Review: Vorde - Vorde (Fallen Empire Records & Psychic Violence Records)

New York's Vorde is a relatively young band, having existed since 2012 and in that time releasing two demos of raw, disorienting black metal. Yet, while the project itself is young Vorde is partially the brainchild of Mike Rekevics of Fell Voices and Vilkacis amongst a host of other projects. Rekevics has made a name for himself in the world of metal mainly through the aforementioned Fell Voices, an expansive project whose wall-of-sound approach to black metal is stunning in it's scope and unrelenting devotion to creating an immersive atmosphere. On this, Vorde's first full length, the band utilizes a similar immersive approach, however the intent within is far more sinister. The album is a scathing rampage of eerie chords, oppressive drums, and a truly manic vocal performance. A journey through a dark cosmic landscape, rooted firmly in traditional black metal yet not tethered to rote regurgitation.

Take the album's second track, "Transformations of the Vessel" with it's introduction of nefarious guitars dancing above throbbing percussion. The track continues forward, descending deeper and deeper into lunacy; icy tremolo picked guitars glide like wraiths over the constant pulse of the drums, carrying the song at a quick pace. While more aggressive moments like the entirety of the aforementioned track are commonplace on the album, more morose and ominous sections are also a crucial element to Vorde's sound. The introduction to "Blood Moon" utilizes nearly Xasthur-esque washes of echoing guitar to usher in a dreadful atmosphere. No matter the pace the entirety of the album is drenched in a macabre feeling of religiousness, a perverse expression of cosmic longing. Its as if the members of Vorde are attempting to communicate directly with the void, throwing themselves haphazardly blasting towards dreadful oblivion.

This near religious feeling is reinforced by the outstanding vocal performance. Vocalist, Aziel never resorts to a typical black metal screech or growl, instead performs a ghoulish croaking call or an anguished howl. Similar to a less frogged-out Dagon of Inquisition or Attila Csihar but less spastic and more based in chant. The performance is direct and the chanting works to solidify the mystical sonic environment created by the band. Aziel's vocals and the rest of the bands instrumental accompaniment work in tandem to create an aura of black psychosis.

"Funeral Vortex" stands as the bands opus, an unhinged descent into the void. Angular riffing crashes against the steady assault of progressively structured drums. As the title suggests the track carries with it vortical motion, a swirling madness complete with Aziel's insane utterances seeming to draw the quartet deeper into ritual. The track takes a final turn with a similar distant guitar sound found on "Blood Moon" making a reappearance. As the album drifts to it's conclusion and the communion comes to a close one is left with a feeling of otherworldliness. 

Traditionalism collides with fearlessness and the result creates a more than impressive first full length. The deep roots of black metal's many forms are evident within Vorde's sound; however while the band grasps at black metal and it's variety of stylistic divisions they remain unafraid to create their own vision. The debut, out now on Fallen Empire Records and Psychic Violence Records is a testament to black metal's continued growth and expansion.

Review: Yellow Eyes - Stillicide (Sibir Records & Prison Tatt Records)

A twanging ushers in the madness. Unassuming and pleasant, the sounds of a simpler time. Soon feedback enters and shortly one is trapped in a whirlwind, a chaotic frenzy of expansive riffs and blasting drums. This is only the beginning of Yellow Eyes' new EP Stillicide, a fourteen minute expression of grief, spite, abstraction, and mystery. Like the rest of Yellow Eyes' staggering catalogue Stillicide resides firmly in the realm of black metal, yet the effort is not marred by traditionalism, quite the contrary actually. On this new EP Yellow Eyes continue to push black metal to new soaring heights while remaining mindful of the genre's roots.

In a brief amount of time Yellow Eyes are able to cover an astonishing amount of emotional ground. The style of black metal that the band plays is full of twists and turns, abrupt switches in tempo and feel. Take the second track, "Heat From Other Days," which transitions sharply from aggressive, churning darkness to lush, chiming intricacies, each of which carries a different emotional weight. Vocalist Will Skarstad's characteristic high-pitched rasp is utilized, in it one hears sorrow, triumph, and malice. The lyrics, in typical Yellow Eyes fashion are abstract expressions. Take these lyrics from the final passage of "Heat From Other Days":

"When I was old enough
I pushed aside a tile
And snaked through the cold muck
Into the vast and brittle day
I took the lower path
Full of pellets, unresolved
And I let the heat from other days become my fire"

Yellow Eyes transcend the generic carbon copy black metal lyrics in favor of a more poetic, deeply expressionistic, and symbolic approach. The lyrics found on every Yellow Eyes release further solidify the band's place as an innovative force in black metal.

The music found on Stillicide is very dense, resembling the sound the band utilized on their last release, The Desert Mourns. Both releases see Yellow Eyes moving towards a more lush and bleakly thick sound. The opening of the EP displays this opaque aggression as a torrent of riffs speeds forward backed by relentless percussion, towing the line between shimmering vibrance and raw murk. On Stillicide a new layer of clarity exists, each distinct feature from the duel guitar harmonies to the pulsating throb of the bass to the pounding of the drums can be heard and felt. The high-pitched harmonies that were such a prevalent force in the band's earlier material make a refreshing return on Stillicide but are more fully integrated, adding to the colossal vortex of sound Yellow Eyes creates.

Stillicide sees Yellow Eyes striving forward along the path they have treaded since their inception, that of ingenuity with an eye on tradition. Nothing that exists here will surprise fans of the band's expressive approach to the genre but it will solidify them once again as a unique force in the landscape of millennial black metal and black metal as a whole. Stillicide will be released soon as a joint effort between Sibir Records (a label run by members of the band) and Prison Tatt Records.

Grst - Plague Seed (Glossolalia Records)

What struck me immediately about Grst's first full length is the amount of confidence that is contained in the four tracks that make up Plague Seed. While the band materialized in 2009, they did not release something until earlier this year. Besides a one track on a split, the band's first release, the band put out an EP of Weakling cover songs. While the covers were brilliantly executed and did the American masters justice, it seemed odd. One would think a band with this much talent would put their efforts into composing their own material, working with original ideas and expanding. Let alone releasing a tape of covers can be risky, some may see it as a sign of unsureness and honestly I did.

Enter Plague Seed an album which was composed in 2009, according to an interview with the ever excellent Western Lamb. What Grst has brought us defies all worries I had about the bands potential for growth. An album that is characterized by its mastery and ambition. All three members of Grst have been in a litany of excellent projects linked to the Glossolalia family; the harsh noise wall act Willowbrook, the violent math-addled blackened crust of Banewreaker, and the hallucinogenic teach-death outfit Arkhum among a slew of others. The three musicians combine their obvious skill and knowledge of dark and heavy sounds to create something that will leave black metal devotees stunned and completely convinced.

Grst continues the American tradition of pushing the boundaries of black metal forward. Their style calls to mind Northwestern American luminaries and of course Weakling. Grst's vision, however, is far less limited in scope than many of their so called "Cascadian" counterparts. They play black metal that is completely immersed in the expansive nature of the transcendent style yet still retains a firm grasp on aggression and cathartic release. Take "Plague Seed" the album's opening track. While the riffs are cloaked in the mystical buzz of the mountainous Northwest there is lingering traces of pure devastation. The track itself is a furious blast-beat driven cathartic experience. Vocalist Kenneth Parker barks and screeches powerfully over the ripping aggression of both guitar and bass of Nathanael Kelley and Joshua Vincent.

Noise influence takes hold on the interlude track "Abandon" consisting of an airy, ominous drone accompanied by somber guitar. The track is calming and indicative of the moments of clarity exist throughout the album. This contemplative nature shows itself again during the opening minutes of "Pondering the Wastes." Twin guitars entwine their melodies and bring with them a sense of longing. This signals the torrential, mesmerizing riffing to come that is unleashed when the song begins to rip forward. The guitars continue to weave melodies as the track descends into a more aggressive state. The contrast Grst creates between moments of mournful reflection and driving rage is exactly what separates them from a slew of bands playing atmospheric black metal. The wide variety of emotional weight contained in the debut is overwhelming. Rage, mourning, tension, and release all exist within the onslaught. The musicianship exhibited by each of the bands three members is astounding, again showing self-assurance. Vocalist Parker is able to navigate between coarse rasps and hollow sounding growls with precision. Both Kelley and Vincent handle guitars and their work is equally impressive. Cascading riffs collide with one another creating the furious and meditative sound that emanates from the album.

Plague Seed took me by surprise. I in no way expected an album of this scope and magnitude. Ripping black fury is contrasted with sweeping and entrancing melodies, taking cues from a multitude of styles while still maintaining a sound that is completely Grst. Plague Seed is available from Glossolalia records in digital and vinyl formats here. If you are a fan of black metal either in its purest of forms or in its more expansive wanderings don't sleep on Grst.

Review: Venowl / Highgate (Tartarus Records) & Cara Neir / Venowl (Broken Limbs Recordings)

Venowl is an enigmatic group. The three members choose to represent themselves with symbols; ::, //, and ][. The band creates some of the most caustic and disjointed music to ever grace these ears. Doom, black metal, noise, and general disregard for convention are combined to create something wholly earth shattering and devastatingly depraved. Lurching and ominous the band utilizes improvisation to create their horrid, torturous sonic landscapes. The band has seen two new releases in the months of September and October, both splits and both are nothing less than expressions of sonic torment. On each split Venowl is joined by an equally groundbreaking and impressive band. Both Highgate and Cara Neir easily match Venowl's jagged intensity with more structured pieces, Highgate brings lumbering blackened doom while Cara Neir drags the listener through swarming, diverse black metal.

Venowl / Highgate

September saw the release of a split between Venowl and Highgate. Venowl begins with "Vacant Cellar" a song without defined structure or reason. The track continues the Venowl tradition of being completely disjointed and improvised, however it is more structural and rhythmic than much of Venowl's music. Taking on more of a doom-like structure the band experiments within those confines. However, the band does no use this as a limitation, instead utilizing the loose structure to further enhance their descent into madness. Slowing moving towards oblivion, painful shrieks usher in layer upon layer of madness. Feedback slices through the grime accompanying the manic screams and shouts. Where Venowl truly succeed is in creating sickening atmosphere. Conjuring images of an old vacant house, filled with an aura of horrible deeds and broken bones. A place of destruction and most importantly a place of torture. Living up to the description of "torture doom" and completely embodying all that is horrific and depraved.

Highgate also implements elements of black metal and noise into their murky doom. Considerably more riff based and structured than Venowl, Highgate provide the listener with a more traditional and in some ways comprehensible take a similar formula. This is not to say that "Carved into Winter" is easy listening by any means. The Kentucky quartet offers up spirit-breaking doom, massive riffs collide with crashing drums and vicious rasps and grunts. Utilizing repetition as a tool for complete annihilation Highgate drags the listener deeper and deeper into their horrid cave. Ghastly melodies accompany the sludge addled riffs, suddenly the track dissolves abstraction. Pulsating rays of noise fade in and out creating a disorienting interlude to the rest of Highgate's track. Taking a more mournful form the track progresses slowly before disintegrating into feedback, ending the excellent work. 

The split can be heard and purchased here through Tartarus Records. A triumph of blackened doom, and a perfect pairing of two bands with different takes on the same devastating combination.

Cara Neir / Venowl

The second split is forthcoming. A reunion between Venowl and Cara Neir set to be released by Broken Limbs Recordings in mid-October. Cara Neir opens the split with three tracks of screamo influenced, post-hardcore injected, crusty black metal. Vocalist Chris Francis uses his powerful voice to push the songs to further levels of intensity while multi-instrumentalist Garry Brents displays his immense talent on each instrument. Playing everything from ripping hardcore chords to reflective even jazz-like melodies. Opening with "Aeonian Temple" with technicality at the forefront, Brents plays riffs like a madman while Francis offers frantic barks. The second and third tracks take on more reflective tones. "Nights..." sounds akin to the lighter moments 90s screamo artists like Saetia, utilizing harmonies and calm echoed vocals. The track provides the perfect amount of reflection before "Pitiful Human Bindings" rears its head. Combining the best parts of the first two tracks, ripping aggression and cryptic reflection. Madness and contemplation are joined as one, creating a track unconcerned with any sort of tradition, merely following the creative will of two immensely talented musicians. With their contributions on this split Cara Neir prove yet again that they are one of the most interesting and inventive bands currently active.

Venowl's track "Scour (Parts I and II)" is again another journey into the deepest abyss of the darkest aspects human consciousness. A completely soulless evil which takes the form of disjointed, dragged out chords, pained shrieks, and spastic drumming. Trudging through the mire, sickeningly dense and calamitous. The improvisational beast could only be described as ugly, completely without any trace of human attachment. The whole track is a confusing and harrowing journey deep into the minds of the three nameless specters. Formless and yet containing remnants of structure shaped by completely ruinous riffs. When a structural riff rears its head it becomes all the more powerful, cutting its way through the murky mess of incoherent chords and triumphantly presenting itself as supremely devastating. Venowl's contribution to this split is corrosive and scathing, providing the listener with layer upon layer of discord and bleak expressionism.

A union of two very different bands create something wholly unlike any other split release I have ever come across. A true testament to the fragmented nature of man. The tape will be available from Broken Limbs Recordings soon.

Review: It Only Gets Worse - Creation Myths

The first submission to Horn of Woe comes courtesy of this new collaboration between Matt Finney of Heinali and Matt Finney and Mories of Gnaw Their Tongues, Aderlating, Cloak of Altering, etc. etc. Matt contacted me and said he had a new project with Mories and was wondering if I would be interested, of course I was. I am no stranger to Matt's work, the masterful droning soundscapes of his collaboration with Heinali had easily filled the hole the demise of the Angelic Process left, but it was much more than that as well. Rooted in the duos ability to create intense, emotional, and reflective music. Finney brings spoken word vocals and cripplingly personal lyrics over Mories instrumentals. Mories, for those of you who do not know, is a Dutch practitioner of all things depraved and noisy. His projects run the gambit from dark ambient to black metal nearly always falling somewhere between the two. A creator of some of the most challenging and forward thinking music lends his instrumental talents to this three track EP.

Beginning with "Dropped" immediately heavy synthetic drums pound along with distant floating synths. The tone of this album is reflective from the offset, clouded like a distant memory. Over the fluttering synths and mechanic drums a simple, subdued synth plays a coldly mournful melody. The instrumentation is joined by Finney's spoken word. Calm, whispered vocals guide the listener through Finney's despondent lyrics. The music acts as a platform for him to lay bear his poetic expressions ripe with illusions to longing, regret, and failure. The words are deeply personal, covering lost love, dysfunction, hurt. Perfectly accompanied by the synth work of Mories, the two work together to create a cloud of negative emotion, both pouring themselves into the project. The second track "Indian Summer" displays more upbeat percussion, rhythmic yet distant, while synths glide and Finney whispers pure melancholy. The final track "Creation Myths" makes use of choral vocal sampling to add yet another grief stricken layer to the music. Finney utilizes dark humor saying, "knew that his death would at least get this album some critical acclaim" proving yet again that his ability to use words is nearly unparalleled. What Finney writes is poetry, plain and simple, and Mories provides the perfect soundtrack to his dark and reflective whispers.

It Only Gets Worse successfully straddles the line between it's two creator's works. A plodding, post-industrial synth filled drone scape ripe with vivid whispered lyrics. Mories brings his dark instrumental ability into new realms, focusing less on noise and more on slithering synth compositions, while Finney continues to write some of the most personal and heart-felt lyrics I have ever experienced. These two musicians work extraordinarily well together and I hope that soon their paths cross again. Find the album on bandcamp here, you won't be sorry you did.

Review: Jute Gyte/Venowl - Split (Black Horizons)

Black Horizons is a label that is constantly pushing the boundaries of what dark music can become. The label has increasingly become a house for the obscure, releasing works from acts like death industrial legend Trepaneringsritualen or a recent demo from American black metal luminaries L'Acephale consisting of original tracks and completely reimagined covers of Darkthrone, Current 93, and Emperor. Everything the label releases is challenging and makes the listener rethink the confines of dark music, which, in turn makes it the perfect label to release this split. A union of two bands that take their respective genres and completely warp them until the foundation is non-existent, only leaving traces of what was, Jute Gyte and Venowl act as perfect compliments to one another.

Jute Gyte strikes first on the split, the project of sole member Adam Kalmbach who creates eerie and surreal black metal. The music created by this individual is honestly unlike anything else, it squirms and writhes creating an incoherent cacophony of squealing guitar, bashing drums, and snarled vocals. At times there is a break from the reckless abandon of the song and a heavy riff will present itself, showcasing a more straightforward form of madness. Jute Gytes approach is discordant and unsettling, relying heavily on odd time signatures and layers upon layers of noise accompanying the metal. The second track from Jute Gyte, "The Rib" immediately hits the listener with disjointed doom, seemingly off-key notes piece through a trudging malice the track presents. Soon after this the doom is gone and back is Kalmbach's frantic style of playing, chords and notes are scattered over noise and ambience. His contribution ends with an almost deathrock feel, echoing guitar and haunting ambience, creating a wholly unsettling atmosphere, a fitting end to the spastic horror found on Jute Gyte's side of the split.

Venowl have recently become a staple of my listening habits. Their brand of black/doom/noise/insert another arbitrary genre here is exceptionally challenging and disturbing. The three members who are simply called ::, ][, and // approach music in a way that, like Jute Gyte, is completely outside the realms of influence and categorization, meaning there is no reference points. One could point to funeral doom or black metal or noise but in reality what Venowl create is something different, something completely their own. A creation that is non-musical yet extremely meticulous and oddly rhythmic. Utilizing the sinister ambience of a violin along with crushing guitar and bass trudging, minimalist drumming, and horribly pained shrieks, Venowl's piece "Snowbed" is twenty-seven minutes of drudging and depraved pandemonium. The only comparison I can make is that of a machine lurching to a grinding, violent halt after being over-worked for hundreds of years the sluggish, lumbering approach is industrial yet strangely organic. Through "Snowbed" the three musicians have yet again solidified their place as one of the most exciting and forward thinking acts currently active.

This split is a testament to how well splits can be executed, a perfect pairing of bands who are both pushing sonic boundaries rather than rehashing ideas. Jute Gyte's atonal and vicious black metal is complimented perfectly by Venowl's horrific dirge. Through this release Black Horizons, Jute Gyte, and Venowl yet again solidify themselves as a major forces within the underground dark music scene. Highly recommended and can be ordered here.

Review: Leather Chalice - Sweet Perfume of Coffin Air (Opaqus Records) & Luna (Broken Limbs Recordings)

Purveyor of blackened everything Jan Slezak has been quite busy in 2014. His amazing "blackened stenchviolence" band Ramlord recently released a split with crusty Dutch comrades Nuclear Devastation and has another split release with USBM stalwarts Krieg out shortly. Not only that but his solo project Leather Chalice has released two phenomenal tapes already this year, one a full-length, Sweet Perfume of Coffin Air which was put out by Opaqus Records. The other a one song 15 minute EP, Luna, which was released by Broken Limbs Recordings. Both are murky rides through a blackened punk nightmare but they each travel very different paths.

Sweet Perfume of Coffin Air

From the creeping ambient intro to the last scuzzy chord of "Despondent Reign" Jan takes the listener on a journey, one of punk ferocity mixed with mournful black metal. Punk and black metal have been a natural combination for quite some time with bands like Bone Awl, Furdidurke, and Raspberry Bulbs making waves in the underground but Leather Chalice's approach is different. Conjuring images of drunken trips to the graveyard Jan's ability to play sloppy (a term used ever so fondly) punk laced with the morbid atmosphere of black metal stands out amongst the hordes of bands playing in a similar style. Some tracks are almost pure punk like "Necrohenosis," which starts off with an almost uplifting post-punky riff but soon turned into a stomping display of swampy punk madness, graced with Jan's howls. Other are purely black metal like the guitar instrumental "The Worshippers Garden," displaying a more traditional black metal sound, melancholy in it's execution. These two songs juxtaposed against one another, one grimy punk one sorrowful black metal work perfectly. The way Jan weaves the two together is astounding. Some tracks seamlessly combine the raw elements of both black metal and punk, like "Conquest of Terminal Despair" which begins with an icy tremolo picked portion that sounds like it's coming straight from the second wave and quickly become a punk ripper before descending back into the black metal framework. The two genres contaminate one another forming a hybrid between the two, not punk, not black metal but some warped combination of both. 

Luna

If Sweet Perfume of Coffin Air is straightforward, Luna represents Jan's foray into the abstract and experimental. Still rooted in the combination of black metal and punk the tape is a 15 minute long delve into the warped psyche of it's undertaker. Filling the Leather Chalice sound with more ambient and noise he and his cohorts, Ben on drums, Tim on OP-I/electronics, and Devyn providing "dungeon ambient" create something unsettling and deranged. Washing the blackened punk in a spacy haze Luna is almost coldly psychedelic at times, guitar harmonies ring out over hypnotic drumming with odd noises fluttering in and out of focus. This is not to say that the blackened punk isn't as vicious as ever, it definitely is, but instead the unsettling atmosphere is amplified by the inclusion of new sounds. Jan's guitar playing is also given new life on the track, often rising above the murk and playing creeping guitar solos. At times the noise takes over, acting as a segue into a new portion of the track, being a huge fan of noise and electronics these additions only add to Leather Chalice's sound, making it more cryptic and providing the album with an experimental touch. The production here is certainly improved, with clarity highlighting the skilled composition of the 15 minute opus, maintaining a raw edge without drowning the instruments in a sea of dirt, perfect for this type of expansive yet filthy music. After all the insanity Luna ends abruptly, coming to a howling (literally) and crashing halt. 

I personally enjoyed Luna more out of the two, the extra elements and the lengthy structure allowed for the album to develop as it went. That being said, both of these albums demand your attention, and will grip you for their duration. If you have any sort of interest in black metal or punk and would enjoy a unique combination of the two Leather Chalice might just be your new favorite band. Sweet Perfume of Coffin Air is available from Opaqus Records here, and act quick the edition of 50 looks to be running out. Luna is available from Broken Limbs Recordings here. Pick both of them up and be dragged into the scummy world of Leather Chalice.

Review: Nuclearhammer - Serpentine Hermetic Lucifer (Nuclear War Now! Productions)

Famous for their brand of "war metal" Canadian bands like Blasphemy, Ouroboros, Rites of Thy Degringolade, Conqueror, and a slew of others have been pumping out extremely chaotic hellstorms of records for roughly three decades now. Not only that, but more recently bands like Mitochondrion and Antediluvian have been taking that crude, war-like formula and altering it to make it even more warped by adding new layers of hypnotic dissonance to the already dense art-form. Enter Nuclearhammer, who on their new full length Serpentine Hermetic Lucifer tread a fine line between the staggering chaos of their Canadian forefathers and the dense and at times experimental works of their peers, creating an album that is distinctly Canadian but also distinctly Nuclearhammer. 

Serpentine Hermetic Lucifer begins with "Multidimensional Prism of Black Hatred" (possibly the greatest song title of all time) which blasts forward with total intensity, blunt repetitive riffing collides with a screeching guitar solo before distant echoing vocals are grunted over the swarming horror. Along with such staggering brutality Nuclearhammer brings atmosphere that is uncommon within the "war metal" genre, equal parts destructive and ambient the track blisters onwards charging to the furthest points of extremity. Emphasis is placed on repetition, on the longer tracks this repetition is used to a hypnotic effect, putting the listener into a trance-like state. Utilized in a way that is typical within black metal albums, however the coldness and sorrow that accompanies black metal's repetition is replaced by Nuclearhammer's brand of hateful, mesmerizing fury. 

The bewitching hypnotic effect of the music adds to the cosmic theme that runs throughout the album. Lyrics of occult dimensions and apocalyptic mayhem are barked forth by three of the members who all assume vocal duties; Axaazaroth, Doomhammer, and Impugnor all taking variants of the same hellish rasp. The metal tracks on the album all basically follow this formula, echoing vocals over devastatingly barbaric blast beats and hypnotic driving riffs. Some variation is thrown in, "Phosphorous Clouds Descend on Mecca" offers a trudging lead in before the bestial destruction starts again. Shorter tracks like "...Rise No More" and "Parasitic (Temple of Rats)" offer a more grindcore inspired approach, but still contain the repetitive structure of the rest of the album. The monotony is not tiresome, it only adds to the unforgiving atmosphere Nuclearhammer conjures. This album is not meant to be technical, there is no attempt to impress the listener with guitar theatrics, their only goal is to bring as much cataclysmic fury as possible. 

Nuclearhammer also offer something unique between the sprawling blasphemy of the heavier tracks with industrial noise moments. These songs act almost as gateways, leading the listener into the next dimension of Serpentine Hermetic Lucifer. All titled with odd scientific names like "24-Cell (Octoplex)" and "H3po4 (Orthophosphoric Acid)" the noise ranges from industrial sounds to unsettling ambient drones. These pieces are a welcome addition to the album, adding another layer of insanity. They also help Nuclearhammer to stand out amongst the ranks of blasphemous black/death metal bands, distinguishing themselves as purveyors of all things harsh and unforgiving whether it is metal or noise, taking extremity to new limits.

On Serpentine Hermetic Lucifer Nuclearhammer have brought their deranged take on the already barbaric genre to new heights. Offering some of the most aggressive and chaotic music to be released so far this year the album stands as a tribute to the madness that lurks far beyond human reach and comprehension. It is available in CD and LP format from Nuclear War Now! Productions and can be streamed through the label here. Do not sleep on this monument of insanity.

Review: Impetuous Ritual - Unholy Congregation of Hypocritical Ambivalence (Profound Lore)

When I first heard Impetuous Ritual's form of death metal I wasn't ready. I had of course heard Portal and I was searching for more music treading the same cacophonous path, but Impetuous Ritual were different. Gone were the theatrics, the hoods (and clocks) all that was left was pure unhinged death metal. It took some time getting used to but after forcing myself to listen to the ilk of Relentless Execution of Ceremonial Excrescence over and over it became a cornerstone of my listening habits. Portal comparisons are obvious (due to the sharing of members) but Impetuous Ritual achieve something different, something more sinister in intention. Their intentions are quite clear, complete suffocating devastation. Guitars play jagged horrific riffs, drums crash along with equal parts ferocity and technicality while bass provides a throbbing low end to the murk. With their new album Unholy Congregation of Hypocritical Ambivalence the band not only continues down this path but pushes the sonic boundaries of death metal even further.

Density is key to the Impetuous Ritual formula, every single song on the album is packed with layers upon layers of guitars, providing the album with nearly harsh noise levels of density. The atmosphere is smothering, created by horribly twisted and repetitive instrumentation. The band takes death metal and deconstructs it, until all that's left is a teeming mass of riffs, representing death metal at it's most abstract and unfiltered. Impetuous Ritual take the already repugnant genre and make it even more so, it's dangerous, unpredictable, and disjointed. Occasionally twisted guitar solos rise over the primordial fury, frantically cutting through the thick riffing and further adding to the unsettling aura of the album. 

The first three tracks of the album all follow a similar formula, one of sheer intensity. There is no reprieve, the band continuously bludgeons the listener until the crawling doom of "Despair" interrupts the sheer madness for only a moment, beginning with a doomy rhythmic opening before abruptly descending back into tremolo-picked chaos. The next track "Inservitude of Asynchronous Duality" begins with a warlike, processional opening of poundings drums and swirling, repetitive riffs before sinking into utter madness. Vocalist Ignis Fatuus utilizes a multitude of vocal stylings on this track, deep grunts, harsh growls, piercing shrieks, and demented barking. Impetuous Ritual's deranged approach is at times accompanied simple accent elements like the tolling of a bell in the track "Metastasis" which adds to the intense ritualistic atmosphere that Impetuous Ritual conjure. The album comes to an end with "Blight" a nearly fifteen minute long onslaught of doom drenched death metal evil. The final track pushes the jagged experimentalism of the album to it's peak, chanting is utilized to add to the ominous ambience, guitars writhe and squirm while drums plod forward menacingly. The album closes with a droning guitar passage, an eerie ending to this monolith of death metal.

On Unholy Congregation of Hypocritical Ambivalence Impetuous Ritual succeed in deconstructing death metal into something horrifically barbaric yet intellectual and abstract. Combining suffocating atmosphere and unrelenting brutality to create something completely otherworldly. The album can be purchased through Profound Lore here. 

Review: Barren Harvest - Subtle Cruelties (Handmade Birds)

Barren Harvest is a collaborative project between Lenny Smith and Jessica Way, both boasting an impressive history in bands such as Atriarch and Worm Ouroboros. While both of their other bands reside at least somewhat in the realm of doom, Barren Harvest is a completely different sort of project. This record is delicate, ethereal, leaving space for the listener to breathe and take in the music. What the two create is a somber dream-like experience, focusing heavily on atmosphere through the use of synth, autoharp, acoustic guitar, and the interplay of their two very distinct voices.

The album starts with "The Bleeding" a perfect opener and representative of what is to come. Beginning with a droning passage that is accompanied by the beautiful guitar work of Jessica Way. Her playing is delicate yet very self-assured, simplistic in structure but carrying with it tons of emotional weight.  Way's guitar is joined by her gorgeous singing soon interplaying with Smith's deep, haunting voice. Vocal duties are shared by the two, exchanging verses of the lyrical poetry on each song, using their voices as instruments. The vocals work along side the simple instrumentation perfectly, giving both chances to shine and present themselves to the listener. Taking nods from dark folk and ethereal music luminaries like Death in June and Dead Can Dance, Barren Harvest create a sound of their own by combining the two. While comparisons can be made to these artists what these two create is something new, seemingly ushering in a new era of dark folk music. One of swirling dream-like synths combined with intricate guitar work.

The album works to slowly and quietly subdue, taking it's time to lodge is haunting melodies in the listener's brain. The album feels as though it was meticulously crafted by the two musicians, both pouring themselves into the project. Every note strummed or sung is deliberate. Working from a seemingly simplistic structure, what they fabricate is anything but. The track "Reveal" exemplifies this, voices cascade in and out, clashing with one another in beautiful harmony while eerie synth and strums of an electric guitar maintain a repetitive backing. Creating something complex out of minimalism. The conceptual structure of the album is also interesting and forces the listener to attempt to understand the member's intentions. The album is divided into two sorts of tracks, the meat of the album is broken up by tracks with the title "Memoriam" these range from ten seconds to nearly seven minutes. The "Memoriam" tracks are less melodic and more ethereal, some consisting of only whispered vocals, some of droning synth, some a combination of both. These juxtaposed against the more straightforward folk tracks creates the perfect contrast of abstraction and accessibility.

What Barren Harvest have achieved through Subtle Cruelties is a true triumph. A somber soundtrack to the changing of the seasons. Rooted in nature, one can hear the crunch of autumns leaves, the whisper of the winter wind, the cold rain of spring, and the birds chirping as summer rears it's head. This album comes highly recommended for any fans of dark/neofolk and for metal fans seeking something more contemplative that still contains a brooding atmosphere. Subtle Cruelties was released by Handmade Birds in a beautiful gatefold CD and LP designed by the prolific Kevin Gan Yuen of Sutekh Hexen and Viraloptic, it can be purchased here.

Review: Teitanblood - Death (Norma Evangelium Diaboli/The Ajna Offensive)

Hideously oppressive is the most apt description I can come up with to describe the most recent offering from Spanish black/death masters Teitanblood, simply entitled Death. Their caustic approach on the unholy combination is ferocious and unforgiving and wholly indicative of the blunt, vague title of the album. Released in conspiracy by two of the most excellent and unwavering underground record labels currently active; Norma Evangelium Diaboli and The Ajna Offensive, Death stands as a tribute to all things occult. The cryptic cavernous atmosphere the band creates would be a fitting soundtrack to any blood-lusting, deranged, midnight ritual. 

Straight out of the gate "Anteinfierno" rips forward with reckless abandon. Guitar's screech and wail over a churning mass of riffs while drums pound furiously at the same breakneck speed. It's barbaric, band members NSK and J are a duo who can conjure forth some of the most brutally devastating music imaginable. Going past just blurring the lines between black and death metal by creating an ungodly mixture of the two, Teitanblood have crafted a formula of sheer primitive force and by primitive I in no way mean rudimentary. Both musicians technical prowess is immense, instead what they create sounds archaic and ancient, like a long forgotten crypt with detailed carvings by the madmen that built it. The knuckle-dragging opening of "Sleeping Throats of the Antichrist" is a perfect example of the savagery Teitanblood wield in every single chord and crushing blow. The song is also layered with haunting operatic vocals, which, combined with the muddy, swarming madness of the instrumentation create an even deeper sense of the occult religiousness Teitanblood set forth to evoke. 

Death is a very different beast than Teitanblood's also astonishing debut Seven Chalices, the debut contained numerous ambient tracks to cut through it's cryptic madness. Death provides the listener no such escape (save for short introductions), instead Teitanblood reign down blow after blow, each track more deranged than the last. "Plagues of Forgiveness" begins with yet another complete disregard for sanity and does not let up throughout it's entirety save for a short moment of pummeling doom drenched horror which is not exactly an escape from the madness. Death is also less formless than the band's recent EPs Purging Tongues and Woven Black Arteries (both of which are excellent), opting for a more straightforward approach to their arcane craft. The short interlude to the track "Cadaver Synod" provides grating noise before the jarring annihilation that follows. The opening riffing of the track is reminiscent of a horribly decomposed and disfigured rendition of Slayer's "Black Magic" full of driving riffs that eventually descend into pure madness as guitars begin to squeal over the bestial mayhem. The whole album acts as a descent into chaos, every cavernous chord and warlike strike of the drums heralding the approach of complete and utter devastation. 

After the seething interlude of "Unearthed Veins" complete with incoherent guttural incantations "Burning in Damnation Fires" greets the listener with diabolical riffing and manic vocals. Some of which come courtesy the mighty Chris Reifert (of Autopsy fame) whom Teitanblood enlisted to assist them in their horrible quest to descend further into pandemonium. Lyrics summoning the damned into the pit are sickeningly spewed forth and accompanied by Teitanblood's vile mania, layer upon layer of horrible noise are thrust upon the listener. The final blow of Death is upon us with "Silence of the Great Martyrs" opening with ritualistic chanting before the immense riffing power of Teitanblood presents itself again. The vocals on the track are astounding, absolutely indecipherable and possessed. As Death reaches it's mayhemic apex the fury subdues, giving way to something even more sinister. Church bells chime out while eerie ambience and religious chanting take the place of the blistering aggression. The conclusion is just as unsettling as the savagery of the rest of the album, acting as epilogue to Teitanblood's ritual of religious destruction.

Death is an exercise in severity. It seems that NSK and J were intent on bringing absolute obliteration with the release of this megalith and they have most certainly succeeded. The Spanish duo have created one of the most deadly albums of the year. It can be purchased through The Ajna Offensive, this is not an album to sleep on, if you haven't already, buy this and experience total death.

Review: Coffinworm - IV.I.VIII (Profound Lore Records)

Coffinworm are a band that combine knuckle dragging caveman doom, swampy sludge murk, distorted and horrific death metal, blistering grind, and blackened blasts all performed with a vitriol that is shockingly brutal. Though Coffinworm touch upon nearly every sub-genre in the extreme metal cannon their music never feels incoherent or scatterbrained, rather they effortlessly combine all the defining characteristics from all theese styles into a bleak and twisted concoction of crushing madness. Every malicious shriek and growl is a misanthropic curse upon mankind, filled with mysticism and complete disregard for life. On IV.I.VIII Coffinworm push their horribly ugly sound even further towards insanity.

"Sympathectomy" begins the album with a blackened grinding assault. Guitars churn forth blistering riffs while the bass and drums rip forward, giving the track a massively heavy low end. The bass is extremely present throughout the whole album, as with all great doom and sludge albums. Bassist Todd Manning's playing is the muddy glue that holds this madness together, either plodding along or galloping forward ferociously with the guitars. Speaking of the guitars, the dual guitar approach the band takes is perfectly executed, creating the haunting yet brutal atmosphere I've come to expect from Coffinworm. The beginning of "Black Tears" is a trudging doomy section ripe with bleak dissonant chords. Riffs that cloud the mind with black murk, hypnotizing the listener in their decrepit doom. Coffinworm craft songs that sound distinctly their own, there are really no comparative artists to grasp on to because their music is so different from anything due to the sheer quantity of styles reflected in their horrible ilk. They even bring flourishes of noise into the frenzy on the track "Of Eating Disorders and Restraining Orders" creating another level of horrific destruction. Every track on this album contains a different mixture of the aforementioned styles, keeping the album interesting, making the listener anticipate which ungodly mixture of styles will assault their ears next.

It would be imposible for me to continue forward without talking about the lyrics contained in IV.I.VIII, vocalist and lyricist Dave Britts conjures some of the most interesting and deranged lyrics I have ever had the pleasure in reading. Through exposing the harsh realities of the world we live in, yet cloaking them in mysticism, Britts creates an interesting juxtaposition between our world and other unearthly realms, seeming to speak to the idea that the world is far more twisted and horrible than commonly thought. Every track is laced with this sort of urban occultism with lyrics like, "Shooting syringes made of filed-down bones/Injecting the filth left from our subconscious minds/Stemming from our previous lives" Britt's continuously brings together blunt realism and surreal occult elements throughout the entirety of the album. All the lyrics are spewed forth by Britts either in a venomous rasp or a deafening guttural roar.

IV.I.VIII is simply put a record that pushes the sonic boundaries of extreme metal to new heights. It is clear that every member of this band is a gigantic supporter of the underground scene and has been for some time. The evidence lies in the band's ability to craft a record so unlike anything else (besides their debut) from stylistic reference points across the metal spectrum. The album is available for purchase from Profound Lore here and streaming here. Yet another success from Coffinworm, a band I will continuously support and keep an eye out for, as should you.

Review: Thou - Heathen (Gilead Media)

Seeing Thou live for the first time was a religious experience of sorts for me. It was at the end of the first Gilead Fest and after hours of other metal bands including Mutilation Rites, False, and Barghest among a slew of others, Thou closed the fest. As they took the stage I stood anxiously in the very front, I was about to see my favorite band play my favorite album in it's entirety. The sheer weight of their performance was astounding, I felt every crushing blow, every murky riff. At that moment I knew I was in, metal had consumed me and this was the final strike. After listening to Heathen, Thou once again solidify the reason that their music has captivated and affected me so deeply.

Heathen is massive, not only in length (reaching nearly an hour and fifteen minutes) but in sheer weight as well. Thou continue to write music based on perfectly crafted riffs. Riffs that are crushingly slow and devastating, coming straight from the Louisiana swamps. The riffs in the track "At the Foot of Mt. Driskill" contain the ancient and elemental power of the mountain that is the song's namesake. The passage at the end of the fourth track, "Into the Marshlands," is one of the most exceptional doom riffs I have ever come across. Honestly, when I first heard it I had to experience the sheer power of the section over and over again, every time I got more sucked in, enthralled by the groove Thou creates. I was so drawn in by that singular aspect of the album I couldn't move forward until I had fully processed it. The meticulousness that they pour into every portion of each song is astonishing, the dual guitars always complement each other perfectly, the drums are thunderous blows working together with the throbbing bass to continuously hold the groove together. All this attention to detail is contained within vicious and devastatingly heavy music. Not only is the music heavy but the subject matter of the lyrics is as well, focused on the rejection of this civilization, of time, of all social norms and constructs. Funck sings with his venomous rasp about returning to the fertile earth and his lyrics are beautifully poetic, riddled with symbolism, anarchism, and primitivism. This music is born out of the dejection created by our modern society and the feeling is palpable.

Strangely enough, while this is Thou's heaviest work to date it is also their most melodic. Sometimes melody complements seriously destructive riffs, like in the middle of "Free Will" where soaring melodies accompany the ruin. Sometimes it is left to shine on it's own, like in the interlude tracks Thou place throughout the album. These ethereal droning folk segments work beautifully juxtaposed against the rest of the album's sheer weight. Melody often is used begin and end songs with more delicate segments like on the two final tracks. The first of the two being "Immortality Dicates," which features the beautiful vocals of Emily McWilliams who has actually collaborated with Thou before on their split with Salome. McWilliams' vocals are both haunting and captivating, lulling the listener into a calm, quiet place before Thou's swampy sludge takes the reigns. The last track "Ode to Physical Pain" begins with a droning section reminiscent of Earth's recent work in the realm western drone and ends with a similar, although more disjointed, melodic piece. Melody is used by Thou in a twofold approach, to lament our slavish nature to society but also to act as a harbinger to a new world, one free of such restraints, a world that Thou has dreamt of through this record.

I had extremely high expectations following Thou's last full length, Summit, and subsequent EPs and splits, these expectations were not only met but exceeded. As someone who at one point in their life basically only listened to Thou, honestly pretty obsessively, I am quite familiar with their entire back catalogue. Heathen is a shining jewel in a sterling crown of doom. Through adding new, subtle textures and applying the same level of detailed songwriting combined with crushing riffs, Thou have created something devastatingly beautiful. You can pick up the CD from Gilead Media here, the packaging is beautiful and comes with all sorts of extras. The album can also be streamed and downloaded directly from the band here. This record comes with the highest possible recommendation, stop reading this and go experience it immediately.