So due to technical difficulties, my voice on this episode is pretty messed up. I tried to recover it the best I could, and Anthony helped, but it is what it is. Well, at least Eden is audible this time, and he’s around! We discuss the new Nekrogoblikon album, the Behemoth live album, and the new Ghost single. Finally, the Metalsucks article discussing the difference between bands who make stupid jokes and those who believe in violent ideologies. Then, we do the deep segment on Metallica. Enjoy! (or at least try to)
Ancient-Egyptian-themed blackened death metal is a weirdly popular niche. It’s easy to understand the appeal, but just how popular the style can be is surprising at times. What’s even more surprising is that few of these bands are actually from Egypt (mostly this review’s namesake and Scarab). Enter Crescent, a band formed in 1999 but only put out their debut in 2014. Hailing from Cairo, they’ve fit in comfortably to this style, and ready to make waves with their second full-length, The Order of Amenti.
When dealing with themes of the occult, paganism or any suitably blasphemous subject, metal doesn’t always fare so well. Without a sense of humour, the dense themes can overtake the actual music itself, . The best “spooky” death metal needs strong instrumentation and subtle song writing behind it dare it…
Antigama – Depressant Poland has been a hotbed of excellent extreme metal acts for over three decades now, perhaps owing to the country’s extremely high level of level of religious practice. That scene that has produced such greats as Vader and Behemoth has also spawned more niche, underground acts like…
Happy Halloween, 2017, from your nefarious friends at Kvlt Kolvmn! Hard to imagine a better day for this column to land near, what with all the ghouls, spirits, demogorgons and Eleven’s traipsing around with their sugar receptacles and real world terror encroaching from every corner of this planet. God, what a miserable year in so many ways. Thankfully, that misery has not extended into the world of black metal, which continues to drop sensational releases month after month. October is no exception. This month saw the release of several exceptional albums that not only continued to solidify the importance of black metal’s existence as one of the premier subgenres within the metal universe, but also its ability to offer complex, fierce statement of countercultural urgency. That last component is important for one particular album that screams thoroughly against some of the prevailing philosophical dogma that runs rampant in the darkest corners of the subgenre. Despite the most truly reprehensible portions of its collective ranks, black metal can indeed speak the language of justice. But enough talk. Let’s metal.
Hello heaviest of Heavy Bloggers! Welcome back to Doomsday, our monthly roundup of All the Doom that’s Fit to Print.™ October is a special time of year, particularly in America: the weather is turning colder and gloomier, horror movies show up in earnest in theaters and cable networks across the country, and the general anticipation of Halloween fills the air. October 2017 was particularly special for doom heads as both Bell Witch and Primitive Man unleashed career-defining tours de force upon the world. But wait, there’s more! Lots more! Grab your earplugs, it’s Doomsday.
There’s nothing quite like a great sandwich. Whether it’s cookies either side of creme, cold cuts stuffed in slices of bread or earnest, driving hard rock with heart stuck between two slabs of dirty, bludgeoning death. We’re going with the latter on this weeks Celtic Connection with Scottish and Irish produce, as per. It tickles my pickle that I get to cover three bands with nothing shared other than their red haired heritage. Sure, the two Scots acts may share the same rough area but they couldn’t be any further apart in terms of taste, style and fans. Throw in some low end loving Irish folks and hey, we’ve got a party on our hands.
The nihilist music market is a hot market and every despondent soul has a favourite hot property at the minute. The worlds of sludge, doom and core have bore witness to a smattering of acts capable of sapping the complete energy of a room; using just the atmosphere they create with their instruments, implements and voices. As mentioned, there’s enough history with this area of music that there’s always someone threatening to unsettle and threaten with their music. Helpless definitely aim to create a misery of their very own with Debt, a brief but bloody record showcasing the serrated edge of sludge bass and hellish vocals. The music does impose, but the band occasionally take second stage to the wall of noise.
Only three albums into their career, the angry Aussies in Thy Art is Murder are a household name not only in deathcore, but extreme metal as a whole. The fourth album can be a tough place to be in for an established band, especially if your sophomore and junior releases are as good as Hate and Holy War. Though well-established and on the path to even more exposure and success, the band are still not immune to the possibility of dropping something that may not completely meet the expectations of their fans all over the globe and tainting their reputation of quality releases. Fortunately for those anticipating their senior album Dear Desolation, there is no disappointment to worry about. With this album, the band have dug their heels deeper into the dirt of what they do best and risen to the occasion by not only meeting the standards of previous albums but also setting new ones.
Some things just go really well together. Ham and cheese. Cookies and milk. Frodo and Samwise. Alcohol and an unusually horrible following morning. The metal world, intent on constantly reinventing and expanding itself, tends to mix differing sounds into new amalgamations of metal mayhem in hopes of finding similarly delightful pairings. Some of these ventures are more successful (Full of Hell and Merzbow) than others (here’s looking at you, Metallica and Lou Reed). But few things pair as well in the metal world as black and death metal. All the key ingredients for hate-filled success are there: unparalleled intensity, blast beats, tremolo insanity, thematic cohesion, and harsh, unrelenting vocal deliveries. With all of these commonalities between the two metal subgenres, you’d think that their fusion would be relatively easy to pull off. Based on a lot of recent death metal releases that incorporate black metal into their sound, however, it would seem that this isn’t always the case or even the norm. Outside of the success of bands such as Behemoth, there are surprisingly few examples of blackened death metal seeping deeply into metal culture. Excommunion is here to change that with their fierce new record, Thronosis.