On Friday I got a reminder that despite how much my tastes in metal have expanded over the years and how much more deeply into the underground I’ve gone exploring, there are still branches of the cave system I’ve still not discovered. As different as the music in this post is from the range of music I usually patronize, I do like what I’ve found — so I’m sharing it. Both discoveries were spawned by a song premiere we did late last week. Both are strange, though in very different ways.
Three days ago I had the pleasure of premiering (here) a long symphony of pain named “Scour (Parts I and II)” by the band Venowl from their forthcoming split with Cara Neir. Venowl’s music is itself on the periphery of the metal I know best, but at least in their case I was familiar with most of their previous releases. And then two days ago I was introduced for the first time to the music of the UK project Emit, and specifically to a 2012 demo entitled Spectre Music of An Antiquary that’s being reissued in remastered form by Crucial Blast Records. I wrote a mini-review of that album and premiered one of its tracks — “Beneath Carvings Linger” (here).
This in turn led to a conversation online with ][ of Venowl, who unlike me was quite familiar with Emit. He mentioned that the man behind Emit had guested on older material by a band named Vomit Orchestra — another name I had never heard. When I confessed my ignorance, ][ linked me to a new Vomit Orchestra song that really grabbed me, and that’s the first offering in this post.