My laptop has been doing all kinds of weird things lately, from freezing to going really slowly. Even Itunes has been odd, with songs jumping at certain points, just like CD's used to do in hi-fi's. Anyway, it hasn't stopped me from updating the blog and I sincerely hope it settles down soon. So, this is the latest four track EP by Swedish death/thrash band Septekh, that was released earlier this year by Abyss Records. This is their second EP in as many years as well.
It's rare that I feature bands who like to assume a certain presence or character set when onstage and in the eyes of their fans. Septekh are one such band though. They look like old military gents from the time when war ravaged Europe. When playing live, they even have their own make-up artist!
Tracklist:-
1. Apollonian Eyes
2. Burn It To The Ground
3. Cursing The Skies
4. Vlad Tepes
Apollonian Eyes contains four track of brutal, ravaging
death thrash. Starting with the title track, Septekh waste little time in going
straight for your jugular with their sharpened bayonet. That bayonet features
furious instrumentation and shrieked deathly vocals. The drums and guitars keep
an extreme pace all the way through, with little melody imposing itself. The
only real treble you get is from the screeching guitar mid-way through. Burn It
To The Ground has a great galloping rhythm to it and it's where Septekh's
thrash influences being to really shine through. I can definitely see this song
inciting some great pits live! These guys do not hang about and the solo
towards the end of the song is a wailing beast.
Septekh inject more melody into later songs, thanks to some
great lead guitar works and different layers. They may be playing a form of
death metal that's been overdone of late, but they are playing with huge energy
and enthusiasm, which can't help but make you smile when you listen. That's
certainly the case with Cursing The Skies anyway. Vlad Tepes rounds out the EP.
This song is more progressive than the EP's previous numbers, with some more
excellent lead guitar work and less of the gung-ho attitude. It has some
Middle-Eastern flair to it as well, in the sound and some of melodies played by
the guitar.
Death/thrash may only appeal to fans of more extreme
metal, but Apollonian eyes will surely appeal to a wider audience and gain
Septekh new followers, thanks to it's good time feel.
Closing song Vlad Tepes, is streaming on my bandcamp page for a limited time. Listen to it below:-
I've featured my fair share of black metal solo-projects and duos recently, but I figured that one more wouldn't hurt anyone, especially with the US being a hotbed for this type of band at the moment. Nocturne is the solo project of Dan Klein, also of fellow US black/death band Cryptic Fog. Nocturne began in 2009 but had waited until now to release a debut records, the seven track Ave Noctem via Do or Die Records.
1. Pursuance of the Righteous Elucidation
2. The Prodigious Plight
3. Rites of Contrition
4. Ave Noctem
5. Pain of Purity
6. Anxiopath
7. The Abyss
For a solo black metal release, Ave Noctem sounds very
clear. The guitars at the start of Pursuance of the Righteous Elucidation sound
well produced. The drums don't sound muddied and the bass sits nicely in the
background. After the typically grand instrumental build up, the vocals come
roaring in. They're of the low rasping variety to start with, but interchange
with higher pitched shrieks at times. There are certainly a lot of layers to
Nocturne's music. The Prodigious Plight is more of a technical song, with some
pretty intense musicianship making for quite a soundscape. The guitar is
relentless and the drums are extremely fast at times, especially the kick drum.
It definitely carries some of the death metal influence from Dan Klein's other
band, Cryptic Fog. There are occasions though when it sound the like the song
is skipping, but it isn't, it's just due to the structure and transition within
the song.
Nocturne certainly favours lengthy compositions. Rites of
Contrition is a menacing song which ways it at about nine and a half minutes.
Again, Nocturne relies on the power of the instruments for the most part;
allowing the song to build of at it's own pace and only bringing the vocals in
at the pointof crescendo. Later during the mid-section, the song sounds
strangely upbeat and you forget that you're listening to black metal. There are
even some clean vocals too! As with a lot of other black metal, this does take perseverance
on behalf of the listener due to the different elements and layers, but if
you're an aficionado you'll have no problems and Ave Noctem will surely grow on
you.
The title track Ave Noctem is more of an interlude than a
full song, with the obligatory running water samples and some really nice,
clean guitar. The riffs at the start of Pain of Purity are pretty mesmerising
and have a sludgy feel to them. There's also more of a rock n roll vibe going
on too, I'm not sure if that's intentional but it actually fits in surprisingly
well. That vibe soon disappears though as those rasping growls come back to the
forefront of the music. The more menacing vibe returns during Anxiopath and
while it not as lengthy as others on Ave Noctem, it's no less listenable and
still contains plenty of ideas. I think that's the thing about Nocturne and
one-man black metal bands in general, by being solo, they can explore and
present their ideas how they want.
Closing song The Abyss is equally as grand as the track,
which opened Ave Noctem. It's a sprawling, heady mass of black metal bile,
intertwined with some brilliant musicianship. Ave Noctem has really surprised
me. If you like black metal and specifically black metal with a difference,
hunt this down. You won't regret it!
Talking of The Abyss, you can hear an exclusive stream of that track on my bandcamp page below:-
Chicago groove metallers Trials have recently released their new album - In The Shadow of Swords. They've been going since 2007, releasing their debut Witness To The Downfall in 2011. They've just announced a July show in support of Prosthetic Records band Holy Grail ands are in the process of writing more new material!
Earlier in the week, I caught up with Vocalist/Guitarist Mark Sugar and Bassist Usha Rajbandari to ask them about In The Shadow of Swords and about music in Chicago:-
First of all, thanks very much for doing this interview.
Can you give us a bit of history about Trials and about how you formed?
MARK SUGAR (vocals/guitar): Anytime, thanks for having us! Myself
and our first drummer Sasha Horn formed the initial version of Trials, sometime
around 2008. Our original plan was to record a 3-song demo and not ever play
live. Luckily, people seemed to like the demo, so we decided to fill out the line-up
and become a "real" band. Usha joined on bass at that point, and we
wrote and recorded the songs that became our first album "Witness to the
Downfall."
USHA RAJBHANDARI (bass): Again, thanks for having us. I'll
just add that the line up on the new record is Mark and I, Adam Kopecky on
drums, and Ryan Bruchert on guitar. Adam has been with us since 2009, and Ryan
joined about a year ago.
You've recently released your new album "In The
Shadow of Swords". Listening to the album, it's very musical and
progressive. What were your main goals when recording it and what messages did
you want to convey with the lyrics?
U: Initially I think we were just looking to push the
boundaries of the first album and make a really heavy, aggressive record. Later
in the process, we focused on making the album a cohesive effort and a
collaborative one as well. We also wanted to keep the sound authentic, so we
went with a production style that is a bit more organic.
M: As far as the lyrics, I was trying to write something a little more universal.
The lyrics on "Witness" were pretty personal and maybe a little too
specific to be relatable. For the songs on "Shadows", I wanted to
clearly convey my feelings and my worldview in a way that could be easily
understood. It's less about me and more about the world, but it's still the world
as seen through my eyes.
How have people reacted to the new album?
M: From what I can tell, the reactions seem to be really positive. I don't
think our music is for everyone, but the new record seems to have connected
with the people it was supposed to connect with.
U: I agree with that. The level of enthusiasm from people has been pleasantly
surprising, and I'm glad people are into it.
How do you think "In The Shadow of Swords" differs from your previous
album "Witness To The Downfall"?
M: This is a whole new ballgame compared to the last record. It's been a couple
years, we have a new guitarist, Ryan Bruchert, and we have a renewed commitment
to making heavy, difficult music (for lack of a better word). We went into this
with something to prove, and we took what we do to the next level.
U: That's definitely true. I also think this album is more unified. The first
album has a lot of unexpected elements, but sometimes the combination of those
elements was a little disjointed. For this record, the four of us still wanted
to challenge ourselves individually, but there is more emphasis on writing
better as a group. We're on the same page musically and philosophically now,
which I think has benefited this record tremendously.
As individuals, what influenced you to get into music and more specifically,
metal?
M: I've always been interested in music. My family has a lot of musicians in it
-- choir members, orchestra players, songwriters, etc -- and that influence was
always there.
I was attracted to metal because of the rebelliousness and aggression of it. As
a kid, I was pretty angry and was in trouble constantly, so bands like Pantera,
Megadeth, Slayer, etc. became the soundtrack for how I felt at the time.
Contrary to what public officials believe, being a delinquent leads to heavy
metal, not the other way around! As I got older, I started to appreciate the
musical side of metal as well, the complexity and compositional abilities of
those bands. I've been into this since I was about 10 years old and have never
looked back.
U: When you're an awkward or antisocial kid I think you end up listening to
metal or punk rock by default. Metal is so varied in style, technicality,
emotional content, etc. that it has kept me interested and excited over the
years. That's especially relevant as a musician, since metal is a good genre
for those looking to challenge themselves. I've been playing in metal bands for
over a decade, and playing music for over 20 years so it's great to work in a
genre favours diversity, progression and innovation.
What are you thoughts on the state of metal in general at the moment?
M: Overall, I guess it's doing pretty well these days. There seems to be a
fixation on technicality and playing ability that I don't personally share.
I've always seen metal as a means for writing good songs and for
self-expression, and the current "scene" seems kind of disconnected
from those qualities. Having said that, I still think there's a lot of really
good heavy music coming out lately.
U: I'll somewhat agree with that, although obviously
technicality and good songwriting aren't mutually exclusive. One criticism I
have is that metal seems to have gotten really esoteric. It's kind of ironic,
because I always thought of metal as music for social misfits, but there's a
segment of metalheads that are absolute elitist pricks.
On the positive side, I think there are a lot of good bands
lately, especially bands that evoke some older influences. Also, here in
Chicago, the scene is much more inclusive than it used to be -- which is great
because I would much rather go see four good bands that sound different from
each other, than four bands in the same sub-genre that are mediocre at best.
What touring plans have got to help you support the
release of "In The Shadow of Swords”?
U: We are setting up some tour dates for the Midwest and
possibly the east coast later this summer.
What bands/albums are you all listening to at the moment?
M: I'm currently enjoying the new albums by Arsis and Alice
in Chains. The last Voivod record "Target Earth" completely kicked my
ass as well.
U: I don't have the new Chains record yet, but I will
definitely be giving that a spin soon. The new Maggot Twat record is pretty
sweet. The last Faceless and Wintersun records are good too. However, when I
get home from work I'm probably going to throw on Peter Gabriel's
"Passion".
Chicago has a rich metal history. Which current local
bands should people be checking out?
M: I strongly recommend Czar, Without Waves, Bones, and
Superchrist. Chicago has a reputation for a certain kind of metal these days,
but there are other, better things going on here.
U: I'll second those recommendations and add Maggot Twat,
Wounds and Air Raid. Those guys are all great musicians, but don't take
themselves too seriously.
Make sure that you check out the album trailer below and stay tuned for a full review of In The Shadow of Swords later next week.
I think pretty much anyone who likes metal will acknowledge the role that thrash metal's had in forming what we love today. I'm not just talking about the big four here either. There are tonnes of epic thrash bands wherever you look and even after the short lived revival a few years back, we still see new bands coming through the ranks. Hexen are not a new per se, having formed in 2003 but they are worthy of mention. After various demo releases, they appeared on the map in 2008 and debut album State of Insurgency. Later in 2012, with the weight of Pulverised Records behind them, they released Being and Nothingness. They've gone a bit quiet since then, but are still active so may be plotting a return soon. Being and Nothingness features nine songs, including Nocturne, which is fourteen minutes long!
Tracklist:-
1. Macrocosm
2. Grave New World
3. Defcon Rising
4. Private Hell
5. Walk As Many, Stand As One
6. Stream of Unconsciousness
7. Indefinite Archetype
8. The Nescient
9. Nocturne
I've been yearning for the decent thrash metal lately and I
think Hexen might be the band to fill that void. Opening instrumental track
Macrocosm definitely shows a lot of promise amongst its riffs and harmonies.
There's also an interesting fantasy element to their sound and one, which carries
on into Grave New World. This is where Hexen's thrash fully kicks in. Amongst
the powerful drums and guitar, there are rasping vocals that air on the side of
Mille Petrozza from Kreator. The solo in the mid-section of Grave New World is
lengthy, but doesn't sound over-played and is exactly want you want to hear from
a band of this ilk. The pace of the song switches between an almost punk
inspired bounce and a more whirlwind pace, especially when the sweep picking
hits the speakers.
One thing that will be noticeable to those of you who like
your metal, is how progressive Hexen sound. This isn't straight-up party thrash,
as Defcon Rising will attest. There's time changes, shifts in pace and extended
instrumental sections, which all count towards a band with great variation. The
introspective mid-section reminds you of Metallica, during Nothing Else Matters
and actually sounds equally as good in my book. The drums are also a joy to
listen to, as they switch between snare-laden blows and double bass sprints. When
Hexen follow the out and out thrash path though, they hit the nail on head.
Private Hell is more your archetypal song, with solid structure and plenty of
headbang inducing moments and plenty of melody. Those progressive sensibilities
rear their heads again during Walk As Many, Stand As One thanks to some pretty
amazing dual guitar work. Hexen have certainly nailed their sound on this
record and it brings a huge smile to your face!
As Streams of Unconsciousness plays you get the sense that
the vocals are more aligned to death/thrash than they are to straight thrash
metal. They do give the songs an extra bite overall and stop the album from
sounding like a self-indulgent prog record. Indefinite Archetype has a sense of
sci-fi too it, with it's X-Files inspired intro. The song itself features some
off-kilter time signatures and low riffs. This is where the low-end comes into
it's own, with a bass heavy sound sitting underneath the vocals. The Nescient
feels like a precursor too the mighty last track, Nocturne, but in own right its
pure thrashing goodness! And so it's on to that last track. Nocturne is a
fourteen minute behemoth, with a sense of rock opera too it as well. The intro
lead guitar certainly sounds that way anyway. I didn't want to use
comparison/analogy but this is the song that Avenged Sevenfold wishes they
could have written!
It's like Hexen have just taken everything from their
previous songs and have weaved it all into one mammoth piece, which even when
split by instrumental sections that bridge the different parts of the song, still
keeps a strong momentum.It all ends in
such majesty with great guitar melodies and choral singing in the background.
This is one hell of a record and in spite of Hexen's current quietness, there
should be no reason to ignore this. If you like thrash metal and are willing to
pay attention to a band that don't do things by the book, Hexen are for you!
Now lucky for you, the whole of Being and Nothingness is streaming via the Pulverised Records bandcamp page. Check it out below:-
You can purchase a digital copy of Being and Nothingness from the Pulverised bandcamp page above or you can head to http://pulverised.bigcartel.com/ to pick up a CD version.
Swedish death metal trio Dead Awaken have recently unleashed a debut album via Abyss Records. Dead Awaken have been going since 2002 and after multiple demo's, have honed their sound and have released this record. Taking their influences from the savage death of Vomitory and Suffocation, as well as the dark imagery of Celtic Frost and Triptykon, they've got a lot to offer extreme metallers everywhere.
Tracklist:-
1. Carnivore
2. Kingdom of Damnation (Where Hope Turns Dripping Red)
3. Deutsches Afrika Corpse
4. Rocket Symphony
5. Mudhell
6. Manic Destructive
7. Envy The Dead
8. Venom of The Population
9. State of Corrosion
With most death metal, you know what you're getting.
Razor-sharp guitars, thrashing drums and low guttural vocals. Dead Awaken are
no different. Plying their trade in a genre that seems to be overflowing can be
difficult, but Dead Awaken stick to a formula that they know people want. Carnivore
opens proceedings in the best way possible, by absolutely ripping you apart and
not letting up. It's only towards the end of the track that Dead Awaken slow
things down. The drums groove like nobodies business during Kingdom of
Damnation. The vocals are almost gargled as they're delivered and the pinch
harmonics add the occasional bite of variation. Rhythmically it's perfect, with
the drums holding station while the other instrumentation keeps up.
Deutsches Afrika Corpse is where things start to change.
Dead Awaken step away from their opening blueprint slightly. Instead of just
focusing on out and out sonic destruction, they inject subtle melody and pace changes,
which give the listener more to hold onto. Don't get me wrong though, it's
still utterly savage! The low-end makes it's presence known as well, with the
bass rumbling underneath the guitar and adding extra weight. Rocket Symphony is
probably the closest you'll get to one, as the pace is slower and with the
longer song length, it seems more thought-out and experimental. There are some
great, simple riffs in it as well. The first hint of a guitar solo comes
towards the end of the song too, nestled within chuggy riffs. The music carries
on in the same vein during Mudhell.
The production is good, but due to a lot of the music being
in the same key, it can get a bit hypnotic at times. If you're after loads of
melody, you won't get it here. Where Hope Turns Dripping Red is all about face
melting, old-school death metal! If you can cope with massive amounts of
kick-drum them Manic Destructive is your song. It may only be just over two and
half minutes long but it rips, especially the squealing solo mid-way through. Dead
Awaken then flatten you with their final three songs, Envy The Dead, Venom of
The Population and State of Corrosion. They fly past in a whirlwind of double
bass and chainsaw-like guitars. The guttural vocals remain constant throughout
and threaten to send you to hell.
I've not heard a death metal record like this for a
long time. It's rare that band just settles in and goes for it for an entire
album, as they normally throw in some clever jazzy gubbins, but not Dead
Awaken. They just blast like the bands that influenced them did. If you're
after some straight-up and insane death metal, look on further than these guys.
Now as a treat, I have the pleasure of streaming "Kingdom of Damnation (Where Hope Turne Dripping Red)" on my bandcamp page. The album isn't currently streaming, so it is one of the only place you can here the song without buying the record. Check it out below:-
So, the wheel keeps turning and the evolution of heavy music keeps progressing. One arm of the evolution that keeps growing is Sweden's. Such is the history and influence that the country's innovators posses, they keep spawning new bands like rats breeding (in a good way). System Annihilated are one such band. They hail from Umea and play an amalgamation of death/progressive metal with hardcore touches thrown in. The band started in 2009 at quite an early age and Furor is their debut album. It was released earlier this year through Discouraged Records. Tracklist:- 1. This Apocalypse 2. Furor 3. What We Created 4. The Bitter End 5. Let The Rain Tear It Down 6. Seven 7. Parasite
8. We Stand Alone
System Annihilated provide a groove-laden soundtrack to the
chaotic world we live in. Futuristic riffs tussle for space with fast-flowing
drums and rasping screams. They hit their stride straight away with opening
track This Apocalypse.Now they're
progressive but melody isn't forthcoming in the song, instead they prefer to
batter you into submission with modern death metal. Their penchant for atonal
riffs follows on to the title track. They seem to use the same tempo, but this
time they throw in a few more techy breakdowns, which are pretty heavy. They
even manage brief moments of euphoria when the drums pound away is a dramatic
fashion, with a more reserved tempo, acting as a bridge between verses. The
overall effect towards the end of Furor is damn good and shows SA's instrumental
prowess.
They inject more treble into What We Created and the music
still remains furious and upbeat. It's good to hear SA putting some more
musical textures into their music. Even a little variation can go a long way
sometimes! It gets better as The Bitter End comes into view. The lead sits
menacingly at the top of the mix, with some great regimental style drumming underneath.
From there on in it's all about poly rhythms and all-out rabid screams. The
introspective mid-section helps lower the heart rate. That rest doesn't last
for long though, as the final one and a half minutes seem to get heavier. The
intro section to Let The Rain Tear It Down will send a shiver down your spine;
such is the crispness of the guitar melody at the start. I'm bloody sold on
this band already! The song itself underlines the effectiveness of SA's sound
and ends with the crisp guitar that started it all.
The sixth song is called Seven, rather amusingly. That small
observation aside, it's a savage song! As SA pile-drive their way through the
final two songs, Parasite and We Stand Alone, you'll either be left grinning or
just plain out-cold. They don't try and be heavy for the sake of it, but manage
to somehow sound huge. Those riffs, which form the bedrock of Furor, are what
drives it on and keeps the band's energy up. This has been a real surprise for
me. This could well be the album that gets me excited about tech-metal again
and for that, System Annihilated should be applauded!
You can stream music from Furor on Discouraged Record's Soundcloud page below:-
Extreme metal can manifest itself in the serenest and quietest places. Especially black metal, where bands take their influences from the world and nature around them. It's always a joy to discover such bands on your own doorstep, sometimes where you least expected them. This review features two such bands. Úlfarr are from the rolling hills of Cumbria and play depressive black metal. They provide half of this split's eight songs. Hrafnblóð is a sole black metal entity from the Midlands. The four songs that Hrafnblóð contribute are the band's last recorded songs. This split CD has been released by UKEM Records and is limited to 100 copies. It's selling fast! Tracklist:- 1. Úlfarr - Intro 2. Úlfarr - Laid To Rest 3. Úlfarr - Forgotten By Time 4. Úlfarr - Cold in Death II 5. Hrafnblóð - Lif and Lifþrasir 6. Hrafnblóð - Descent of The Black Fog 7. Hrafnblóð - Fires of Dresden
8. Hrafnblóð - Englaland
Wulfhere begins with an atmospheric and instrumental intro
from Úlfarr, which heralds their side of the split. It's ambient and almost
droning aesthetic is the perfect way to lull the listener in. Once the intro
has finished, Úlfarr go straight into Laid To Rest. Their black metal sound is
as evil as you’re likely to hear. The guitars provide the melody the drums,
while hidden in the mix slightly, provide a great background and the gargled
black metal vocals add intensity. For a depressive black metal band, Úlfarr
also plays with progression and lengthy songs. Both Laid To Rest and Forgotten
By Time are over nine minutes in length.
Forgotten By Time follows on instantly and builds is a more
subtle way. The guitar led ambience opens it and then fades out to reveal
another DSBM hymn. The riffs are shrouded in noise as well, so they don't sound
to precise or clean. As a result, it makes Úlfarr sound more organic and give
them more expression. This song does have a slower pace too it. It's not as immediate
as Laid To Rest, but does retain some pacier moments, where the cymbals can be
heard crashing and the kick drum is more prominent. The bass is more prominent
too, adding more weight to the low-end of the song. It fits in well with the
symphonic elements of the guitar. The song is also more instrumental which shows
off Úlfarr's for expansive sound. Cold In Death II provides some respite with a
nicely played interlude featuring melodic leads and gentle guitar. A great way
to end Úlfarr's side.
Hrafnblóð don't mess around and hit the ground running with
Lif and Lifþrasir. Hrafnblóð has a sound dominated by brass textures and drums,
which seem to pulsate throughout. The vocals are growled but sound as though
they are being whispered. The guitar provides riffs, which add to an all-encompassing
sound. Where Úlfarr were raw and cold, Hrafnblóð are more melodic and warming.
I'm a huge admirer of this type of black metal. It's great to hear music that
wraps itself around you. Descent of The Black Fog does see Hrafnblóð taking a
more menacing path, but the music still retains that majestic edge. The drums,
while programmed, actually fit the music better.
Fires of Dresden begins with a sample featuring air-raid
sirens, which seems fitting. The song itself starts with some great melodic
guitar, which gives way to huge sounds riffs. The relentless battering from the
drums continues to compete with the vocals, while a rare solo squeals through
the thick noise. The spoken word section towards the end brings a haunting
demise to the song. Hrafnblóð's final contribution is that of Englaland. It's a
slower track that shows a different side to Hrafnblóð while still retaining
that majestic quality. That majestic sound I was talking about is perfectly
embodied within the mid-section of Englaland, where the instrumentation does
the talking and hypnotises you. It's a great end to pretty staggering split
release!
This split is probably the best split release of the
year so far. That may be a bold statement but when you compare the stark/cold
approach of Úlfarr against the more majestic/warm instrumentation of Hrafnblóð,
you have the essence of an essential opus. Both bands perform with great
integrity and personality. Hrafnblóð are the standout band for me personally,
but the entire record has a special quality to it.
You can listen to Hrafnblóð's side of the split on the band's Soundcloud page. They originally featured on the Geosceaftgast EP that was released in February - https://soundcloud.com/hrafnblod.
You don't need me to tell you that UKHC is booming right now. New bands are cropping up and the mainstays of the scene are upping their game too. Recently though, we lost one of our iconic HC labels, Hemlock 13. They've released records/tapes for the likes of End Reign, the short-lived Anguish and more recently, for North East band Control.
I'm sure a lot of you will be familiar with Control. They seem like they've been around forever, but they only emerged in 2010! Since then though, they''ve shared the stage with bands like Madball, toured Europe with Grace and even played my home town of Harrogate (amongst others)!
Their latest demo is now up for streaming and as a "free/Pay-What-You-Want" download via Bandcamp -
You may be able to pick up tape copies from the band at up-coming shows, if they haven't already sold out.
Talking of their live shows, here's some video footage from their recent gig with ClearXPath in Newcastle: -
A few weeks ago now, I reviewed the five track CD, Ioh-Maera from this Finnish ambient collective. Now it's the turn of their four-track vinyl only release Unworeldes, which was released via Svart Records in November last year. For anyone who is familiar with Arktau Eos, you'll know that their sermons are otherworldly and aligned more towards chamber music and ambient music than they are to metal, but are still worthy of the ears of people who like things that are out of the ordinary.
Tracklist:-
1. The Cypress Watcher
2. Cove of The Seven-Winged
3. Black Leaf Gaze
4. Geometry of Emptiness
Much like their movements within Ioh-Maera, Unworeldes
begins with a slow-build in the form of The Cypress Watcher. It's quiet and
haunting, with feedback-ridden noise giving way to minimal sounds and sampled
rain. Musically it's droning at times, however sparingly it's used. You can
imagine a quiet ritual being performed to candlelight, while lightly clad
maidens look on from the shadows. The sedate approach of the opener flows into
Cove of The Seven-Winged. If you're after instant gratification, you're not
going to find it here. Arktau-Eos let their compositions move forward at their
own pace. They don't allow them to end prematurely.
The sound level increases during Black Leaf Gaze, as the
deeper more menacing chamber music style noise infiltrates the record. It's
more guitar based this time and Arktau-Eos don't seem to use any other noise
elements in the piece. Also, for those of you who are not as familiar with the
band, there are no vocals and very little in the way of percussion within the
music, just pure noise and subtle ambience. I like how all four tracks on
Unworeldes seem to follow each other. Even though there are moments of silence
between tracks, they are not obvious due to the composition and structure of
the music.
As Geometry of Emptiness builds, you get a sense that
while this is experimental and somewhat challenging, it's also simple and
calming. Arktau-Eos don't over-complicate the record with highbrow textures or
instruments. It's as accessible as it is untouchable. I'd liken their sound to
that of Sutekh Hexen and Gnaw Their Tongues, as well as the ambient moments of
Ukrainian black metal Moloch. Unworeldes would sit perfectly next to those
bands and fine within the collection of any black metal/experimental fan.
Once again, none of Arktau-Eos's music is streaming on the Internet, but you can find out more and pick up their music from Svart Records at http://www.svartrecords.com/
Bukowski Family are a strange bunch. They take their name from US writer Charles Bukowski and have a fascination with cannibalism and gore. Unpleasantries Abundant is their fourth EP since 2010 and contains five tracks of grindcore infested death metal and gore. The EP will be released in mid-June by Aritificial God Productions. Their image is one of shock and gore and certainly not for the faint of heart!
Tracklist:-
1. Chair of Repentence
2. Carne Humana
3. Fountain of Woe
4. The Perversion of Grim Tanner
5. 6Teen
Unpleasantries Abundant begins in exactly the way you expect
it too, with heavy guitars, crazed double bass and deathly growls. Chair of
Repentance is as brutal a song as your going to hear this year, yet Bukowski
Family manage to inject some melody thanks to some well placed lead sections.
Their music is the perfect accompaniment for torture and defilement! Carne
Humana is the most ravaging song on Unpleasantries Abundant thank to it's
whirlwind pace. This is where their grind influences truly begin to appear.
During the instrumental into to Fountain of Woe, you
gradually feel more and more unsettled, as the anticipation builds. The song
itself is more mid-paced in places, but that only serves to make it sound more
menacing. The guitar harmonies and those blood-curdling growls just make matter
worse! The guitars sound massive during The Perversion of Grim Tanner and
because of this, the song is my standout track on this EP. They have their
angular moments and modern touches, but overall they just slay.
Bukowski Family's strange and incest-ridden characters truly
come out towards the end of this song, as if they are all revelling in the
torture of some unsuspecting soul. 6Teen rounds out the EP, with one last brutal blast of
death metal. Bukowski Family definitely aren't the kind of family that you want
to meet in a dark alley. They conjure images from both horror movies and real life
and provide a fitting soundtrack to the ills of modern life.
To help countdown to the release of Unpleasantries Abundant, I have the pleasure of being to stream fourth track "The Perversion of Grim Tanner" on my blog's new Bandcamp page below. Make sure you take a listen to the song as you prepare for your debauched Friday night:-
It's amazing to see where the blackened end of the metal genre has infiltrated around the globe. It's very prevalent within the UK, Europe and the US, but even more so now in Asia and South America. Eshtadur are one such band treading the left-hand path and playing experimental black metal in Colombia. Eshtadur have been going, in various forms since 2005 and with two demo's and one full length to their name so far, they are about to release a second titled "Stay Away From Evil And Stay Close To Me" via Gate of Horror Productions in June.
Tracklist:-
1. Beyond The Shadows
2. Stay Away From Evil And Get Close To Me
3. Another Alien Messiah
4. Abigor
5. Nightmare In A Church
6. Son Of A Witch
7. Take Me To The Morgue
8. The Girl Who Hated A Priest
9. Mas Alla De Las Sombras (Spanish Version of Beyond The Shadows)
Eshtadur make a very assured start with Beyond The Shadows.
Their musicianship is damn fast, the guitars air on the side of thrash and the
drums pound away with plenty of double bass in the background. The keyboards
add a sinister edge. The melodic leads that Eshtadur possess are as good as
anything their North American cousins can play and the vocals are an amalgamation
of both black and death metal. It seems as though Eshtadur speed up at the
start of the title track. You'll hear a lot of modern touches within their
music, which is no bad thing and thanks to a decent production, the songs are
really enjoyable and not ruined by the muddiness that sometimes affects these
types of albums. The keys during the song a very grand and give the music a
classical edge.
They inject dual high/low vocals into the chorus if Another
Alien Messiah. They also hit a more proggy stride with a spellbinding solo
during the mid-section of the song. One great thing about Eshtadur is that they play very concise
songs, instead of making them too lengthy. It's much better to make an impact
with this for of metal than overstay your welcome and be forgotten and
thankfully, Eshtadur stay on the right side. Abigor and Nightmare In A Church
flash past in a flurry of thrashing guitar and drums, before flailing straight
into the amusingly titled Son Of A Witch. This song again underlines Eshtadur's
modern sensibilities, thanks to a great song structure. Take Me To The Morgue throws in some folk-inspired guitar
alongside more rousing keys. One thing you can definitely say about Eshtadur is
that they're very listenable.
The Girl Who Hated A Priest is the penultimate song
and sounds more like a rock opera, such are its twists and turns. The dramatic
guitar leads and keyboard melodies only add to that feeling too. The album's
closing track is a Spanish version of the opener Beyond The Shadows. Mas Alla
De Las Sombras heralds Eshtadur's Colombian roots and actually has a more sinister
poignancy thanks to the Spanish lyrics. It's an interesting way to round of a
very impressive album that will certainly put both Eshtadur and Colombian metal
on the map.
To get you in the mood for the release of this record, I'm very proud to be streaming the opening track Beyond The Shadows, on my newly launched Bandcamp page. This song was provided with permission from the band directly and will only be up for a limited time. Make sure you check it out:-
To help launch this extention to my blog, I am streaming two tracks, one from each of the below bands -
Eshtadur (Colombian Black metal) Bukowski Family (Death Metal)
I will be streaming more music from now on, so check out these songs
and help spread the word about the bands, releases and also the service
I'm offering. Thanks.
I remember
the first time I heard the intense emotion of bands such as Usurp Synapse, Neil
Perry and Jeromes Dream. Spending minutes, sometimes almost hours, just
digging through the layer of noise and finally coming up with beautifully
executed melodies, passionate performance and all in all amazing craftsmanship.
The intense emotions being packed into small compact bursts of exploding noise.
I just loved it.That was the
late-1990s to mid-2000s, and I just got into most of these bands just before,
or slightly after, they disbanded. And ever since that, I haven’t quite had the
same feeling listening to emo-violence; I felt bands couldn’t get their heads
wrapped around what made those bands so good. It’s not enough to just copy the
band; you have to know what you want to do and what you want.
Cue Gas Up
Yr Hearse!, one of the best bands around these days. They take from the old
school of screamo/ emo-violence and add their own take to it, mixing mid90s emo
melodies as well as inspiration from other hardcore/ metal genres. On this
5-track EP, none of the songs hit the 1minute mark. Add titles that take about
a minute to read out loud, and you’ll get the idea. It’s like grindcore for the
emo kids. The EP starts off with the extremely intense One Hundred Years From Now I’ll Be Crawling From My Tomb, combining
complicated and intricate drums with extremely distorted guitars and a
gut-wrenching dual vocal attack, combining both “traditional” hardcore vocals
with high-pitched shrieks not unlike Jeromes Dream and Devola.
The EP
continues its destructive path with And
As Her Hand Slowly Crept Up My Spine, adding a more rock’n’roll-twist to
the guitar riffs, making for a subtle and groovy feel before crushing the whole
dream with a brutal breakdown that’s not only fitting, but hard as hell. The
ringing in your ears hasn’t gone away before the third attack; Haunted By The Skeleton In My Own Body,
which is easily my favourite track on the EP. Mathcore-ish drums set up the
extreme terror these 30seconds have to offer with the high-pitched shrieks
piercing your eardrums while the more traditional hardcore vocals works more as
background filler than vocals, making it all sound like a perfectly executed
assassination on your eardrums.
At the End of My Biography I’ll Be Dead follows the previous three tracks
with a heavier leaning towards the chaotic spectre the band is capable of
performing, unleashing 37seconds of pure fury with some good old mosh parts and
breakdowns in the middle of it. The band’s last track, they’re longest on the
EP (at 54 seconds) rounds the release of leaving you exhausted, but wanting
more. That’s Not Where I Remembered
Leaving My Coffin is a mixture of all previous songs with the mathcore-ish
drums, chaotic overload and dual vocal-attacks over a subtle grooving riff.
The few seconds of silence after the EP is over feels like hours. I
personally needed to hear the EP six times to get the hang of it, and that’s a
good thing in my ears. This EP shows an extremely talented and hardworking band
with both legs planted solid on the ground, letting their roots creep up their
legs and inspire them, but not being consumed by them as to not do their own
thing. This is really a band to watch out for; their ethics,
sound, their love for DIY... It’s amazing.
Buy It:
Band is currently sold out, BUT they will make more. Check Plastic Smiles
Records (plasticsmilesrecords.storenvy.com) as they might have a few copies
left. Or just download the EP from bandcamp.
So for this review, I thought I'd pull something completely obscure out of my review pile. Moths hail from Houston, Texas and sent me an e-mail a little while ago, that simply contained links to their Bandcamp and Facebook page. Normally I would just ignore these types of e-mails, passing them off as spam but the fact that they had the wherewithal to place links in the e-mail, suggested they were being genuine so I thought the least I could do was check them out. They class themselves as an experimental/punk/hardcore band and so far they have this EP, as Live Demo and a split with Gillian Carter to their name. So, this is my review of their self-titled EP. Tracklist:- 1. Jupitari 2. Gold Ghost 3. Transit 4. You've Reached Marshall 5. Asteral
6. Perseids
This sounds very jangly to begin with. Jupitari builds up
with the sound of cymbals and then very nice drumming amid electronics. You
feel like it's building up to a big crescendo, but it refuses to spill over and
leaves you waiting in suspense. Gold Coast is where Moths properly kick in,
with their own brand of screamo. The drums and riffs are fairly off-kilter and
the dual screamers are pretty intense. It has a feel of At The Drive-In to it
at times. Very mathy but less melodic.
The tracks are separated by various interludes of
instrumental music. Transit features some great melodic guitar work, occasional
screams and some samples at the end. They fly back into life with You've Reached Marshall, which
is a lot more urgent than Gold Coast. Even though it's less than three minutes
in length, a lot does seem to happen.
The riffs pulsate during Asteral and sound more like swathes
of ambience than actual guitar. It all comes to rest with more droning
electronics and flows straight into closing song Perseids. This is Moths most
ambitious song at over ten minutes in length. When the electronics die down,
the music is easy to drift off too. It's calming and shows a slightly different
side to the band. It doesn't take too long for the impression to be blown to smithereens
though, as they kick back into their spazzy screamo.
I have to admit; I've not heard anything like Moths before.
They seem to have gained a slight space-age appreciation within their sound and
it certainly gives screamo a new edge. If Moths can get their press approach
right, there's no reason why they can't get positive coverage and reviews,
which in turn will help them pick up new fans.
You can stream this EP below. Physical copies have sold out
but if you like it, you can download from the Bandcamp page: -
There's always been two black metal bands that I've wanted to feature on This Noise Is Ours. One was Ash Borer and the other was Fell Voices. The reason behind this was not about ego and bragging rites (because I've got no time for ego's) but out of complete fandom. Over the last few years I've been listening to more and more black metal and I've always read about these two bands and I've admired the way they carry themselves and don't follow the press darlings of the scene, down the sideshow path. I got the chance a while ago to feature Ash Borer, which was a huge honour and now Fell Voices follow. This is their new three-track double LP which is due to be released on vinyl by US label Gilead Media and Antithetic Records.
Tracklist:-
1. Flesh From Bone
2. Emergence
3. Dawn
Fell Voices present themselves in a very similar way to that
of the aforementioned Ash Borer. They don't fill Regnum Saturni with countless
tracks with the same sound, instead they put forward three of varying
lengths.Opener Flesh From Bone starts
with a pulsing/droning ambience, intertwined with spoken word samples. This
intro rings out for just over two minutes, at which point you’re greeted with
feedback and harsher almost white noise. Their black metal seems to be very minimal;
the vocals nestle in the background underneath the guitars. The drums also sit
back, apart from the occasional cymbal crash. It's very atmospheric actually,
with subtle melody hiding amongst the continual almost marshal ambience. It
finishes the way it started, with more of that pulsing ambience.
Fell Voices drummer/vocalist has in the past been a live
member of Ash Borer, so there are some, although not intended, similarities
between the two bands. That and the fact they both shared a very well received
split record, which was when they came to my attention.
Emergence starts off in the same manner, except the ambiance
is quieter this time. It's volume does increase slowly though, reaching an
almost maddening volume and forcing you into a trance as it goes. One thing
that gets me with Fell Voices is their ability to play such anti-music without
it sounding horrendous. I'm not being disrespectful by calling it anti-music
but it's going to take a special kind of person to listen to Regnum Saturni in
full. Most people will either be too scared or too weak. For me, what makes
them so captivating is that apparent lack of melody, which as you listen, disappears
to reveal melody. The fact that the vocals are so distant adds a sense of
humility and a feeling of down to earth-ness.
It can at times get truly hypnotic and just when you think
you are about depart, the vocals kick in and jolt you from your daze. The
anguished cries make Mike sound as though he's being tortured. God knows how he
can scream like that and play drums! The closing bars of the song consist of just the droning
noise and those screams. A haunting end indeed!
By the time Dawn roles into view, you're pretty much frozen
to the spot. Even when more melody and guitar is used amongst the initial
noise, it's meant to disarm and unnerve you. With such long, drawn out songs,
you'd think the music would become stale but it doesn't, such is the
captivating aura that surrounds the band. How a trio can make this much noise,
I'll never know!
While there are subtle similarities between Fell Voice and
noise acts like Sutekh Hexen and Gnaw Their Tongues, Fell Voices are so much
more engaging. They sit in the black metal arena but put forward a compelling
case for the scrapping of genre convention. I can't see Fell Voices remaining
the preserve of those in the know for much longer. They're on a cosmic path
that will take them to greater heights.
Now, too wet you're appetites before the album drops in June, you can listen to second tracks Emergence below:-
There seems to have been a big proliferation of duo's in metal recently, especially in the UK doom/sludge/black metal scenes. Falmouth's Monolithian are one such band, though not entirely new, they are starting to make waves and get the earth rumbling around their feet. They're about two release a 12" record with the help of five mighty labels - Church of Fuck, Moshtache Records, Bitter North Record, Atomsmasher Records and Riotous Outburst Records. One/Zero collects their first two EP's. The A side features the four tracks from the sold out One EP (including a Bongzilla cover no less) and side B features the Zero EP.
Tracklist:-
1. Yog Sothoth
2.The Dry
3. Cruithne
4. 666 lbs (Bongzilla Cover)
5. Baptism
6. Under The Obelisk
7. Azothoth
8. The Anointed One I've always been into the slower more bass-heavy strand of
heavy music and Monolithian seem to satisfy that thirst pretty well. The
absence of lead guitar may be hard for some people to get used to, but once you
realise that the melody, no matter how low, is coming from the bass, all
becomes clear. The low, growling black metal vocals add a menacing edge to
opener Yog Sothoth. As well as performing slow, winding rituals, Monolithian
can also thrash like nobody's business. Just check out The Dry. It's powerful
drumming dictates the pace and it's a polar opposite to the doom tag that
Monolithian carries with them. In between songs they use samples to break the
silence.
There's only one word for the bass riff at the start of
Cruithne - immense! It propels you into a new six and a half minute leviathan. The
noise level just seems to keep rising too and when you think the song is coming
to a conclusion, it kicks back into gear again with another mighty bass rumble.
The final song on the A side is the Bongzilla cover, 666lbs. I don't really
need to say anything here because well, it's just huge! The cool thing about it
is that Monolithian really stamp their own mark on the song and don't worry
about the fact that they don't emulate the lead guitar from the original version.
Side B starts with a kick in the balls by the name of
Baptism. There's more fast drumming at the start of the song and some great underlying
melody as well. It has a different feel to it from the rawness of the One EP on
side A, but it's no less bruising. The bass tone in Under The Obelisk sounds lower somehow, I'm
not sure why though. Maybe I just want it to be!One thing's for sure though, listening to this at high volume
certainly shakes your bowels. I have my speakers perched on top of a chest of draws,
which I thought were quite steady. I'm not so sure now.
After the lengthy build up, the song hits its stride. It
saunters through seven minutes of mesmerising bass riffs, grooving drums;
deathly/blackened growls and Monolithian even manage to throw in some
Bong-esque clean vocals. It's probably my standout track on the record. If you
sit back and listen to the musical textures that Monolithian weaves, you'll be
transported to another place entirely. Just listen to the unnerving noise created
on Azothoth, along with the sample of children talking. It'll move you!
One/Zero is bought to an end by one last rumbling hymn, in
the form of The Anointed One. It's the sound of your world crumbling in around
you. It's the last breath as you're committed to the earth. It's the musical
form of you losing your mind slowly and torturously. To pigeonhole Monolithian
would be missing the point (though it seems like I've tried to with this
review). Their heaviness and their originality breathes new, deformed life into
the heavy underworld which we populate.
The entire record is available for streaming below (via Church of Fuck's bandcamp page):-
Physical copies can still be pre-ordered and the vinyl will be dropping soon. Head to following places to pick up your copy -
I'd like to hear from bands/labels who might be interested in streaming songs or records on the This Noise Is Ours Bandcamp page. This will be solely to help bands get their music out to wider audiences. You can elect how long your music is streamed for and I would manage the uploading/removing of songs or records.
This is something I've been wanting to do for a while now but am only getting around to posting about it now. So, if you're in a band or with a label and you want to have your music streamed to wider audiences, let me know by e-mailing stayahead1@yahoo.co.uk.
Way back in 2011, I posted some short live "Band of the week" features, with the last one being on the 30/12/11. I recently decided too bring this series back, to help break up the review posts but also to spread the word about random bands that I've come across. Truth be told, there are hundreds, if not thousands of bands out there across the metal stratosphere that people just don't know about, so hopefully those that I do talk about will end up reaching some new ears.
I posted about starting this series on Facebook a couple of weeks ago and one band responded straight away. As first posts go, this one isn't so random, but what the hey!
Norfolk sludgers William English aren't new to This Noise Is Ours. I featured them back in July 2012, when I reviewed their demo. You can read it here.
Anyway, it seems these guys are stepping it up. They've integrated more hardcore influences into their dirty sludge and have released two un-mastered tracks on the t'internet, which will appear on an album soon.
As well as recording new material, these guys have filmed a video for the track "Captain Tugboat", which features a band photo that will strike fear into any parent!
As well as all of this, they're going to be playing with the mighty Moloch, as well as Essex hardcore/grind act Chestburster and fellow Essex newcomers Jotnarr in Colchester on August 30th. You have been warned!
So, there you have it. The first "Random Band of the Week" post and hopefully there's enough here to wet your appetite and to make you want to further explore this bunch of rabid sludge nuts!
It's been a while since I last did a label feature, but recently I've been contacted by a few asking if I'd like to review some of their releases. So many in fact that I'd do a series of special features. I'm starting it with Broken Limbs Records, a label that a based in both New York City and the West of Ireland. BLR has been featured here before, when I reviewed the tape reissue of Unsacred's EP Three Sisters, which was released by Invektiv Records, though originally released on CD by this very label.
As with many of the labels I've come across in recent months, head honcho Peadar is a huge fan of analogue formats like vinyl and cassette and as well as running a cool, underground label also used to be an admin for a Facebook called Metal on Cassette and has since branched off on his own with a page called Summoning Spirits, which aims to share and chat about all manor of analogue releases from metal and beyond.
So anyway, back to the task in hand. I've selected a few releases from random, some that have been submitted to me and some that haven't, which I'm going to review to hpefully help spread the word about BLR and the bands they've worked with. These bands cross over many sub-genres, including black metal, folk metal, crust and ambient noise, so there should be something here for every extreme metal fan. So, sit back and enjoy!
Oak Pantheon - From A Whisper
Oak Pantheon are a duo from Minneapolis, who released their debut album through BLR in September 2012. It was released as a limited CD which has long since sold out. They have been gaining new fans at a pretty fast rate since it's release last September and while quiet now, they are still well worth investing you time into. Tracklist:- 1. Descend Into Winter 2. It 3. We Will Tear Down The Gods 4. Aspen 5. The Ground Beneath You 6. Roots of Man 7. From A Whisper 8. An Altar of Limbs
Whenever I listen to duos, I'm always in awe of the noise
they make. Oak Pantheon just adds to that notion. Descend Into Winter, which
contains a great instrumental build up sounds really clear and concise. The
mixture of cleanly sung post-metal vocals and the more blackened screams stop
the music from being pigeonholed and the melody shows that there are hooks to
be heard and that crescendo of an ending makes this one hell of an opener. The
bells that punctuate the guitar at the start give it a haunting almost
gothic feel. The soundscape created is icy cold, with the quiet whispered
vocals making it even colder. The riffs that sit underneath the growls are
hypnotic, as are the drums.
We Will Tear Down The Gods changes the mood with some really
nice acoustic/folk inspired guitar. The singing conjures up mystical images in
my head, before the more reigned-in growl is heard. It ends with the sound of a
running stream and calm acoustic guitar, which builds in intensity before an
almost symphonic section closes things. It's actually a surprisingly upbeat
ending to the song. Listening to Aspen and I hear subtle thrash-metal textures
during the riffs. The majority of the song though is resplendent in Oak
Pantheon's signature soundscape. I'm one of those people who like the more
ambient/grand side of black metal; listening to this is a treat. The more
post-metal elements really make From A Whisper a truly listenable opus. Where
Oak Pantheon does succeed is in their song-lengths. It never seems like they've
ended a song for the sake of it. They let them reach their logical conclusion
and keep the record flowing as one whole.
The halfway point comes and goes to reveal the acoustic
beauty of The Ground Beneath You. It again underlines Oak Pantheon’s preference
to let their instruments and their musical skill do the talking, instead of
injecting some pointless gimmick into the album. It's an instrumental piece
that you could truly get lost in. Roots of Man follows in the same vein and
soars to a majestic end with some great lead work. Much like the rest of the
album so far, it follows on in a way that shows that Oak Pantheon have put
considerable thought into their song placing and structure. It's great when you
listen to an album and the order makes it sound like a band is trying to tell a
story through the music. The title track is the most majestic of them all, both
in length and in instrumentation, which underlines how good Oak Pantheon are.
Just listen to the lead work throughout the song to see what I mean!
As a song, it actually
passes quite quickly and flows with subtler acoustic guitar, into final hymn
Altar of Limbs. It's got more of a metal edge to it this time, during the
heavier sections, relying less on the quieter more introspective elements and
more on black metal. There's more buzzsaw riffing and chaotic drumming here,
but it seems to be reigned in and doesn't spoil the aesthetic of the album.
It's this control, which singles From A Whisper out as a genuinely immersive
record. If you're a lover of finer music, which is full of great musicianship
and ideas then Oak Pantheon are a band you should be checking out.
The next release I'm chosing to explore is the split tape from Texan blackened crust duo Cara Neir and their New Hampshire brethren Ramlord. This four track tape was released in June 2012.Here, Cara Neir contribute three tracks and Ramlord add one lengthy track. Tracklist:- 1. Cara Neir - Family Dirge 2. Cara Neir - Cradled By Apathy 3. Cara Neir - Wilted Blue
4. Ramlord - Application of Clairvoyance (Part 1)
Cara Neir certainly do open up with a crusty, blackened
stench. Their brand of black metal is raspier and certainly more hellish,
probably more akin to Watain than some of their more ambient peers. That being
said, they do inject ambient, introspective passages into split opener Family
Dirge, thanks to some clean guitar. It's a great opener, as its short and sharp
but provide a great insight into what's to come from their other two songs. Cradled
By Apathy features furious guitar, as well as some startling feedback at times.
The drums pound away in the background and sound really organic, thanks to the
recording and production. They flit between slow and fast passages, with raging
vocals steering the song forward. Again, there's some really good lead guitar
work, providing melody. With the longer length of this song, Cara Neir pursue
more texture and ideas, as well as letting the song flow more. It certainly
gives the listener more to grasp onto. With Wilted Blue, they include some
great off-kilter drumming in the intro. The bass provides some crunch, which is
set against the melody of the guitar. For a duo they again sound louder than
they should and the production does a good job of bringing out some of the
subtleties in their music. The low growls also are pretty menacing, as it's the
first time you really hear them, as opposed to higher screams, which are more
prevalent.
Ramlord offer up one lengthy track of bass heavy, winding
metal. Again it's on the crusty side, but is also sludgier. Their rumbling
sound shakes your eardrums at high volume.After the initial build up though things start to speed up, thanks to
some epic drumming and razor-sharp riffs. When the vocals kick in they are low
growls more akin to grind vocals. There are two vocalists, much like there were
in Cara Neir. Ramlord though, to my ears anyway, sound heavier. Ramlord
are pretty enthralling, but in a different way to Cara Neir. They do have black
metal influences within the music, but due to the slower/dirtier pace of it, it
takes you longer to spot it.However,
by paying that attention, you get a lot out of it. Some people though may find
ten minutes too much to take, but I say to hell with them. The song balances
out Cara Neir's side well and provides fans with the chance to check out a
different band, which they might not have heard.
It's another cool split tape, which help BLR carry their
ethos of releasing nice analogue records. It also throws light over another two
great additions to the wider US black metal scene.
Again, you can stream this split via BLR's bandcamp page
below:-
You can purchase a
physical copy of the tape from the above bandcamp page too.
Onto another BLR tape release and this time it's the three track EP from Colorado black metal band Deafest. This was released in July 2011 and was limited to 50 copies. After a couple of line-up changes, Deafest decided to head down the instrumental route and their main influence is the countryside around them. You just have to look at the artwork above to realise the bleakness at which they take their ideas.
Tracklist:-
1. Fog Rolls Down The Slopes
2. Over The Ridge
3. Rock Spires Above The Trees
I've found myself listening to more instrumental black metal
over the last year as well. It's been mainly ambient and has always been
something I go back to when I've exhausted my ability to listen to extreme
metal. Deafest however play extreme metal, just without vocals. They make a
very different sound. It's very guitar driven, but instead of thrashing them to
within an inch of their lives, they play more drawn out riffs and let subtle
melody infiltrate their music. The drums in the background on Fog Rolls Down
The Slopes sound huge as well, but then they have to when they're competing
against the guitars. The great thing about instrumental music is that it allows
you to use your imagination more. The music really lends itself to that
imagination as well. You can imagine the cold clouds rolling in over mountains
and the rain running off fields into swollen rivers.
Over The Ridge has that feeling of the frontier too it. The
melody at the start sounds quite upbeat, even when it's amplified. That
transition they make back into slower territory though brings the mood right
back down. At times there is a more metallic edge to the song too. They carry
their momentum through to last track Rock Spires Above The Trees. It's the
longest song on the EP, but as a result is also the most inspiring and
strangely, uplifting too. I love the melody and ambience of this release, as it
breaks up the distorted low end very well. The quieter moments let you breathe
and relax, in case it becomes too much for you.
It's a hell of journey this one, taking you through
low valleys and lifting above soaring hills and it changes pace and mood
effortlessly.
Listen to it below:-
You can also pick up copies of the tape from the above bandcamp page.
The final review I'm doing in this feature focuses on Hunter's Ground and their recent record, No God But The Wild. This was BLR's most recent release, coming in October 2012. This intial run of CD's that were pressed by BLR have long since sold out, but there is a full pressing on the way. Hunter's Ground are from the Appalachian region in the US, so expect cold, harsh black metal.
Tracklist:-
1. A Storm of Crows
2. Their Hands Were Stained with Her Dripping Blood
3. And Fed Their Flesh to the Vultures
4. Speaking in the Tongues of Trees
5. No God But the Wild
6.
The Fireless Winter
As I can to the end of my first label feature, I feel that
my eyes have been opened to the sheer breadth and variation that exists within
black metal. All the bands I've reviewed sound different and Hunter's Ground
are no exception. Their brand of black metal is probably the evilest I've heard
recently. They have that trebly guitar sound that you tend to associate with
black metal, the pounding drums and the raspy screams. A Storm of Crows is a
great into to this trio.
The vocals are slightly lower on Their Hands Were Stained
With Her Dripping Blood, which give the song that extra sinister bite. It's
more mid paced than the opener and Hunter's Ground settle into a bit of a
groove during the gaps between verses. As And Fed Their Flesh...rings out,
there's no escaping this bands torturous sound. It's almost bilious yet still
restrained. The production on this record makes sure that the music doesn't
sound too polished, giving a more live feel, which is always good. I think
polished production jobs can sometimes make albums sound quieter and sterile,
but it not the case here.
Speaking In The Tongues of Trees is an instrumental piece,
which features almost choral singing, sitting atop of droning guitar driven
riffs. There's echo effects thrown in to the mix as well and it's a welcome
excursion from HG's blackened nightmare. They inject a lot of good musical variation as well, like
subtle "rock and roll" influences (though these are few and far
between). They are certainly very adept black metal musicians. They do abandon
some of their black metal sensibilities though during the second half of No God
But The Wild. The title tracks features more singing as well as some post-metal
soundscapes. These passages fit really well into the album, especially during
longer songs.
As No God But The Wild rages to a close, you're left with
one last brief moment of silence before The Fireless Winter hails the closing
of the record. Another song that flits between mid-paced passages and fast
black metal, where the guitars are once again king. It’s the song where those
choral elements are at their most haunting.
No God But The Wild is another example of the
non-pretentious black metal that's coming out of the US at the moment. Hunter's
Ground is another band to keep an eye on too.
I do have some more releases from BLR to review, but they will come at a later date. I thought I would give you time to appreciate the bands featured here and to allow you time to investigate Broken Limbs Recordings for yourselves.
