Monday, December 5, 2016
Glaukom Synod return with their first release since 2014's Covered In Semen and Slime. Rising from piles of technodestruction and staggering from blown out communication hubs with fifteen minutes of extremely harsh electronic industrial propaganda, on Vampires and Gorgeous Throats Glaukom Synod emphasize the perfect components of each track in a way that makes them truly enjoyable and truly uncomfortable simultaneously. Having found a way to incorporate identity into the songs, the listenability of what normally would be revealed to fringe music aficionados is instead possible for anyone with a meager interest in experimental music. Glaukom Synod could easily open the wormhole towards harsh noise and electronics for anyone with a mind open enough to revel in the vastness of the genre.
Perhaps the best representation of this is in "Jungle Glaukom Fever," which is based on a deformed theme of Tarzan's yell. It is revisited several times in prime locations to reinvigorate the beat. Also worthy of further investigation is "Absoloz Omogr V. 1.0.5.," due to the strange rhythmic exasperation coursing throughout. The longest track, it's also the most subdued throughout it's majority, even breaking away into an an entirely new structure that only barely hints at the previous rhythms in the track as tempo is slowly increased. There are depths worth exploring in each track before completely grasping all the nuanced layers and sounds. It took me five or six listens to hear some of the low-end rhythms in "Jungle Glaukom Fever," and in a song like "Throattomb" once can get lost in pinpointing which beat to listen to.
What's so impressive with Glaukom Synod is the myriad usages of sounds and samples. The layers of different beats and rhythms are put together with such natural feel, even with such unnatural tones being used. For me, the whole thing mimics the aesthetic of Virus (John Bruno, 1999) in that it combines the natural and artificial into a unique life form in which the end result would be impossible without either. That this was all created using only 16 bit software and technology just makes the whole thing feel more genuine and impacting - it's not overworked, even for how layered and cramped it is.
Final track "The Iron Tongue (Razors In Your Mouth)" is culled from the Covered in Semen and Slime demo, and I would have preferred another two or three tracks to put the overall release at twenty minutes, especially if we were given some tracks of a tad more variety in tempos and intensity; something slow and drawn out between "Jungle Glaukom Fever" and "Ejaculohydron Tricephalis" could have been a key placement for pacing. Once again, however, Glaukom Synod is impressive in what matters: originality, replayability, and impact. Two releases now from Glaukom Synod have really impressed me. I'll be digging into their back catalog which stamps back to 2005 but I have a feeling finding physical copies of some stuff will be an adventure.
Monday, November 21, 2016
High Priestess NightHawk is still at helm, belting out lovely cadences and supplying a majority of the rhythmic work on bass. There have been changes in the trio's lineup with Archbishop Barghest on guitar taking over for Rattlesnake and Siren Tempestas replacing Bearadactyl (sad to see him go as his was easily one of the best names I've heard in a while). From the immediate lashings of "Key And Bone" the decadent wall of sound on Chassit looms. Heavily over driven bass, with occasional effects - possibly a chorus and flange pedal mixture of sorts - is very upfront in the mix with guitars filling in a lot of the space behind and supplying hums, buzzes, ghost tones and other psychedelia. Notable is the distant snare giving a very "live" atmosphere to the heavy and hot mix. From the first musings of "Key and Bone," NightHawk's vocals stand out. There is an unrestrained intensity and allure to her commanding vocal style.
Initially NightHawk's vocals are tied to the chord progressions but come "Ursa Machina" and especially "in The Court Of The Bastard King" (yes - I looked for obvious King Crimson nods but found none) there is an overall looser and experimental flair. Heavy Temple offer an originality in the spacey vibe they softly convey through the guitar and bass effects and the steamy recording. It's true in terms of sheer riffing and structure of compositions Heavy Temply fall short on originality, jumping into new riffs through use of common transitional methods and essentially jamming about for prolonged periods of times across fairly standard motifs and keys but the riffs are cleanly written and smooth. The grit and caked on scuzz of excellent tone help the material rise above. Heavy Temple do their doom well. The single most unique section of the EP is the first minute or two of second track "Ursa Machina," with a big tense formation built on a simple four note bass pattern with a dramatic half-step drop.
Heavy Temple conjure the images their moniker would want you to formulate: Smoke drenched biker bars along forgotten stretches of cracked highway; hazy hissing amplifier tubes droning behind the occasional crackle of unintended instrument noise; a sweaty greasy mechanic in a straw hat and oil-soaked overalls sips whisky along a splintered bar top; empty booths against a far wall trapping wisps of unknown ethers; the trio that rolled in on a cloud of van-dust filling the space between normally disparate images with that ephemeral glue that could only seep out of their hands; a small child in worn and patched jeans and a crisp white tank top playing in the corner while her mom works the bar, beading droplets of moisture on tanned skin glistening as another cold round gathers condensation.
Wednesday, November 16, 2016
With a shift towards regression swelling in the ocean of releases and bands, Signist are swimming against the stream by re-releasing and remastering their 2006 demo. It's easy to support the claim that the tendency in metal is to not push beyond the defined genre-prison with so many bands aiming for traditional sounds. And yet the Russian duo and their 2006 demo, Of Worlds, Endtimely Enshadowed, while a release that contextually is easy to place at that original time-period, is not so easily dissected as being purely defined by the discernible melodic death metal influences on the release. It is to be viewed outside the currents trends and the decision to re-release is, if anything, counter intuitive to the current metal climate.
There is a very specific guitar tonality on this recording which identifies it as a Russian release; a certain hollowness amidst the otherwise generic timbre that I have heard before from a host of Russian artists both contemporary with the timing of this release (Hell's Thrash Horsemen) as well as quite earlier in time (Aspid) whom all share this uniquely Russian tone. It's also appeared elsewhere in the east such as on Aum's 2012 Of Pestilence. It's a different feel, revealing Signist as going against the tide at this point in time, perhaps slowly drifting in the same waters, but observing a more careful route than that carried by the debris. Guitarist Ixaxaar handles most of the instrumentation and is impressive across the release while partner Axalcathu on drums complements capably. Both handle vocals throughout and exit with strong credentials.
Guitar tones aside, the contributing factors to the material would be several notable Swedish bands. Opeth's progressiveness is apparent early on in opening track "Premonition of the Endless Night" as the song dissolves into an acoustic interlude for it's majority. I hear a mix of Amon Amarth and Dark Tranquility in "Stillborn Mind Reflection." What is not prevalent are American Melodic Death influences and metalcore influences which factored into the "great blandening" of those years. There are lots of flourishes of experimentalism and progressive ideas incorporated into the tracks. "XXI Century Presuicidal Reverie" is a strong showing of this experimental penchant and passes attention to progressive masters thirty five years prior in title.
Perhaps the best combination of the influences on the album manifests itself in album highlight "Bells of Oncoming Winter." A twisting and extended riff opens the track and grips the listener in the culmination of the phrasing before layering additional effected clean guitars as an accompaniment cuing the verse. Later in the song, after a syncopated section of lead guitar work, clean vocals cue in the harsh vocals in a similar manner. Simple and smooth transitions of melody hold the ideas together. This is also true in "Dark Coulors Breeder," a big track with a demure interlude splitting it's ends. A cover of Katatonia's "This Punishment" is the final strap on the jacket for Signist's album.
Of Worlds, Endtimely Enshadowed, was artfully crafted amidst influences which overpowered a lot of music at the time. Signist recognized the original influences of the melodic death metal style and incorporated them heavily into their sound. This release will not appeal to everyone but may find a respected place for fans of the late 90's and early 00's melodic death metal material. The idea to resurrect the release now, after trends have died down, whether purposeful or not, affords a more unbiased look at material, which several years prior, may have been dismissed and disregarded.
Friday, November 11, 2016
The metal universe is full of interesting people doing interesting things artistically and with a fervor and gusto that draws curious onlookers in, forever capturing and enrapturing them like a spider catching flies in its web. For myself, underground zines were a big part of my descent into the nooks and crannies. Originally it was Metal Maniacs in the late 90's and early 00's. I remember the first issue of Zero Tolerance being released in 2004. I became fully engrossed in what I found to be a more artful journalistic venture in the British pamphlet. Eventually I ended my subscription around issue 34 or something and went my own way. But those magazines gave me, at the time still young and impressionable, a certain ground to stand on. So today when I pick up a zine I want it to seem more than just some interviews and reviews. I want it to have a certain life to it beyond the regular feature. I want it to add to my understanding of this universe.
|A full twenty pages of zine listings like this appear in issue 666. A veritable who's who of zines for metal librarians.|
|A small segment of the The Crypt collector guide in issue 777.|
Issue 6, a square booklet in full color and impeccable layout with Motorhead on the cover which, looking at it now, produces surreal vibes - staring into the eyes of two dead warriors will do that - offered a vast amount of space to content ignored by the largest reference sources online - zines! Yes, pages thirteen through thirty-four offer a complete listing of every known heavy metal zine big and small to the author. It's an incredible quantity of information and research. Each country is represented with no one left out; who knew South Africa had two metal fanzines!? And to follow up is a huge collector guide on Nuclear War Now's vast catalogue. Interviews with label owners and bands like Hellbringer and Hatespawn are enjoyable as well. Oh, and it comes with a huge Celtic Frost poster for kicks.
Issue 7, comes packed in a folder containing the ninety-two page zine and two posters. The oddly sized vertical zine will surely reap havoc on anyone who gets annoyed with things not fitting easily onto shelves. The layout also switches from being read upwards to downwards and sidewards numerous times forcing the reader to literally have to be involved in the act of exploring the pages. NWN is once again featured with some updated collector notes. Also featured are a whole new slate of zines not included in issue 6. The Crypt also gets similar page space with a collector dissection of their releases as well. Order From Chaos get interrogated as well as a host of other smaller features on numerous artists.
These zines are really beautiful and experimental in both layout and content. They have a personality and character to themselves. Stefan has done with Witchcraft zine that which could never be done in the mainstream toilet paper; artistically explored areas and depths of the underground with an encyclopedic skill and interest that suits collectors and genre veterans.
Tuesday, September 13, 2016
Dark Hyms Of The Underworld follows Yfel's debut, The Depths of Hell, and dials in on some major improvements in some important areas. The Depths of Hell was under siege in no-man's land between black metal and death metal and consequently suffered a defeating identity crisis. Where Dark Hymns... makes significant strides is in the push towards a solidly black metal effort. Gone are some of the Armonisms which appeared on the previous album: overly syncopated vocal choruses, goofily groovy riffs that manifest out of nowhere, and laughable lyrics about dead prostitutes all come to immediate mind . What has remained is his solid ear for compelling melodies and his instrumental prowess. Additionally, Armon's mid register screams are a boon to the focused black metal attempt, generic as they still are.
Without picking apart each track, the most powerful - and promising - song for me is tertiary track "Char and Ash" which could be considered a poor man's "As I Wander," a comparison to the must hear track on Primitive Graven Image's Traversing The Awesome Night. It rolls and roils for the first several minutes similarly but without as much grandeur and little sense of imagery. It also falls prey to the "black metal must have fast parts" mentality and instead of being a beastly slow-to mid tempo track, we get some blast beats and faster parts which sap what was a unique change of pace on the mostly single-minded album. But the slower doom parts are big, stomping, marching black metal. "Char and Ash" is followed by the out-of-place "Covalent Bonds" which doesn't fit thematically with the other material and which opens with a riff more akin to Control Denied than Immortal or Emperor. While the content of the track is a minor slip, the dip in black metal focus betrays some of Armon's underlying non-black metal influences.
As usual, Armon has recorded and mixed this project himself and he's done a commendable job in accomplishing the goal of getting clarity without being polished. All the parts have their space and show forth in the mix with the guitars still being most in your face and the drums - still programmed - being in your boots. I'm not sure the production is "black metal" at heart; the bass is less pronounced compared to the seminal productions in the genre, the guitars aren't quite as buzz-saw or incognito, and the programmed drums do push away from the necessary natural tones I prefer. Regardless, for black metal done Armon style - this is a shift more in the correct direction. I'm curious to know if Armon can replicate the black metal feeling with Yfel on future releases, especially considering the positive changes here on Dark Hymns of the Underworld. My biggest concern is still whether Armon can string a bunch of songs that fit within the genre's parameters and yet still be memorable and interesting.
Wednesday, August 24, 2016
Sunday, August 21, 2016
Uploaded a sample track from the Whipstriker / Hell's Bomber split tape. Whipstriker sample will be up shortly. Preorder tapes through the usual methods: either via email at firstname.lastname@example.org or also through the storenvy page for the product. Buy other shit while you're there also.. I want to clear stock so I can get fresh product in.
Monday, August 8, 2016
Brazil's Whipstriker and Croatians Hell's Bomber meet on this split tape of four tracks of blistering metal. Old School fans of the usual culprits rejoice. You can preorder for $4 + Shipping on the Storenvy page.
These are moving so don't miss out on it. Pro Tapes for this one. Tapes will jump up to $6 after preorder period. Expected release date is first week of September (I expect the tapes by that point).
You can always order via email too: email@example.com
Wednesday, June 22, 2016
New Jersey Epic Heavy Metallers, Fiakra, and their Alive At Ravenforge rehearsal EP are out now. $6. For fans of Omen, Manilla Road, Axe Battler, Greek shit. $6. Buy at the online store or via old-school email communication.
Tapes are pro-dubbed silver cassettes:
Wednesday, May 18, 2016
Alkerdeel is one of the many bands that follows the traditional Norwegian black metal path, but their album Lede also adds in a bit of an unconventional approach, and it’s fairly decent. In general terms, there is a really strong Under a Funeral Moon vibe here. It’s worth mentioning because Alkerdeel has a much stronger than average Darkthrone influence. More specifically, the amount of repetition and the bass’s prominent position in the mix harken back to the sounds on that particular Darkthrone album. Since the band goes off the rails a bit, you almost get a subdued Furze vibe, but the release isn’t quite so experimental as that, so maybe it’s just the cover art creating a superficial connection (“fürze” means “farts” in German after all.) The well placed contributions from Mories (of Gnaw Their Tongues etc. fame) also give the album a small push away from conventional sounds.
Outside of the traditional influences in the dirty primitive riffing, a couple of stylistic deviations pop up throughout the release. Alkerdeel’s particular take on dissonance shows up both in tremolo picking atypical intervals and inharmoniously placed bass notes. These bass lines often follow a shuffling kind of rhythmic pattern that further pulls them outside of the main harmony - it’s an interesting effect. One of the better, but dragged out, moments has a spoken word interlude. There, the bass slowly marches notes over a quietly pulsing and crackling wall of guitar notes. Sometimes the tremolo picking jumps from the low end with quick flashes onto the higher frets and strings. The main feel though is a familiar one, like the vibe you get from the simple descending four-note pattern on the track “Lede.”
The intro and effects on “Gråt Deleenaf” are by Mories, and they fit into the music quite well. The distant howling notes especially create a strong sense of tension and discomfort, a clear break from Mories’ usual habit of mixing unadulterated chaos into his effects. His restraint here meshes into the album’s overall atmosphere and mirrors the effect’s light touches elsewhere on the release. It’s a clear hallmark of genuine and thoughtful collaboration, rather than a mere guest appearance solely for the sake of padding the liner notes, but the song itself is still a tepid affair. On the topic of Alkerdeel’s weakness, it boils down to creating songs from a bunch of riffs that are only just “fine” or serviceable. It will work at any given moment because of the interesting mood, but too many ideas seem to circle in on themselves.
Lede’s quality and atmosphere make it good enough to be engaging throughout the entire runtime, but it unfortunately doesn’t leave much of an impression afterwards. It’s only particularly strong point is how the vocal performance is cleverly panned with reverb to create a huge amount of depth to the vocals during sustained screams. So file this one under “likeable but forgettable.” It’s coherent and has its interesting moments, but almost nothing other than it’s somewhat unique approach sets Lede apart from the incalculable volume of other releases out there.