EXCLUSIVE PREMIERE: It’s Time To Once Again Premiere An Album From A Constant Knowledge of Death

Previously on Heavy Blog: California madmen A Constant Knowledge of Death have decided to release four albums in the span of one year (so did Jacob Collier, but I’m pretty sure he’s crazy too, in the best of ways). We already premiered two of them so we thought “hey, that’s not how the saying goes but in for two albums in for the four, right?” And so, here we are, premiering Vol.III.C: Everything was Possible and Nothing Was True. If that title seems post-modern and pissed off to you, you’re quite right; Everything was Possible is by far the angriest, dirtiest, and heaviest of the bunch. While Vol.II packed a more post-metal oriented punch, with plenty of metalcore trappings to go along with it, Everything was Possible is more grind-y, filthy tones mixing with some seriously violent vocals and lyrics to push the aggression home. Let’s head on down below for a taste.

Oh boy. “Ash Winter” is a great opener for this album, showcasing the furious drums, the even darker vocals, and just the overall violent tint of the whole thing. Sure, the post-metal ideas that have always made the band work are very much present (in the ambient guitar lead in the background for example) but everything is sort of run through this prism of fuzz and anger. The palpable derision towards our current sorry state, coupled with things like that loud bass and buzz-saw guitars, gives this album an edge that previous releases didn’t have. Thus, Vol.III stays true to the mission-statement of this meta-release, presenting us with yet another piece of the band’s puzzle. Indeed, it presents the most different one yet. In case you’re not sold on it just from the music, read this quote by the band and contrast with some of the ideas on previous albums:

Vol. III.c: Everything Was Possible and Nothing Was True is an album primarily about achieving catharsis in a society plagued by the worst bigotry and prejudice seen in decades. It is not an album about optimism; it’s about taking as many of the terrible people down as possible before we’re gone.


“Ash Winter” deals with the destruction of the environment by greed and commercial consumption, and how the corporations that promote it will shirk the blame.

“Incineration” is about murdering white supremacists, anti-gay bigots, cops, abusers, etc.

“Despoina” is more specifically about murdering abusers and those in the justice system that allow them to evade their consequences.

“Drowning In A Burning Building” is about the hopelessness of the future, and how activism will only achieve so much in the face of our impending doom.

“Untruths” is a tongue-in-cheek attack on those who would take a moderate stance in our vitriolic political climate, as that is no longer just insufficient, but actively enables the right to continue their violent crusade against those not within their ranks.

Yeah. You can definitely feel that rage and frustration even beyond “Ash Winter”, with the tense intro to “Incineration” for example and in plenty other points on the album. If this is something which appeals to you (and it should, since we’re all in the same situation whether you’d like to admit it or not), Vol.III.C: Everything was Possible and Nothing Was True sees release this week, on the 13th of September. You can head on over here to pre-order it, via Bandcamp. See you soon for album four?

Comments

Fear is the mind-killer. Fear is the little-death that brings total obliteration. I will face my fear. I will permit it to pass over me and through me. And when it has gone past I will turn the inner eye to see its path. Where the fear has gone there will be nothing. Only I will remain.