Metal Bandcamp

Written by Craig Hayes.

If you were to slice the metal scene right down the middle, on its hemisphere axis, it’s the southern portion that’s generally presumed to be home to bands with a certain bloodthirsty temper. Asia and Australia have produced utterly filthy and ferocious extreme metal luminaries aplenty, while New Zealand is home to globally respected bands like the commanding Vassafor, Doom Cult crushers Diocletian and Witchrist, and, obviously, death metal doyen Ulcerate.

Of course, New Zealand’s metal scene didn’t spontaneously erupt in a raft of extreme metal bruisers, it was born from those power metal and New Wave of British Heavy Metal influenced bands that formed the foundations of the scene. However, aside from Demoniac providing members for the internationally successful, UK-based, DragonForce, New Zealand doesn’t really have a profile for power or traditional metal bands at all.

That’s been somewhat remedied of late, and recently, here on Metal Bandcamp, I highlighted the debut EP, Ironhead, from Red Dawn—a band fixed on the hammering harmonies of power metal, more than the outright venom of extreme metal. So it is with Stormforge. The five-piece, Auckland-based, band recently released their four track debut EP, Sea Of Stone, on Bandcamp, and there’s no doubting Stormforge’s influences or inspirations on the EP. Sea of Stone is indebted to power metal’s forefathers—Iron Maiden, Judas Priest, Blind Guardian, Helloween, etc—and that same sense of artists combining dramatic theatrics with maestro musicianship features heavily.

Guitarist’s Miro Kao and Flynn Fredriksson tear into Sea Of Stone’s upbeat opening track, “Immolation to Infinity”, with all power metal cannons firing; before vocalist Courtney O'Leary arrives, to bring his powerful classic metal howls and operatic wails. More of the same melodic meticulousness arrives on “As The Night Sky Burns”, as up-tempo, rousing riffs from duelling virtuoso guitars sprint around a galloping rhythm section provided by drummer Antony Mifsud-Houghton and bassist Thomas O'Leary. “Death Sings In The Night” slows things down, for some smouldering balladry, before bursting, inevitably, into a flaming lead-guitar section. Final track, the nine-minute titular epic, “Sea Of Stone”, sees sweeping, progressive metal melodies all advancing towards the inescapable climax; where O'Leary’s soaring vocals segue into, well, hell bent for leather guitars, for a duly epic finale of blazing and shredding soloing.

In all, Sea of Stone features plenty of dynamic and energetic metal, it’s rich in fiery licks and spirited tempos, and contains those all important and enthusiastic injections of over-the-top histrionics that make power metal such a joy for fans in the first place. Like any opening gambit, there’s probably some nerves attached to Sea Of Stone, but Stormforge have nothing to be concerned about here. The EP features a crisp and crunchy production—courtesy of Diocletian and Witchrist drummer Cameron Sinclair—and all up, what Sea Of Stone does best of all, is leave you wanting to hear more.

That’s exactly what you want from your debut recording, and that’s exactly what Stormforge delivers, in spades.

[Go to the post to view the Bandcamp player]

Artwork by Daniel Corchado

The Chasm's lastet full-length Farseeing the Paranormal Abysm from 2009 is, together with almost their entire discography, available on the Lux Inframundis Productions Bandcamp (Lux Inframundis being the label run by The Chasm mastermind Daniel Corchado). This is amazingly creative death metal with a progressive bent. Each song feels like part of an otherworldly adventure, chaptered by fluid transitions and paragraphed by different time signatures and tempo shifts. Only half the album features vocals. and they are mixed quite low. But this gives them a strange storytelling quality, fitting nicely with that otherworldly vibe.

Photo by Carmelo Española.

Then there's the riffs. Tons of excellent epic riffs. But this is not riff salad, The Chasm are far too meticulous for that. This paragraph by Tyler Munro from Sputnikmusic does a very good job of explaining their modus operandi:

They often base entire tracks around only a couple of riffs riffs, which, given the length of some of these tracks, is a testament to their talents. A riff will often sneak in, alone, until it repeats with a bass, then drums, then another guitar. From there, the songs tend to play around within themselves; they speed up, bend and distort. This isn't to say the songs are limited to a small number of riffs (in fact it's quite the contrary), merely that they use one or two riffs as their jumping off point.

The riffs are anchored by dexterous and very organic sounding drumming and a present bass. And accentuated by subtle synths and effects. The production is clear, with a cold and crisp guitar sound. Entirely without the foibles of modern death metal producers it has a pleasing raw quality, giving you the stellar musicianship in all it's unadorned glory.

Photo by Carmelo Española.

I'm sure it won't take you long to find your own favorite passages of Farseeing the Paranormal Abysm, but let me end the review with sharing a couple of mine: The visceral heavy riffing in the beginning of "Vault to the Voyage", and the goddamn triumphant last half (7:30 and on) of the epic closer "Arrival to Hopeless Shores". "Arriving … so far from home, but this is the place / Farseeing … sun and moon corroding, this is the place"

[Go to the post to view the Bandcamp player]

Written by Atanamar Sunyata.

One does not simply walk into a Thou album; the visceral journey is a full mind and body experience. Crossing the threshold of Heathen demands patience and attention, but crushing catharsis is a listener’s reward. You can choose to hone in on the doom, sludge, or drone aspects of Thou’s sound, but the wielding of impossible weight is their wont.

Photos by Carmelo Española

Whereas its predecessor soared to intoxicating sonic heights, Heathen hugs the earth. Thou have kept their massively heavy guitar sound intact, and they use it to plow familiar tracts of gorgeously glum landscape, turning over nuggets of melodic epiphany and post-rock brilliance along the way. The rhythms tend towards tectonic trudge, but occasional upbeat outbursts are likely to grab hold of you and compel physical reaction. Drag that fuckin’ weight, man.

Photos by Carmelo Española

Bryan Funck’s radioactive rasp demands a listener’s attention, and his predominantly comprehensible lyrics demand that you dig up the words to comprehend each and every one. As always, for me, it’s Thou’s lyrical treatises that take my engagement as a listener above and beyond. On Heathen we are entreated to exalt, reject, scorn, and defeat. Revel in and accept the agony of existence, persevering, above all, via endurance.

[Go to the post to view the Bandcamp player]

Written by by Andy Osborn.

Despite the incredible offerings the beginning of 2014 has presented, I’ve found myself moving chronologically backwards in my collection. I wanted to take a break from the latest and greatest (and blackest) to rediscover what caused the 14-year-old me to hoist the metal flag. Turns out I had completely forgotten how utterly obsessed I was with power metal. The fairly accessible subgenre is undoubtedly a common gateway for longhairs around the world and the likes of Sonata Arctica, Stratovarius and Blind Guardian were the torchbearers leading me down the rabbit hole. After revisiting their albums that I know so well and realizing I do still have feelings for their kind, it was time to seek out newcomers to the scene.

Right as I was thinking this, the debut from Noble Beast reared its head. And it just so happens that the first new power metal album I’ve listened to in years is an absolute masterpiece.

I’m still trying to comprehend the awe inspiring power of Noble Beast. It’s epic, fun, and catchy as all hell without too much histrionics or cheese on the side. The lyrics are at once ridiculous and empowering, but the music shows nothing but deadly sincerity. It's everything great power metal should be. The charge is lead by the glorious operatic baritone of Robert Jalonen. He deftly switches between 80s rock god and a slightly more sinister personality that never loses its sense of grandeur. He’s occasionally complemented by gang vocals to ensure that this battle is never being fought alone.

Strong, dueling guitar leads are constantly one-upping each other with a deft interplay that comes to define the band’s sound. Not ones to rest on a cool riff or exciting gallop, they’re always throwing in little nuances to ensure nothing gets recycled or become expected. “We Burn” is a perfect example of the quartet’s dexterity as it’s filled to the brim with infectious melodies, a fantastic folky acoustic verse, and then switches gears to a near never-ending guitar solo that stops just short of being self-indulgent. These songs of battle, triumph and defiance are all anthems in the truest sense with enough of a thrash sensibility to spread their appeal and make a statement that echoes across the entire metal landscape.

Despite my absence from the power metal scene of late, it’s clear Noble Beast’s debut is a fiery triumph of epic metal that rivals any longstanding European powerhouse. This young Midwestern group has studied their heroes and done them more than justice with their first offering. Savor the moment when you put this on for the first time, because goosebumps and a jaw on the floor are guaranteed. This is more than a debut, it’s a declaration of dominance over an entire subgenre. And it’s absolutely perfect.

[Go to the post to view the Bandcamp player]

Written by Justin C.

Last month, I stumbled across Cvlt Nation's premiere of "Shiver" (which is now also available for streaming on Abest's Bandcamp), which is a song from the upcoming full-length by the German band Abest. The thundering bass line intro and sludgy guitars hooked me almost immediately. The album, Asylum, doesn't come out until May, but I wanted more. Luckily, I found Abest's 2012 demo on Bandcamp.

Abest plays a mix of airy post-metal and sludgy riffs, topped off with low, hardcore bellows. The first few minutes of the opener, "Solando," nicely captures everything I love about what I've heard from this band so far. The intro is a simple, chiming guitar pattern over bass and minimalistic drumming. If that intro is the nerves before battle as the sun rises over the hills, then the main riff kicking in is the sight and sound of tanks coming over those hills. The music is straightforward without being simple. Which isn't to say that they can't kick up a furious ruckus when they want to. A large part of "Into Grey," for example, is an almost barely-there menace, but around the two-minute mark, the band erupts into a storm of sound before drifting back into tense atmosphere.

Everything works for me here--the low roars, the crunchy guitars, the subtle bass and drumming. Abest takes what some might find to be a relatively limited sonic palette and use it to create brilliantly crafted songs. If the preview of "Shiver" is any indication, they've stepped up their game on the full length, which has put their new work on my highly anticipated list. The demo will have to hold us over for now, though.

[Go to the post to view the Bandcamp player]

Written by Kevin Page.

Artwork by Raul Gonzalez

Do you remember a band called Morbid Tendency from Israel? Good, neither did I. But they featured Alex Butcher (ex-Sonne Adam) & Tom Davidov (current Sonne Adam) and released this digital EP last year. Well, they have since changed the name of the band to Kever, added some sweet cover art and have re-released this little beauty under the new monicker.

Musically this is a slightly tighter Autopsy with some Morbid Angel-ish solos and a dry scratchy guitar tone reminiscent of Pungent Stench's Been Caught Buttering. Vocally they've gone the route of a satanic Karl Willets of Bolt Thrower with lots of reverberating hellfire. Did I name drop enough bands in that description for ya?

Seriously though, it's a fine slab of old school death metal that manages to feel relevant in an oversaturated field. Besides the current Name Your Own Price digital download, they will be offering this on MLP and CD as well.

[Go to the post to view the Bandcamp player]

Written by Matt Hinch.

For those who don't know, Locktender are a four-piece outfit based out of Cleveland. What they do is take artists and their work (non-musical) and interpret them into songs. As their bio states "Every album is an artist, every song a different work." For their debut, Kafka they transformed Franz Kafka's Zurau Aphorisms. For their newest installation, Locktender have chosen sculptor Auguste Rodin as the subject. As you would expect the album is entitled Rodin.

How they create these odes to art is through what one would consider post-hardcore, experimental in nature and emotional at its core. Artcore if you will. But in a non-pretentious and totally awesome way.

Rodin consists of four tracks covering around 40 minutes. The two shorter tracks reside at opposite ends of the sonic spectrum. "The Thinker" (Rodin's most famous work) packs in an inspiring four minutes. Crashing, angular, noisy hardcore throttles the listener with speed, dissonance and authoritative vocals. It moves with the speed of thought and the force of action until its halfway mark when clean vocals and open melodies spread their wings. The two extremes focus their energy together with breathtaking elegance into the song's conclusion.

"Eternal Springtime" on the other hand is an instrumental track consisting of gentle guitar and graceful violin. Their interplay is excellent, dancing together in harmony to create an intense feeling of peace and well being.

The other tracks, "The Burghers of Calais" and "The Man with the Broken Nose" clock in at 19:41 and 12:13 respectively. Both tracks toy with dynamics effortlessly. Destroying with volume, tone and negative energy one moment, delicacy and fragility dominating the next. Locktender work both sides superbly, holding the listener's attention despite the long run times. Jangly chords and gorgeous melodies coalesce with vicious growls, subtle yet dextrous bass and measured and menacing percussion to evoke maximum emotional response.

Where Locktender are able to separate themselves from the false dynamic dilettantes of emotional emulation is in how they are able to convey the full palate of human expression with a precise artfulness. True art is about digging within and making something out of it, of turning oneself inside out and showing that to the world. There is ugliness and beauty in all of us. Rodin saw this and Locktender have translated it into another form. With Rodin you'll experience , waxing and waning through states of confusion and clarity, chaos and peace, anger and contentment. Locktender's vision is forever lucid in its intent but somehow feels powerless to control the end result. Just like life.

This is more than entertainment. This is art. At its conclusion Rodin will leave you just as exhausted as say, death metal but Locktender weave portraits out of sound to drain your energy instead of pinning you to the ground and mindlessly bashing away. No matter how intricately they deliver the blows, some styles of metal are simply entertainment. Not this.

Rodin is taxing on the emotional level. It expands and contracts, takes the long road up and down, high and low, inward, outward through bad and good. Locktender pit the abrasive against the embracive, the abusive against the effusive and in the end the experience is wholly fulfilling.

Like many artists and their art, full appreciation comes long after the fact. No mater how admirable the work, how enduring it may be, truly great art is sadly often overlooked in its own time. Here's hoping that fate doesn't befall Locktender and Rodin. Do yourself a favour and take it in, feel it, analyze it, assimilate it and above all, appreciate it.

N.B. Upon completing my initial draft of this review I went back to the press release to double check some things and found the following buried at the bottom of the email. Isn't it amazing when a band is able to express exactly what they were aiming to and have the listener pick up on it!

The vulgar readily imagine that what they consider ugly in existence is not fit subject for the artist. It is a great error on their part. What is commonly called ugliness in nature can, in art, become full of great beauty. There is nothing ugly in art except that which is without character, that is to say, that which offers no outer or inner truth.

[Go to the post to view the Bandcamp player]

Written by Matt Hinch.

Not surprisingly Taurus's two-song debut, Life slipped by me in 2012. I was just getting "connected" as they say and I missed out. But with Bandcamp I can crawl my way back and check it out. Which I will be doing after hearing new release, No/Thing.

Taurus is a collaboration between Dark Castle's Stevie Floyd and Ashley Spungin (ex-Purple Rhinestone Eagle). Floyd handles guitar, vocals, organ, and ukelele. Spungin takes hold of drums, vocals, synths and samples. From that instrument list alone you should be able to guess No/Thing is going to be fucking weird. And it is.

A pair of short(er) songs by the names of "No/Thing Longing, Human Impermanence" and "Lives Long for Own" start this mind-expansive psychedelic doom album off. "No/Thing Longing"'s industrial rumble and harrowing screams shatter the barriers of closed-mindedness in the first minute to allow Floyd's atonal riffs and Spungin's simple yet effective percussion to doom all over you. Occultish chants reflect the sinister aura while tortured and bewitching screams wrack the nerves. "Lives Long for Own" continues the atonality and ups the evil quotient a notch or two. A repeated sample about escaping from our "fleshy prison" drives home the thematic element of our existence; its fragility, futility, irrelevance and insignificance. Those tracks set the stage for "Set Forth on the Path of the Infinite" and "Increase Aloneness" clocking in at 10:25 and 13:13 respectively.

"Set Forth" really displays Taurus's penchant for experimentalism and non-reliance on structure. Organs drift in and out amid tribal percussion and abstract guitars. Clean vocals and those chilling screams are eerie and terrifying all at once. It feels otherworldly and ritualistic scored by waves of psychedelia.

"Increase Aloneness" travels on the astral planes while keeping a connection to the deeper oneness. It's highly meditative stance draws the consciousness inward to journey beyond the dimension we readily experience. Layered chants surface through seas of droning ambiance putting the listener in a total state of relaxation. Around the 6:00 mark insistent percussion grounds the listener in the here and now, holding them in place until dark and chilling guitars destroy the mellow with a sense of dread that carries through into the track's noisey conclusion.

Album closer "Receed" feels the most atmospheric. Creepy organs permeate the track giving it an aura of human darkness, like the sinister blackness within the soul of humanity. The track swells and uh, recedes repeatedly, furthering Taurus's ability to keep the listener off balance. Guest vocalist Wrest's unearthly growl intensifies the portentous nature of the track and the album as a whole.

When I first listened to No/Thing I was overwhelmed by the urge to disconnect from real life and let the music become my reality. I laid on my back on the floor and spread my arms. Physical sensations fell away and all became light and colour. It moved and shifted, swelled and drifted away. Brilliant flashes were swallowed by the darkness. The unstructured, free-form feel of No/Thing lent itself perfectly to the subconscious contemplation of the themes explored on the album. We are but dust amid the cosmos. We live, we die, we transform. We were nothing, we will become nothing again.

Despite the terror and dark aura surrounding No/Thing there's a contentment that comes from giving yourself over to it, absorbing it and understanding it. It's depth is vast and multi-layered, begging to be explored.

[Go to the post to view the Bandcamp player]

Written by Ulla Roschat.

Death By Burning is Mantar’s first full length album (released Feb.2014 through Svart Records). It follows up their 7” single which quasi was the teaser for this album. It worked with me for it got me hooked immediately, and I couldn't wait for the album to come out.

And it didn't disappoint me. Death By Burning is packed with more of Mantar's addictive grooves and unique style of doomy, black, evil, dirty rock that destroys you faster than you can turn your head to wonder that only two guys with guitar, drums and vocals are able to bring that special broad grin (you know that grin) to your face with which you enjoy your own annihilation.

Just like a horde of ghostly pirates these two guys from Hamburg/Germany attack with sharp, precise and hard-hitting weapons, such as pummeling drums, huge guitar riffs, gritty shouting vocals that add a haunting hysterical insanity to the overall viciousness.

They take doom, punk, rock’n roll, black metal and what not (I don't dare say the s-word, I know they don't like it, but there are traces of that detectable), create a wild, intense mix of all that and ten songs that are tight and straight in structure, thick and heavy in sound. They feed them with aggression and passion and then they hurl them directly into your face. There’s nothing dispensable and nothing missing. Above all they play off each other incredibly well, you could think they do it like forever, which they do not, they are quite young as a band. All that makes their attack so effective and efficient (and efficiency is a dear value, when the number of band members is low).

Last but not least the ten songs of Death by Burning are of a bracing diversity that adds to the joy of getting attacked and slaughtered by those ghost pirates aka Mantar for 45 minutes. I caught myself even at turning the record or hitting the play button way more than once.... with that special broad grin on my face.

[Go to the post to view the Bandcamp player]

Written by Justin C.

I have to admit that it took me a little while to warm up to Gholas's album, Litanies. At first blush, it seemed like perfectly adequate post-metal with hardcore-style vocals and a pleasant hint of Neurosis. Worth a listen, but not something I necessarily would come back to. On repeated listens, though, I found more and more to dig into.

What Gholas does best is keep things moving. A common failure among lesser post-metal bands is to grind away on an idea until there's nothing left, making albums chock-full of 9-minute songs that feel like they're each 20 minutes long. Gholas's riffs are fairly straightforward, but the band fluidly moves from one drone-like riff to the next without letting them get stale. There are a few missteps--the doomy, single-note riff in "Calls Out to the Supplicants" overstays its welcome, in spite of being in the shortest song on the album--but by and large the band's instincts are good, and they don't dwell at the listener's expense.

Even when the band decides to go epic, like in the 10-plus-minute "The Sleeper," they throw in plenty of musical interest if you're willing to put in the time to pick the subtleties out. There's a slow build out of a mostly ambient start into some truly lovely guitar lines. The drummer uses simple but fantastically effective dynamics to propel the song along, and the band even shifts gears into a bit of funeral doom, complete with basement-low growls, before letting the song drift away into a peaceful, fuzzy bliss. Any lull is quickly dispelled by album-closer "The Fighter," which starts out on full blast and, in spite of some experimental, ambient passages, remains one of the heaviest tracks on the album.

This album is definitely worth a try if you enjoy this style of metal, and in fact, I'd say deserves at least a few listens so you can start to pick up what's going on under the surface.

[Go to the post to view the Bandcamp player]

Written by Matt Hinch.

When I first came across Pearls for Swine by Baltimore's Swamphög, the RIYL said "for fans of Clutch, Sleep and Electric Wizard." My first reaction was "Cheese and rice! That's the Holy Fucking Trinity!" Needless to say I was anxious to get my bleeding ears on this little EP. Wading into the bog I was at first disappointed that it didn't sound like a combination of those three bands. The disappointment didn't last long as Swamphög have their own energy that's nothing to shake a stick at.

Their swampy (duh!), sludgy metal has a very homegrown feel. In more ways than one. Not only can you feel the walls of the garage around them, but you can probably guess what they were doing in there between practices if you know what I mean. Just listen to the smoky, heavy-lidded riff on "Writhing Sky".

For another example of the kind of southern-tinged dirt-rock the 'Högs are wallowing in, look at the lineup (c/o their Facebook page). Tom Hatch - Geetar and Yellin', Mike Podczaski - Bass geetar and Hollerin' and Jon Bridges - Smackin' things good and hard. Gotta love a sense of humour. But those sorts of descriptors work. Pearls for Swine feels loose and free, relying more on feel, tone and groove than strict technicality.

Digging deep though, there are little variations and subtleties to the grungy stoner riffs that call for another slug of whiskey when heard. Paying that sort of attention as well brings out those Electric Wizard, Sleep and Clutch comparisons from where they've been hiding. "Demiurge" is slow and dirgy, mostly instrumental and displays those drone qualities that would lead one to Sleep. The bit of vocals are quite angry but their counter with the more mellow track is cool enough.

"Writhing Sky" and "Demon Train" hint at Electric Wizard. Both tracks move a little faster than EW though, especially the latter. It propels the listener down the tracks with gusto. And for the Clutch-ness, look no further than closing track "The Unrocker". The trick here (and elsewhere) is this isn't modern day Clutch I'm hearing. You'll have to go back to the start and their Pitchfork EP. That raw, punky aggression hinting at the groove to come filters through here and on "Mighty High Aspirations". Perhaps maybe run through a Weedeater on the way there though.

What else is there to say? The thunderous downtuned riffs are bound to disturb the neighbours, the hollerin' and yellin' reek of smoke and booze, and things are certainly smacked hard. Dirty, groovy, grungy, beardy and catchy. Hitch up the 'Hög, cuz Pearls for Swine sounds like a pretty good idea.

[Go to the post to view the Bandcamp player]

Written by Natalie Zina Walschots. Originally published here by Exclaim.

UK scene veterans Hellbastard have been active since 1984 and are considered hugely formative to both the crust punk and thrash genres. After disbanding in 1992, they reformed in 2008, and have maintained a prolific output ever since. Their latest EP, Sons of Bitches, is a particularly nasty offering, displaying a profound disgust for the state of the world and actively looking forward to an embattled post-apocalyptic future. Featuring four new tracks, as well as a re-recording of 1988 track "We Had Evidence," the EP is a guttural, uncompromising record that revels in its filth.

Hellbastard 2009. Photos by Carmelo Española

"Throw the Petrol Bomb" has a distinctly ska influence, while the rest have a thicker, less nimble and dirtier approach. Three of the tracks ("System Whore," "Arcadia" and "Sons of Bitches") also appeared on their recent split with Dresden, so if you have already acquired that album, Sons of Bitches is a repetitive release. Aside from this potential catalogue overlap, Sons of Bitches is a strong and substantial EP that continues to demonstrate that Hellbastard reformed because they had more to say.

[Go to the post to view the Bandcamp player]

Review by Natalie Zina Walschots. Originally published here by Exclaim.

Album Art: Tim Kehoe

Based out of Orilla, ON, Adrenechrome compose a surprisingly intelligent form of thrash metal. While I would hesitate to refer to the complexity they inject into the genre as a progressive streak, as there's nothing delicate or overly intellectual about what they are doing, there's nonetheless care and concern in the compositions that pays off. The core of each song features a sweaty, aggressive thrash engine that propels the music forward, but the instrumentation is far more skillful and intricate than just straightforward shredding. "Hymn for the Heathens" has a great classic rock feel to it and opener "Titans Fall" does its mythic subject matter proud. It's also worth noting that Darius Szczepaniak (Sum 41, Sacrifice) produced this album, giving it superior balance and a deep, sumptuous tone one doesn't often hear applied to quick-and-dirty thrash. This is sophisticated low culture

[Go to the post to view the Bandcamp player]

Review by Natalie Zina Walschots. Originally published here by Exclaim.

Artwork by Shaun Beaudry

This collection of rarities from Savannah, GA's Kylesa is more than a curiosity and, in some respects, is a revising of parts of their catalogue. From the Vaults, Vol. 1 features one entirely new song, entitled "End Truth," in addition to alternative versions of tracks that have been featured on other albums. The record also features a cover of Pink Floyd's "Set the Controls for the Heart of the Sun."

Kylesa 2011. Photos by François Carl Duguay.

From the Vaults isn't Kylesa's leftovers, but rather a glimpse into alternate universe versions of their material — tracks as they might have been had they followed alternate paths. The songs don't sound like demos, with care and concern obviously put into their presentation, often being remixed and refurbished, which give the songs weight and gloss. The throbbing, powerful drumming is always front and centre, driving through the thick, muscular sludge. From the Vaults is a collection of b-sides presented and packaged as a full-blown studio release, and it's worth the effort.

[Go to the post to view the Bandcamp player]

Written by Justin C.

Artwork by Sam Ford

When I'm writing about a new album from a band I've followed for a while, I often like to immerse myself in their older recordings, too. Cormorant's new album, Earth Diver, is out, and to that end, I've spent the last week fully immersed in Cormorant-land. And given their history of genre-defying, thinking-person's metal, Cormorant-land is a damn fine place to be.

Cormorant 2012 - Arthur von Nagel & Matt Solis. Photo by Metal Chris

First thing's first, the elephant in the room: As fans of the band know, front man/bassist/lyricist Arthur von Nagel left the band after their excellent last full-length, Dwellings, to pursue a career in video games. There was naturally a lot of concern about what that would mean for the band. If they did continue on, would they lose their basic essence of Cormorant-iness? I was worried, too, but let me put the fear to rest: This band is as good as ever. There has been a slight stylistic shift. New bassist/vocalist Marcus Luscombe favors a higher, raspier black metal vocal style than von Nagel did, and as a result the black metal component of Cormorant's sound is a bit more prominent, but the rest of what you know and love about Cormorant remains. The guitars are simply brilliant. Check out album opener "Eris," which features lovely acoustic guitars that are at times folky, and at times even Baroque. Or the haunting, echoing tremolo that opens "Sold as a Crow" (my favorite track), or the wild classic rock/classic metal guitar solo in "Waking Sleep." The rhythm section is still tight and furious, and there are still lines of aching clean vocals floating throughout. I think what's worked in Cormorant's favor is that they've always kept moving, picking through genres and styles as it suits them, always growing. Even if von Nagel had stayed with the band, Earth Diver would have been another step in their evolution. A band like that can survive a line up change.

Cormorant 2012 - Nick Cohon. Photo by Metal Chris

Cormorant has always had strong lyrical content, and Earth Diver helps cement their place as master storytellers. As metal listeners, it's easy to view vocals solely as another instrument in the band, enjoyable in their own way even if they're indecipherable or focused on the usual metal tropes. Sure, the lyrics may just be about hobbits and Satan, but they still rip! (Not that I have anything against hobbits or Satan, mind you...) The songs on this album tell interesting stories, making them a pleasure to listen to and read. The words are straightforward, yet still poetically crafted. There's still a healthy dose of mythology involved. "Daughter of Void" tells of a monster that mixes the Pied Piper and the Sirens, luring children to drown in frozen waters in the Antarctic Sea: "Hair of a maiden, skin of a basilisk, / Stealing children too brash to comply, / sentencing them to the deep." "Sold as a Crow" moves into a more political realm, outlining some of the very shady biological weapons research conducted in Fort Detrick, Maryland, USA, after World War II. "A Sovereign Act" moves into the very personal, told from the point of view of someone overdosing on barbiturates to escape a brutal death from terminal cancer: "Self-made ending, transfer the power from the vile form / One last autonomous effort to accept what I've become." Bleak as all these themes may be (and hey, it is metal, after all), it's easy to marvel at the beauty of the storytelling itself.

Earth Diver is truly a brilliant work, and I can't recommend it enough.

[Go to the post to view the Bandcamp player]

Written by by Andy Osborn.

French black metal means something different to just about everyone. For some, it’s the devilish chaos of Deathspell Omega or Blut Aus Nord. Others think of Les Légions Noires and its stripped down, raw approach. Or maybe the multi-talented Neige is the bannerman you envision, an artist who has contributed so much to the evolution of the style in the past decade despite recently casting it aside. But I don’t believe it boils down to a single band or artist. French black metal is about uncompromising individualism, seeking a path previously untraveled and challenging the norms of this traditionally primitive style. And this debut album from newcomers Verlies does all that and more.

Taking a heavy jazz and post-rock influence and melding it with emotional, mournful grimness is the base of the stew concocted by this solo project, and the deeper in you dive the thicker and more potent it gets. A sense of groove driven by the counterpoint between the bass and lead guitar quickly becomes the star of the album. It takes a few minutes of getting used to as these are usually the last instruments given heed by a band that claims to be atmospheric anything. But it’s a refreshing change of pace that injects a dynamic rarely heard among practitioners of the dark arts. Long, ever-changing songs make up the meat of Le Domaine Des Hommes, fitting given the role of the instruments. “Maladie” is the best example of the band’s kitchen-sink approach to the music. One minute a torrent of unrelenting waves is crashing down and the next they turn to calm waters as you drift out into the open ocean, enticed by N.’s dreamy clean vocals.

Comparisons to early Alcest are obvious, but Verlies never gets anywhere near as ethereal or meandering. A more obtuse approach is taken, proven by the insanely complicated song structures and unstable melodies. This will appeal to fans of experimentation; those looking for a memorable, catchy jaunt may need some time to get under the skin of what’s being offered. Call it atmospheric, post, or even gaze, but this is first and foremost a musician’s black metal album. The conversation between the instruments, the dynamic yet cohesive songwriting, the duality of intense and lighter, more laid-back moments all come together to make for something impossibly unique and adventurous. A recipe that should make any Frenchman proud.

[Go to the post to view the Bandcamp player]

Written by Matt Hinch.

Artwork by Elliot C.

The transformation between Morgue of Saints' first album, Sleep/Death and newest release, Monolith borders on incomprehensible. Sleep/Death is excellent ambient drone and funeral doom. Monolith is most definitely not. Mastermind and sole member Elliot C. sure has a wide creative palate and a load of talent. It's actually surprising that both releases bear the same "band name". Then again, Boris continually baffle under the same name so...

Monolith itself is a slammin' shimmy-shake of top shelf instrumental stoner rock. Every last second is drenched in overdriven tone and lit by the fires of a thousand bongs. Organs stand front and centre calling to mind The Mystick Krewe of Clearlight. Although, Mr. C is no Jimmy Bower on the drums. But who is?

Each and every one of these six tracks simply riffs fantastic. The grooves are heavy and never let up. From beginning to end your head will nod and your toes will tap. Riff after riff of pure gold. That might sound a little exaggerative but rest assured I'll stand by every word.

Like I said, it's instrumental but vocals at no time feel necessary. The sound is full and hypnotic. Putting vocals on it would actually take away from its power. Without the benefit of lyrics the listener needs to be guided through the listening experience. Morgue of Saints takes you by the hand and leads you through the maze. There's great use of foreshadowing in the minor riff variations that point in the direction the track is heading. The shifts in drama and changes in the instrument spotlight from guitar to organ and back deceive one into thinking it's interplay between members. But any back and forth jammin' is only Elliot talking to himself.

Monolith is free flowing and care free. There's such an atmosphere of organic development through improvisational generation here that the music's soul is laid bare. You can hear and feel every iota of effort that went into its creation and thus gain a deeper appreciation for it.

Continually urging the listener forward into whatever new vista of silky stoner rock appears over the horizon, Morgue of Saints injects an optimistic air and upbeat manner into Monolith compelling the listener into repeated listens. Instrumental stoner jams don't get much better than this.

[Go to the post to view the Bandcamp player]

Written by Natalie Zina Walschots. Originally published here by Exclaim.

Artwork by Sinpiggyhead

While France might not be particularly well known for its post-hardcore, they have assembled one extremely fine export in General Lee. Their third full-length, Raiders of the Evil Eye, is a passionate, possessive record that goes for the throat from its opening seconds. The focus is unquestionably on the triumvirate of guitars that provide both the engine and texture of General Lee's sound, the disparate tones woven together in a dense, reverberating braid, swooping around each other in counterpoint or drawing tightly together to cinch a sonic knot.

Raiders of the Evil Eye isn't just about manhandling the listener, however; it doesn't just want to take, it wants you to give in. There is a pleading element to "Medusa Howls with the Wolves" that walks the line between begging and coercion, often swinging back and forth between the two. "Alone With Everybody" is the highlight; it's a powerful melancholy track that relies on the echoing distance of the relatively sparse drumming and palpable yearning in the strings to draw the listener in. This is a late-flowering gem.

[Go to the post to view the Bandcamp player]

For vinyl (and a slightly cheaper digital download) go to the Play the Assassin Bandcamp.

Written by Zamaan Raza.

Artwork by Jeff Grimal

H. P. Lovecraft carved out a niche in horror fiction with his short stories on ancient cosmic terrors. The Great Old Ones, a black metal band from Bordeaux, tap into his Cthulhu mythos with supreme assurance. Their expansive, textured sound evokes a sense of astral majesty, in a stark contrast with the “other” Lovecraft-inspired band, Portal, whose claustrophobic pummelling elicits unease, a creeping dread.

Their second album, Tekeli-li is based on the short story “At the Mountains of Madness,” in which an antarctic expedition discovers an ancient derelict city, apparently once occupied by monstrous visitors from beyond the stars, only to awaken something that had lain dormant for aeons. The Great Old Ones capture a recurring theme in Lovecraft’s short stories, forbidden knowledge - men of science who learn things that are inconceivable to the human mind in form and scale, resulting in remorse and insanity respectively.

Photo by Jo T.

Their excellent debut Al-Azif was relatively lo-fi, and owed almost as much to shoegaze as it did to black metal. Tekeli-li is harsher and much more varied; the third track, “The Elder Things,” for example, is busy in a progressive kind of way, without ever feeling contrived or distracting; the best comparison I can think of is Cormorant’s debut album. “Antarctica” starts with a sludgy, bottom-heavy riff that recalls Celestial-era Isis, seguing into an atonal bees-in-a-bucket type affair that could be Blut Aus Nord. It’s only in the third minute that they begine to sound like themselves, but this time they pack more of a punch, with the drums and bass much higher in the mix. The final two tracks, “The Ascend” and “Behind the Mountains” are closest to being straightforward black metal, but at no point does it feel like the band is running out of ideas.

It is difficult for high-concept bands to maintain their central conceit over more than one album without stagnating (although consistency of style is not necessarily a bad thing --- see Fall of Efrafa). In Tekeli-li, The Great Old Ones have crafted a worthy successor to Al-Azif with a much richer palette.

[Go to the post to view the Bandcamp player]

Written by Ulla Roschat.

Artwork by Jeff Grimal

Just think “At the Mountains of Madness” turned into sound and you have the Tekeli-li album! The Great Old Ones, the band name indicates it, chose H. P. Lovecraft’s fiction as a conceptual background for their musical work. They are a five piece band from Bordeaux/France and formed in 2011.Tekeli-li is their second album following up their debut Al Azif (2012).

The album contains six tracks of which five are genuine songs, the first one is a short introduction with spoken words that leads you directly into a narrative situation and lets you know the following is meant to be a cohesive entity with an underlying concept, namely Lovecraft’s novella “At the Mountains of Madness”, plus it sets a mood of eeriness that won’t leave you throughout the entire album.

Stylistically The Great Old Ones blend black and post metal into dense heavy soundscapes to create atmospheres that perfectly fit the icy Antarctic wastes and the spine-tingling horror of encountering ancient alien species with all its implications of fear, confusion and insanity, exhaustion and sorrow.

There’s a raw, bleak black metal feel throughout, even in the more ambient moments, with stormy churning uproaring riffs and varying dynamics providing a constant presence of a piercing cold and a constant motion and shifting of atmospheres which is even enhanced by a myriad of subtler less spectacular (but thanks to a quality production effective) changes and contradicting, dissonant melodies and rhythms that add a slight but creepy sense of chaos and insanity.

Spoken word parts and acoustic moments are quite rare, but more frequent towards the end of the album in the last and longest track (17:50 min.) "Behind the Mountains" and belong to the the well-conceived structure of the album’s dramatic composition. They add depth and texture and give room for the huge climaxes.

With Tekeli-li The Great Old Ones created a brilliant sonic interpretation of Lovecraft’s “At the Mountains of Madness”. It’s a loving dedication and credit to the author. And so is the album artwork by band member Jeff Grimal (guitar/vocals). He totally catches what makes Tekeli-li unique and distinguishable: the constant swirling motion, the breathtaking flow of exciting events tamed, by a multi-layered and tight structure.

[Go to the post to view the Bandcamp player]

Stormforge - Sea of Stone

The Chasm - Farseeing the Paranormal Abysm

Thou - Heathen

Noble Beast - Noble Beast

Abest - Demo MMXII

Kever - Eon of Cycling Death

Locktender - Rodin

Taurus - No/Thing

Mantar - Death By Burning

Gholas - Litanies

Swamphög - Pearls for Swine

Hellbastard - Sons of Bitches

Adrenechrome - Hideous Appetites

Kylesa - From the Vaults, Vol. 1

Cormorant - Earth Diver

Verlies - Le Domaine Des Hommes

Morgue of Saints - Monolith

General Lee - Raiders of the Evil Eye

The Great Old Ones - Tekeli-li - 1

The Great Old Ones - Tekeli-li - 2