Metal Bandcamp

Written by Craig Hayes.

Half a year ago, right here on Metal Bandcamp, I wrote about a bunch of first-rate releases from Oakland, California-based label Transylvanian Tapes. Included in that post was mention of Agglomeration XXIV, the latest bile, doom, and cough-syrup crust release from Oakland miscreants Bädr Vogu. I mention Bädr Vogu again, because the band’s misanthropic punk/metal racket is well worth tracking down. But also because that same punk attitude combined with underground metal’s noxious noise is right there on recent Transylvanian Tapes releases from Cloak and Cease, and it's definitely there on Swamp Witch’s latest ten tonne mind-fuck, The Slithering Bog.

The Slithering Bog follows on from Swamp Witch’s grimy and grim debut Gnosis, which was a similarly downtuned trawl through tripped-out and tar-thick sludge. Like Gnosis, The Slithering Bog also has a heavyweight crust of distortion surrounding its subterranean sound. And there are plenty of deep ‘n’ dark chasms of amp-melting, psychedelic doom to get lost in on The Slithering Bog as well. Best of all, The Slithering Bog has a filthy psychoactive aura throughout––one heavy on the negativity and nastiness––and that has a lot to do with Swamp Witch laying out their tunes in an ultra-heavy, slow-motion fashion. It’s all deliberate. Menacing. And like sonic kin such as Noothgrush, Indian or Grief, the result is gruelling, festering, and ultimately, wretched. No surprise then that The Slithering Bog is highly recommended.

[Go to the post to view the Bandcamp player]

Artwork by Joey Camello

Humanity, the 2014 Transylvanian Tapes debut from metallic hardcore band Cease, is also hulking, heavy, and smothered in distortion and dirt. However, Humanity’s contents are delivered at a far brisker pace, and are indebted to Entombed’s buzzsaw approach. Humanity duly features brute blasts of hardcore-injected and HM-2 hammering punk and (death) metal. So, if you’re a fan of the punk/metal bludgeon of Nails, Black Breath, or similar crossover roughnecks, you’re guaranteed to appreciate Cease’s modus operandi, and the depths of their viciousness. Also, Cease have followed up Humanity with a bulldozing self-titled demo released in January this year. Get ‘em both. Now.

[Go to the post to view the Bandcamp player]

Artwork by James Hammontree

Where Cease and Swamp Witch bring a bruising wall of noise, Bay Area punks Cloak deal in spiky shards of sound on their debut, Succumb. There’s a lot of old-guard worship to be found on Succumb, with Cloak digging into the roots of black and death metal on songs that rumble in parts, and slice coldly (although definitely not cleanly) in others. Succumb is lo-fi, Deathcrush lo-fi, and it features similarly blown-out vocals and tracks that are brittle and jagged with sawtooth edges in equal measure. Atmospheric melodies add to all the villainy, and with four songs delivered in 20-minutes, there’s more than enough bleeding-raw basement black metal on Succumb to get under your skin and perk your interest in hearing even more.

[Go to the post to view the Bandcamp player]

Written by Majbritt Levinsen.

Cover art by Metastazis

When I got offered to listen to Porta Nigra's Kaiserschnitt ahead of the release date I felt an extreme eager to hear it, but also an unnerving hesitation. The thought of being let into those smoky rooms, filled with the decadence and wonder of a bygone era both appealed to me but also raised a bit of fear for the unknown. But to find out what these two gentlemen from Germany had concocted on their new album I stretched out my arm, lifted the heavy drapes aside and looked into that old room again...

I had hoped to sneak in unnoticed but got caught off guard when I realized that while the room still felt the same, Porta Nigra had changed their suits. Cast aside the lazy atmosphere and absinthe drenched thoughts for mad warmongers dressed in stiff uniforms, waving their rifles in the air declaring their truth to the world. Add shady ladies with doubtful agendas and industrialized power and you are almost there. But there is more, as there always are with these two geniuses.

I curse my lacking knowledge knowledge of German. I understand enough of the lyrics to get an overall picture, but too little to really get them. That said: I really enjoy "Femme Fatale", "Kaiserschnitt" and most surprisingly even the extremely melancholic and depressing "Kein Schöneres Tod" for the lyrics. "Kein Schöneres Tod" shares the title with an old German folk-song/soldier-song from the 17th century. Porta Nigra does many fascinating things on this album, but this is by far the one song that I felt most surprised about. Maybe I have interpreted it wrongly, but it fits as Kaiserschnitt is an album dedicated to the victims of ‘The War To End All Wars’ - the 1st World War and the megalomania of Kaiser Wilhelm II. There's also mentions of some of the femme fatales of history, such as Eva, Lilith and Mata Hari. And thanks to "Femme Fatale" Bram Dijkstra’s book "Idols of Perversity: Fantasies of Feminine Evil in Fin-De-Siecle Culture" is now on my to-buy-list.

I really liked Fin de Siécle for it’s theme throughout the album; it held together from start to finish and so does Kaiserschnitt. The essence of Porta Nigra's decadence is still there, the unease is there, but there is more anger, despair and power behind the words and in the execution of the tracks. If there ever was any doubt about their creativity, there should be none after this album. Porta Nigra dives down into the murky waters of the past and delivers it elegantly, with a crooked smile on their lips, on a somewhat bent and dirty silver plate for us to feast upon, urging us to also look back and take note of the past before it is forgotten.

[Go to the post to view the Bandcamp player]

An Autothrall Classic. Originally published here.

Cover art by Allen Koszowski

Fearless Undead Machines (1997) was a pretty good horror metal concept album, from one of Americas best old school advocates Deceased, but three years later they would trump that release with the more melodic, classic metal tinge of Supernatural Addiction, which I consider to be the band's strongest work to date. If you're a fan of the band's earlier, heavier work, fear not, because the primal death/thrash metal roots are abundant. But the injection of pure 80s inspired NWOBHM melodies into the mix adds a depth to the writing which simply did not exist in large quantities prior to this.

Deceased 2011. Photo by Metal Chris

Like the cover art implies, the focus of this album is to celebrate the more cerebral, psychological side of horror than the visceral corruption covered on Fearless Undead Machines. The writings of Poe, the classic ghost story, the dark black and white horror of silent film, all of these are inherent influences which translate well into the lyrics. "The Premonition" is a driving track with some soaring if haunting melodies, and King's Venom-like voice is at its peak, mixed in extremely well with the rhythm guitars and leads. "Dark Chilling Heartbeat" has a pair of fine, winding leads to intro the shuffling, somber tone of the obvious tribute to Poe's Telltale Heart. "A Very Familiar Stranger" is a raging roadster based on The Hitchhiker. Other excellent tracks on the album include the blistering "Frozen Screams", the morose and beautiful "Doll With the Hideous Spirit", and the fright fest "Chambers of the Waiting Blind".

Deceased 2011. Photo by Metal Chris

Six days and still they starve him as they offer mercy none,
For the hate it brews within them from his past,
In his body there is panic as he senses dread approaching,
He starts screaming for this torture ride to end

Like some of the past records, Supernatural Addiction uses a different sort of lyrical approach from the typical metal album; where the words simply speak the narrative of each tale, organized into a rough approximation of verse and chorus. I wouldn't call them poetic so much as a death metal Rod Serling sitting by the fireplace, recounting visions of the macabre. The mix of this album is simply unmatched by anything else in the history of the band, and like its predecessor, each track is loaded with a slew of riffs to explore. Few artists can balance such an excellent array of influences as King Fowley and crew, thus Supernatural Addiction winds up another cult classic for the ages. Whether you enjoy the pioneering thrash/death metal sounds of Possessed or Venom, or the more melodic NWOBHM/power/speed metal of the 80s, this album has many a moment for you. While I have never found any of their albums to be perfect, they are easily one of the more consistent metal bands of the past 20 years.

[Go to the post to view the Bandcamp player]

Note: You can find more Deceased on Bandcamp. A remastered version of their 1991 debut Luck of the Corpse from Horror Pain Gore Death Productions. And their latest full-length, 2011's Surreal Overdose, from Patac Records.

Written by Aaron Sullivan.

Artwork by Wrest

What can be said that has not been said before when it comes to Jef Whitehead’s one man Black Metal band Leviathan? There is no doubt he is one the best the US has to offer in Black Metal and over time has established himself as consistent and productive as any of his contemporaries in the US or abroad. The release of Scar Sighted is no exception. The album shows once again why his music is so beloved.

This is the first full length since 2011's True Traitor, True Whore. Much in his life has changed since that album and all of it positive. The stories surrounding the time True Traitor was being recorded are well documented and not worth repeating here. Since then Jef has sobered up, found companionship and love in not only his new relationship with Stevie Floyd (Dark Castle/Taurus) but also their daughter Grail (who accompanied her father on the cover of the march issue of Decibel). Have no fear, these positive changes have not turned his music into something romantic and sappy. Far from it in fact. What it has done is refocus his vision for Leviathan. While many found True Traitor to be a bit of a misstep. Scar Sighted finds him starting right where 2008’s masterpiece Massive Conspiracy Against All Life left off.

All the trademarks of Leviathan are contained within. Obscure movie clips. Twisting guitar lines. Tortured vocals. Driving drums. Atmospheres that are both beautiful and sinister all at the same time. There are the barnburners like "Dawn Vibration". And then there are the almost Funeral Doomish songs like the title track. This really does feel like it has bits of everything his discography has to offer while still feeling fresh and forward thinking. There are even times one is reminded of his much revered (especially by me) side project and album Lurker of Chalice. The layers contained within each song beg for repeated listens. With each one you hear something new. I for one am a sucker for using movie clips in albums and Jef does it as good as anyone. The first words heard in the album are of a man saying, “Every fuckin’ thing that crawls, is gonna pay.” before exploding into a Blackened abyss. The final words uttered at the end of the hauntingly atmospheric song Aphōnos, come from a woman saying, “I want to see it in your face. I want to see it in your eyes. I want to see it in your tears.” Just reading those two quotes alone it gives you a pretty good idea of what awaits the listener.

Leviathan is on a small list of bands that after I’ve listened to their albums I feel spent. As though my entire being has gone through something. The atmospheres created by the music are so all encompassing that you begin to feel claustrophobic at times. Other times the song seem to be pulling things out of my emotionally, sometimes feelings I didn’t even know existed in me. Artists like this remind me why I love music and the power it can have over it’s listener.

The phrase “triumphant return” has been used for many an artist. But this is a fitting phrase to use for this album. While True Traitor may have been a bump in the road for some, Scar Sighted has solidified all that people love about Leviathan. It is an album that stacks up very well to his massive discography and perhaps even outshines a few. Triumphant return indeed.

[Go to the post to view the Bandcamp player]

Written by Justin C.

Setter of Unseen Snares was my first introduction to Caïna, which is primarily a one-man black metal project from Andy Curtis-Brignell. Caïna has a pretty extensive back catalog, a lot of it available on their own Bandcamp as well as from Profound Lore, and there's some truly challenging, avant-garde work to be found there. Setter of Unseen Snares, on the other hand, is more immediately accessible while still being pretty mind blowing.

After a brief intro that includes a sample from HBO's True Detective (I suspect we'll be hearing a lot of metal bands using Rust Cohle's misanthropic soliloquies), the album charges right into "I Am the Flail of the Lord." I am physically incapable of listening to this song without scream-singing along. The title and main lyric is a paraphrase of a statement attributed to Genghis Khan, and Caïna's stripped-down, industrial-tinged black metal will make you, too, want to start conquering most of Asia. The next three tracks are similarly addictive and straight to the point. On first listen, I was disappointed that the last track, "Orphan," came so quickly, because I wanted much more.

Photo by Jo T.

Luckily, more is what you get. Unlike the previous 4-minute-ish tracks, "Orphans" is a 15-minute opus. After a slow-building intro, the punchy growl that's dominated most of the vocals on the album so far are replaced with emotive clean singing reminiscent of Warning. There are no two ways about it--the vocals aim straight for the heart, as much of this track does. The instrumental track becomes more melodic in a way that feels mournful and cathartic all at the same time. Curtis-Brignell's growls return and are joined by glacial doom straight out of Jesu's playbook, ultimately morphing into wall-of-sound tremolo riffs that might very well make you feel like you're levitating. The soaring ending is pure, emotional beauty. I've done a lot of name-checking in my description here, but make no mistake, this is a unique blend that is truly Caïna's own making.

This album haunts me in the best of ways. If there were a CD version available, I’d probably feel compelled to buy it both on Bandcamp and in physical form, in spite of an already out-of-control CD collection.

[Go to the post to view the Bandcamp player]

Written by Matt Hinch.

Cover artwork by Beak - Six of One

I'm not as in touch with any “buzz” on the interwebs as I used to be but I have seen enough to know folks are diggin' on XII Boar. And after ripping through their first full-length, Pitworthy I'm inclined to agree. The power trio of Timmy Hardrocks (guitar/vocals), Adam “Bad-Dog” Thomas (bass) and Dave Wilbraham (drums) sure do make some fun metal 'n' roll.

Their approach is simple; heavy-ass rock, catchy riffs and sweet solos. Nothing too over the top or straying from the path. Well, the 11+ minute “Quint” might be pushing it a bit but not beyond the walls of acceptance. It's their “epic closer”.

Up to that point though it's pretty straightforward rock. Their performance is locked tight and heavy on the groove. And there's no doubt they know how to work a room. Just lay on that crunchy tone and neverending riff-o-rama and watch the place explode. Throw them on a bill with Admiral Sir Cloudesly Shovell and the venue will crumble.

Judging by that southern groove and their list of influence (High on Fire, Weedeater, Iron Monkey, Motorhead, Sabbath etc.) you would expect these lads to reside in Louisiana or Texas or something but no. They're from the UK. Which makes some sense given their proximity to Irish whiskey and scotch. You can hear that type of drink roughen up Tommy's gruff, weathered vocals.

They've got some killer choruses up their patched jean vests too, especially on “Young Man” and the single “Rock City”. Both of those feature some great bass work from Bad-dog, to the point they could be considered solos.

Stuck in the middle of all the loudness and crashing cymbals is “Crawdaddy Blues”. (Do they even have crawdads in the UK?) It's a jangley acoustic blues number with no vocals that solidifies the bluesy influence infecting Pitworthy.

Pitworthy is loaded with straight up killer rockin' metal with sludge/stoner edge and an unpretentious, fun nature. Pitworthy indeed and perfect for knockin' back some drinks and gettin' down. Plus, that album cover would make an awesome shirt!

[Go to the post to view the Bandcamp player]

Written by Andy Osborn.

Although they have been around since the turn of the millennium, the past few years have been incredible for Polish label Agonia Records. A staggering amount of unhinged black and death metal acts have recently joined their ranks and rocketed them to be among the elite European labels. Their releases are no stranger to the annals of Metal Bandcamp, but there’s simply too many great albums to cover in depth. But it’s the perfect time for a round-up, because until April 1 all full-length downloads are just $3, so I thought I would detail a few of my favorites.

Cover art by Necromantic Art

Stench is the side-project of Tribulation members Jonathan and Johannes, and it really shows. Their spaced-out take on death metal clearly carries over here, but it’s a bit more to the point than in their other gig. Nowhere near as proggy or psychedelic, Ventures still uses the similar eerie guitar tones and focus on intrigue to result in a sound that’s more ethereal than deadly. And at 38-minutes, it’s a relatively easy romp through the fucked up minds of these dastardly Swedes. There may be fewer memorable melodies and drug-induced bridges, but their unique songwriting still made Stench one of the more interesting death metal projects around.

[Go to the post to view the Bandcamp player]

Cover art by Benjamin A. Vierling

I’ll admit, I completely skipped over this one when it was released in 2013. Despite the phenomenal reviews, I was simply too overwhelmed by the band's back catalog, reputation, and the length of IV: Arrow in Heart to take the dive. But now that the dust has settled and I've had some time to reflect, it becomes clear why Aosoth is lauded as one of the top French black metal acts. Maybe not quite as out there or experimental as some of their other countrymen, they are still a force to be reckoned with. The song lengths lend themselves to atmospheric black metal, while the beefy production parts of the songwriting are death metal through and through. The result is a staggering onslaught of never-ending twists and turns through a journey of devilish proportions. Epic in scope and execution, IV is wrapped in a miasma of poisonous fog that’s addicting as it is sinister.

[Go to the post to view the Bandcamp player]

Cover art by Kjetil Nystuen

This Norwegian Black Thrash band has flown largely under the radar since they formed almost twenty years ago. The war-obsessed old schoolers throw in everything you want out of the genre; fun riffs, ridiculous solos, songs of battle, and a never-ending feeling that they need to pay constant homage to Venom and Motorhead. Galloping through Fields of Rot is a joy as S.A. Destroyer pummels you with his classic 80s screams. Equal parts Slayer and Marduk, the songs aren’t exactly diverse, but their ripping power is undeniable. This style can be very hit and miss and this 2007 album was likely the high point of the band’s career, but Fields of Rot goes to show that when done right, worshipping the first wave of black metal is a battle worth fighting.

[Go to the post to view the Bandcamp player]

Written by Kevin Page.

Katavasia is a new Greek supergroup consisting of members from renowned bands such as Varathron, Aenaon, Hail Spirit Noir & Agnes Vein. I had the pleasure to discuss their debut album, Sacrilegious Testament, with Astrous (guitarist and main songwriter). Here is my "InteReview".

Cover art by Agostino Arrivabene

The first thing I hear once Cosmic Nightmare begins is "The Sign of Evil Existence" (Rotting Christ). Especially the monolithic drum pattern. But that doesn't last, you get the spooky keyboards in there with the mid pace riff and then again back to uptempo to end off the lead track. Straight and to the point, pretty much what you want to begin an album.

"Katavasia's sound is straight to the point. No strange layers, no strange drum patterns, only pure greek black metal atmosphere. We follow the spirit of the 90s adding our own identity. We are offering the original values of the past based on the fresh vision we have".

True, there is nothing strange or 'out of left field' on this album. It's pure no doubt, but there is a definite freshness and not just mimicking an old sound.

"We are musicians who respect ourselves, This is something that can be proved by the sound of our main bands. So even if the purpose of Katavasia is to achive a nostalgic mood, we can't be copycats. On the other hand I can't deny that our sound is based on old school, some times familiar patterns. For that reason I believe that Sacrilegious Testament is a successful album, it's balanced and flexible".

What song do you enjoy the most on this album (and why)?

"I will choose "The Chariot of Emperor". I love the epic feeling of this track. Also I think it's quite cool because of the duet between Necroabyssious (vocals) and Sakis (guest vocals from Rotting Christ). Since I am admirer of 90s greek black metal, an almost 'historic' duet like this, can't leave me untouched. Also, the guitar solo of Achilleas C. for me is brilliant, don't you think?"

I won't disagree you on the sentiment but "Visions of the Misty Night" is my favorite. Love the opening riff, the guitar at 1:10 and the tortured vocals.

"Yes, this is a very important spot, too. You know, I believe that the positive thing with this album is that it has so many elements, so that anyone could find something to individualize. Whether it is an intense and fast outburst , or a doom and heavy riff, or even a melodic moment."

You were responsible for writing almost all of the material. Was there any song(s) that came very easy or very hard (and had to be reworked) or that other members needed help completing for you?

"Every song was composed very easily. I think that this was due to the music coming directly from my heart. These things rolled very loosely and without much analysis. However, Achilleas C.’s help was essential referring to the songs’ structure, adding some riffs and ideas here and there. In addition to that, Haris’ keyboard themes gave a mystical atmosphere, as well as the intense and full of energy drumming of Foivos. At the end, I can’t skip the gorgeous performance of Necroabyssious in the vocal section. He really managed to achieve a demonic and furious tone."

Do you have plans for an eventual follow up? Since you are "reliving the past", doesn't a follow up make it even harder to do and potentially lessen the impact?

"Firstly, every member of Katavasia has its main band, in which we drain artistic concerns. On the other hand, Katavasia is something not over-analyzed at all, but something we do for our personal satisfaction. Now, releasing new material is related to our free time and our mood. Referring to your last question, I think that most of the people out there don't judge based on the age of something (of course, being a pioneer is very significant), but they judge based on how honest and dignified is a piece of art. Or at least, this is what I want to believe."

Astrous, thank you for your time. And thank you for creating one of the best albums of the year.

[Go to the post to view the Bandcamp player]

Written by Sean Golyer.

Artwork by Ch. Duis

I believe it no coincidence that Below the Sun takes its namesake from Funeral Doom masters "Ahab". Though the vast and untamed oceans may have been their frontier of musical exploration, Below the Sun opens up a new one by setting its sights on the dark matter above. Envoy is a lonely, interstellar journey through space told from the eyes of NASA spacecraft Voyager 1.

"Outward the Sky" offers up a mighty intro and rightly sets the tone for the album. Huge, crunchy rhythm guitars plod along at a steady but unstoppable pace. Reverb and delay-heavy leads and ebows help create the perfect atmosphere to ponder the great infinite beyond our little blue dot. It’s the closest track to come across as victorious, if a bit foreboding.

However, it is the second track that really grabbed my attention. The intro is both memorable and highly evocative, as is much of the rest of this 8-minute journey. "Cries of Dying Stars" is completely instrumental but grips you from start to finish. If dying stars could indeed lament, this would surely be their final song.

The rest of the album continues on in this way, crushing you with the ever growing darkness and sorrow each step of the way, culminating with the 15-minute climax of "Drift in Deep Space". Our spacecraft’s systems are failing and unstable. Help is never coming and there is no turning back; all hope seems lost. All of this comes full circle with album closer "The Earth", ending with a rather bittersweet atmosphere. I find it interesting that this closing moment is among my favorites on the album.

Much of this album is instrumental and the vocal parts are sparse but superbly executed. There’s just as much doom to love here as there is post-metal. Is there anything in their sound that’s particularly new? Honestly no, but that fact pales in comparison to the near-perfect execution and production of Envoy and its overarching theme. The members of the band remain a mystery hidden behind various aliases, but if I were a betting man I would be unsurprised if these artists and songwriters had a few albums under their belts already. This debut is just too good to pass up and Below the Sun is a band worth watching.

For fans of: Ahab, Cult of Luna, Isis

[Go to the post to view the Bandcamp player]

Note: CDs available from Temple of Torturous.

Written by Sean Golyer.

Artwork by Kuba Sokolski

If doom ain't your thing and you need a bit more adrenaline (and a healthy dose of filth) in your life, then look no further than Moro Moro Land's latest EP Through. I’m still sitting here trying to process the glorious insanity that my ears have consumed 3 times in the last few hours.

One thing I know for sure: this is blackened hardcore/crust as it should be. Meaty, sludgey rhythms, blistering tremolos, breakneck blast-beats, all solidified behind a vocalist with far more range than he may initially lead on. Vicious, passionate, and unrelenting, but at times atmospheric and melancholic, Through is a 20-minute hellride of Russian angst. Not to mention an incredible rendition of Nirvana's "Something in the Way" to bring you to your knees and leave you wanting for more.

For fans of: Young and in the Way, Hierophant, The Secret.

[Go to the post to view the Bandcamp player]

Written by Atanamar Sunyata.

Genre mutation is a dime a dozen in death metal these days. Sarpanitum, however, are the real deal, an alpha mutant with killer instincts and skills to pay the bills. At its core, this music is a pitch-black, dense, swarming mass of death akin to Paroxsihzem, Phobocosm, or early Dragged into Sunlight. The stunning lead guitars, however, churn up that darkness, causing tendrils of victorious melody to ascend and embrace their triumphant ethos.

Riffs of the mightiest sort are locked in a battle with brutal dissonance, driven forward by a swirling, mechanized rhythmic assault. Despite its martial mindset, Blessed Be My Brothers... is endowed with immense dynamics. These diverse compositions engage and disengage, soar and slaughter, lull and lop off heads. Celestial, surgical, and fascinating lead guitars are always at the forefront of Sarpanitum’s arsenal. I assure you that this shit will hit the spot.

Sarpanitum have taken my favorite flavor of modern death and added impossibly compelling melody. Immolation done nasty has crossed back over into realms of victorious march. Blessed Be My Brothers... is as addictive as it is unique. Keep an ear on this one; I hear longevity.

[Go to the post to view the Bandcamp player]

Written by Kevin Page.

Photo by Dante Torrieri / Blow The Scene

Steve Jansson. You may have heard his name before due to February's fabulous release from Crypt Sermon. But did you know he is part of 3 other bands, all of which predate Crypt Sermon? I talked with him recently regarding each of these.

Artwork by Brooks Wilson from Trenchrot

Thanks for talking with me Mr. Jansson. Let's first discuss, Trenchrot and the Necronomic Warfare album.

Trenchrot is a project that was started purely for fun. Brooks Wilson and I had talked about doing a death metal project for a long time but it wasn't until we met Justin Bean that the ball got rolling. The goal was strictly to make death metal in the style of bands we have loved for years and grown up listening to. Progress or breaking ground isn't really in the agenda. It's strictly a studio band as of now for a variety of reasons.

To me it has a feel of a cross between both American & European styles without coming across as a total retro fest.

A lot of people have said that and I think that's very cool. Melding the two together came very naturally and I wouldn't say that it was a conscious effort on our end as much as we were just simply writing death metal that we liked and wanted to hear. Regarding the retro thing, there has definitely been a pretty big resurgence in this old school styled death metal. I'm not sure if this is a good or a bad thing for us but people seem to like the record and again, it's something all of us have wanted to do for a really long time.

[Go to the post to view the Bandcamp player]

Artwork by Brooks Wilson

Let's talk some Infiltrator. This is some speedy dirty thrash with maybe even a touch of blackness to it. Very much an 80's feel to this one and even more of a throwback then Trenchrot is.

Infiltrator initially started off as a solo project. I wanted to do really energetic and dirty speed metal with a shitload of ripping guitar solos since the band I was in at the time wasn't very fulfilling. Initially, I would have had an actual singer do vocals but I sort of got stuck doing them. I eventually got a band together and it became more than just a solo project. However, we lost the second guitarist and it put us out of commission for live shows and we never ended up finding anyone to fill the shoes.

Funny you mention that, as I saw a review, which loved the album, but felt it could use clean wailing vocals, to make it stand out ever more. Did that thought ever cross your mind or does it now?

The direction of the music now is a bit different then it was in the beginning. We have a lot of material written but are currently taking a bit of a break due to schedules, life events, etc. I really do wish I would have tried to find a vocalist or at least tried my hand at "singing". It is what it is, though.

[Go to the post to view the Bandcamp player]

Finally, let's talk some Unrest. With an album title of Grindcore, I think people know what to expect here.

Yeah, we certainly weren't trying to trick anyone. Unrest goes back to 2007/08, actually. Chris Grigg and I wanted to more or less do a Nasum styled band but in the end I don't think we sounded much like Nasum, haha.

Anyways, we recorded this album in 2011 or 2012. It seems like a lifetime ago at this point. but we finished the vocals for it this year. This album was something that we thought would be haunting us for the rest of our lives. It never got finished or released for a variety of reasons and the main one being that we just weren't happy with how the album sounded.

Chris moved to NYC and life just sort of got in the way for everyone, so the album got shelved and buried. However, Chris dug up the files and managed to fix everything we were having issues with at the beginning of 2014 and we finished the vocals in March. I think that I can speak for everyone and say that this record is very personal to all of us. For me, it was my first actual band and I learned so much about songwriting, recording, etc. This is also how we all became friends as well as developed working music relationships.

Needless to say, we are fucking stoked to finally see that this album will see the light of day. We are all very proud of it.

[Go to the post to view the Bandcamp player]

Written by Matt Hinch.

Illustration by Luciana Nedelea

First of all, look at that cover! The figure! The woods! The intricate detail! That’s the kind of cover people buy music for, even if it is digital. Digging into the actual music of Foehammer’s self-titled one finds that it’s a tad deceiving. On one hand the general mood of the doom trio’s epic length tomes fits like a well-worn glove, whereas all that detail is completely mashed by disgusting tone and a funereal pace that obviously lacks any desire to rack up the note count.

But Foehammer is just as deep and rich as the cover illustrates. Just as the figure appears ancient and at peace with solitude, Foehammer is best enjoyed as a personal experience, unencumbered by the trappings of modern existence. Just darkness and gargantuan doom.

With just three tracks stretched over 34 minutes it’s no surprise these songs unfold slowly and deadly. The plodding pace feels like pure exhaustion dragged onwards by determination and revenge, every note dropping with the crushing might of an indeed foe-destroying hammer. Also as expected, the guitars are tuned down to drop-9th Circle of Hell where string tension seems like a ridiculous notion. Bowel-melting to say the least, Foehammer bring the heavy.

It’s pure crush, menacing without being depressing. Full of hate, not hurt. As slow as it is, it’s not necessarily droney, or slow just for the sake of it. They just let the notes come as they will. But that’s not to say they don’t let some of that amplitude resin-ate. Their hypnotic cadences may be ruinously repetitive and dangerously slow but their doom mastery ensnares the mind like a drug that refuses to let go.

There are some surprises along the way. The vocals, straight from the pit, lend a sub-humanity for the listener to connect to as they disconnect from the world. A tether to reality. Subtle, noodling guitar work pokes in randomly to keep things interesting. Moments of groove grab hold fleetingly and float away before you know it. A bluesy solo crops up in “Final Grail”. And the intuitive drum work throws in well-timed strikes and fills, giving the more physical listener something to air drum to.

The bottom line is this: Foehammer are righteously heavy, mercilessly slow and evil sounding to the core. Funeral doom can add another name to the list of bands that “get it”. There’s nuance and subtlety to raise the album from pure doom devastation into an entrancing and powerful experience. “Herbal assistance” isn't necessary but highly recommended. If you’re into that. If not, Foehammer itself should be enough to make you drop out of life.

[Go to the post to view the Bandcamp player]

Note: Grimoire Records handles the digital/CD/cassette versions of Foehammer. For vinyl go to Australopithecus Records

Written by Justin C.

Bosse-de-Nage is a band that quickly found and fully inhabited their own unusual brand of black metal. Their first, self-titled album is probably closest to a "standard," raw U.S. black metal sound, if such a thing can easily be defined, but even then there was something special about them. It wasn't long before the vocals moved further to the front and became even more raw and pained, while at the same time they started mixing in a strong post-rock/alternative rock influence, particularly Slint. I noted as much when I reviewed their last album, III, for this very site.

Have they taken any huge deviations from that template with their newest album, All Fours? Not really, but don't mistake that for a lack of progress. When first listening to this album, I decided they'd dialed back the abrasiveness in favor of more melody. Then I went back and listened to iii and then All Fours back to back, and I decided that they had in fact dialed up the harshness. It's possible that I'm just losing my mind, but I think the reality is that Bosse-de-Nage's evolution on this album is a bit more subtle and takes many more listens to fully reveal itself.

Like the last album, All Fours features screams being pushed to the very edge of control, mixed with occasional spoken word interludes that carry as much ominous feeling as the screams unleash rage and pain. The guitars chime and resonate, sometimes as tremolos and sometimes as more angular riffing. And as with the last album, the drumming is absolutely top notch. As I said in that last review, I'm convinced that the unnamed drummer has some serious jazz chops, and there's even more to love here. Listen to "A Subtle Change" and prepare to have your jaw drop at what the drummer does here. It's furious, deft, and intricate all at the same time.

III featured lyrics that were fascinating, but also surreal and elliptic. All Fours continues that tradition, but now with a hefty dose of sex on the fringes. I think that fascination has always been there--after all, this is the band that had songs called "Marie in a Cage" and "Why Am I So Lovely? Because My Master Washes Me." But to my ears, there's a whole new level going on here. Album opener "At Night" describes a mash up of sadism, masochism, and pony play. Cigarette ash is dumped onto Marie's body, and the "ashes cling to the urine on her torn clothes." Her "violent dressage thrills" the narrator. The final sentence of the song, appropriately, says, "These acts are nauseating but necessary." The instrumental music at the beginning of "Washerwoman" would be a proud addition to any alternative rock catalogs, but that's before the band turns up the "MORE!" knob all the way up, and the song ends with a female party crasher "with her mouth full of lather" announcing, “I come from the City of Hair beyond the Wrinkled Mountain and I will not rest until I've washed every penis in this room.” It's a masterful mash up of melodic sweetness and a very strange swinger party.

In early press, there have been some comparisons to Deafheaven, which isn't surprising given that the bands did a split together and both bands are clearly interested in using alternative rock as an inspiration. I've also read the inevitable backlash about that comparison, which isn't surprising given how polarizing Sunbather was. I don't want to make too much of this, because the bands aren't sound-alikes by any means. All Fours can and should be judged by its own merits, and I wouldn't be surprised if there are fans that like this album much more than Deafheaven's output. For me, I feel the similarity coming from a deeper place--it has more to do with a feeling, the one you get when both music and vocals are dripping with emotion. This is serious heart-on-their-sleeves/punch-in-the-gut stuff, and on that level, All Fours resonates with me in the same way Sunbather did. And I'd be very happy if All Fours gets the same kind of attention that Sunbather did, because I think it's well deserved.

[Go to the post to view the Bandcamp player]

Written by Ulla Roschat.

Two adjectives jump almost immediately at me from my speakers after pressing the play button for Unremittance, and these words have settled down comfortably in my head by the end of the album... 'unrelenting' and 'uncompromising'....

Unremittance is the debut album of the four piece band Teeth, based out of Los Angeles/CA. Its seven songs radiate an uncompromising self confidence, a self confidence that shows in every detail of the very distinct and individual way they mix elements.

This is basically sludgy, doomy death metal seasoned with some pinches of HC and post metal. The tight and well written songs are charged with hate and rage, misery and despair spit back into the world unrelentingly violent, heavy and dissonant, executed with precision and passion.

The vocals are often screamed and/or growled, but both rather guttural and low pitched, still there’s a definite HC vibe to them. “Djenty” chords and slightly post metal sounding ambient melodies, at times create spy movie soundtrack like dramatic tension and exciting tempo changes, … everything builds into a dynamic, terrifying, bleak atmosphere. The lyrics add even more uneasiness, to say the least.

Unremittance is an amazing debut album unrelenting, uncompromising and most of all already unmistakably Teeth.

The song "To Dream is to Suffer" is featured on The Wicked Lady Show 79

[Go to the post to view the Bandcamp player]

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

Artwork by Shaun Beaudry

Ultraviolet light, despite being something that we know exists, even having an impact upon our physical bodies, is part of the spectrum of light we can't see unaided. This idea — that of a form of light that is present but not always apparent — is at the core of Ultraviolet, the sixth studio album from respected sludge experimenters Kylesa. Based in Savannah, GA, Kylesa have drawn from influences as diverse as doom and psychedelia to sculpt their sound, which is driven by powerful, aggressive drumming (they've been known to record and perform live with two percussionists playing simultaneously) and a smoky, syrup-thick guitar tone.

Photos by Webzine Chuul.

What sets Ultraviolet apart is the emotional authenticity and vulnerability of the record. While the music has become denser and chillier, with vocalist/guitarist Phillip Cope also commanding the recording and production, introducing darker keys and other electronic elements into the mix, the subject matter has ventured inwards, becoming more difficult and personal. Laura Pleasants is now the primary vocalist, taking on a much larger singing role on this record, and her warm, plaintive vocals serve as an entry point in the densely knit and sometimes alienating musical landscape. Her voice drips loss and yearning in "Long Gone" and drawls almost playful in "Quicksand" as she describes her mouth filling with blood. Rich and vibrant musically while raw and emotive lyrically, Ultraviolet is Kylesa's highest achievement to date.

[Go to the post to view the Bandcamp player]

Written by Dave Schalek.

Here we go again; digging deep into the underground to find you the murkiest of the murk, brought to the light of day in the latest edition of Dave’s Demo Roundup. Today, the theme is black metal.

Originally finding limited release on cassette, Black Rust is the second album from raw Swedish black metal outfit Orcultus. Although not particularly original, Orcultus hark back to the glory days of low-fi black metal so prevalent in the ‘90s and early ‘00s. Atmospheric and varied in pace, the seven songs presented on Black Rust are quite good with a dreamy, low-fi vibe. Orcultus, however, are definitely at their best when the music has a tendency to drone on and on, such as on “Filled With Flies,” a standout track.

[Go to the post to view the Bandcamp player]

Bullet belts and spikes from Finland. Violent Hammer are just that; a crushing hammer of violence in your face. Think a dirtier version of Impaled Nazarene (if there is such a thing), and you’re in the neighborhood. Blackened war metal with a huge dose of loud, abrasive guitars and pounding percussion, More Victims - Demo 2014 is the third demo from Violent Hammer, but their first since 2007. Someone sign these guys quick!

[Go to the post to view the Bandcamp player]

Logo by Carnivora Capra

Speaking of murky, Pneuma Hagion, a one man act, is a recent discovery of Nuclear War Now! Productions, but we get a dose of what’s to come on Bandcamp with the outfit’s first three song demo. Recorded just few months ago, Trinity I sits right alongside the best of the murky blackened death metal pantheon. Bands such as Teitanblood, early Vasaeleth and Diocletian definitely come to mind as Trinity I is crushingly heavy with a hugely cavernous, suffocating sound. Deep seated, growled vocals, gigantic riffs, pounding drums, and a pace that varies from an all out blast to a glacial dirge, Pneuma Hagion is definitely a project to watch. The production on this demo is excellent with a density that has to be heard to be believed.

[Go to the post to view the Bandcamp player]

Written by Kevin Page.

I was gonna call this the doom metal edition, but with the preponderance of doom these days, I'll probably end up doing at least 1 more of these before the end of the year. Anyways, enjoy :)

Band:	Endlesshade
Country:	Ukraine
Label:	Rain Without End Records
Genre:	Atmospheric death/doom
Interesting fact:	Natalia Androsova (vocalist) & Michael Chuga (guitarist) wrote the album before they found other musicians, so it took years before it was actually recorded.

[Go to the post to view the Bandcamp player]

Band:	My Shameful
Country:	Finland
Label:	MFL Records
Genre:	Funeral/death doom
Interesting fact:	Even though the band has its origin in Finland, it is now considered an international band with members all across Europe

[Go to the post to view the Bandcamp player]

Band:	The Slow Death
Country:	Australia
Label:	Chaos Records
Genre:	death/doom
Interesting fact:	Vocalist Gregg Williamson passed away at the age of 40 due to heart failure on December 2, 2014. This is his final release with the band,

[Go to the post to view the Bandcamp player]

Written by Ulla Roschat.

Artwork by Varises Otak

Grindmother is without any doubt a very cool EP title and it becomes even cooler when you learn about its origin. The 66 year old mother of Corrupt Leaders’ vocalist is guesting on the EP, and this came about, because she wanted to try out grindcore screams just for fun and for the experience. It turned out that she did this pretty well! Fortunately her attempts have been recorded in a video which already went viral in the past several weeks, but in case you haven’t watched it yet, you can do so here below.

The best part of the story though is, of course, that the band included her vocals on the first track “Black Cloud” and named the EP Grindmother after her.

After hitting the play button this four song EP was over before I even realized what just had happened to me, but I was happy that it HAD happened to me. Certainly it didn't take too much time to listen to it several times in a row to find out that this is a perfectly delivered punch of grind and hardcore aggression.

The Canadian five piece band Corrupt Leaders pack a whole bunch of varying style elements into these four songs with a playing time of about three minutes all together. Besides the crusty punk and grindcore, there's a strong black metal flavor, especially in the vocals, and there are even some pinches of slow and heavy sludge. It almost feels as if the band carved a deep groove into another dimension to bring as much thick intensity to those three minutes of black grinding ferocity as possible. Filling them with great riffs, even something like atmosphere, and breathtaking dynamics and tempos; everything tight and right on point.

Corrupt Leaders are a pretty young band, they formed in 2013. After their self titled debut in 2014 and a split recording with Dogma in the same year, Grindmother is their third release and, despite all brevity, it truly marks a huge leap in their progress. The band are currently writing on their first full-length LP. I’m not sure about how Corrupt Leaders translate “full-length” in terms of the absolute number on the time line, I just hope for more of this impressive black/grind/punk onslaught.

The song "Mass Consumed" is featured on The Wicked Lady Show 84

[Go to the post to view the Bandcamp player]

Written by Kevin Page.

There's eclectic and then there's Blood Music in Finland. Since it's humble beginning in an attic in 2011, there seemingly hasn't been anything too experimental for them to get behind. Death, black, progressive metal, jazz, or avant garde, most of their roster defies typical classification. Which brings us to 2015 and three bands that once again are fresh and unique.

Apparently synthwave is a "thing" and there is a burgeoning scene to go along with it. But what Gost seem to be doing differently is adding a horror element to its sound. Baalberith, the sole member of Gost, has a history of playing in metal bands, but was always an electronic music fan. So it comes as no small surprise that even though this isn't a metal album, Behemoth, speaks to me. It feels like a soundtrack to all those 80's horror movies I'd watch with friends at sleepovers in my youth. Throw in some evil album art and the package is complete.

[Go to the post to view the Bandcamp player]

I'm a fan of Gautier Serre and the thoroughly warped, Igorrr, so I anxiously awaited this side project of his, Corpo-Mente. Featuring the lush operatic vocals of Laure Le Prunenec (Öxxö Xööx, Rïcïnn), it's much more, shall we say, "normal", than Igorrr (then again, most bands are by comparison). It's a classical journey of baroque, trip hop & acoustique. But it's also beautifully haunting and mysterious, like some twisted noir. It's by no means aggressive or in your face, but that doesn't stop it from being one hell of a piece of art.

[Go to the post to view the Bandcamp player]

Artwork by Luca F. Carey

Yes, another synthwave band. Although Dan Terminus prefers the term cyberpunk or 'darksynth' (coined by Perturbator, another band of the genre who is also on Blood Music and you can check out here). While it firmly sits in the same genre as it's fellow labelmates, The Wrath of Code has a much more overall sci-fi feel. Think Blade Runner and an the endless amounts of old school video games. For the most part its an uptempo affair, but it does slow down to mix things up on occasion. Perfect cover art really encapsulates the sound and feel of this album.

[Go to the post to view the Bandcamp player]

Transylvanian Tapes: Swamp Witch, Cease, and Cloak

Porta Nigra - Kaiserschnitt

Deceased - Supernatural Addiction

Leviathan - Scar Sighted

Caïna - Setter of Unseen Snares

XII Boar - Pitworthy

Triumph and Agonia

Katavasia - Sacrilegious Testament

Below the Sun - Envoy

Moro Moro Land - Through

Sarpanitum - Blessed Be My Brothers...

The Steve Jansson Experience

Foehammer - Foehammer

Bosse-de-Nage - All Fours

Teeth - Unremittance

Kylesa - Ultraviolet

Dave’s Demo Roundup Vol. VI

Just the Facts - April 2015

Corrupt Leaders - Grindmother

Label Spotlight: Blood Music