up of new videos is… happiness

ACCEPT

Happiness… happiness is being Accept and performing “Symphony No. 40″ before a bazillion people at Wacken Open Air with your own backing orchestra and conductor, stadium-sized video screens, abundant pyrotechnics, a couple dozen cameras filming the event, and a damned good editor splicing all the footage together. It doesn’t hurt that your lead guitarist (Wolf Hoffmann) looks like Bruce Willis. Continue reading »