Ævangelist - De Masticatione Mortuorum in Tumulis (2012)

Full Length, Debemur Morti Productions
October 16th, 2012

Genre: Black/Death Metal/Industrial
Region: USA

From the minds responsible for Benighted In Sodom, the duo known as Ævangelist have created De Masticatione Mortuorum in Tumulis a unique and sinister hallucinogenic death-cloud. I thought it would be in your interest in knowing, listening to the machinations recorded here.

Actually I’m pretty late on it myself and these guys have been busy, releasing Nightmare Flesh Offering a new 7” in the last few months, To the Dream Plateau of Hideous Revelation a new split with Esoterica soon (their side is already available), and their new LP Omen Ex Simulacra in the works already — evidence below:



Yes Cthulhu, yes H. P. Lovecraft, and you can bet that title and the lyrical themes revolve around the man’s work and influences to some degree. This is all a plus for those interested but it is used quite a bit, and doesn’t do a whole lot for me usually — however Ævangelist’s wear it very well and in an original way. There's more at work than just this thematic influence so let’s get to this record’s other aspects which are also fantastic.

The cover art depicts a tentacle-web of ancient horror, deformity, death, etc. and that’s pretty much what this duo have constructed here, specifically through emphasis on atmospherics: digital, symphonic, this all feeds into the foreboding quasi-angelic haze suffocating every square inch of this tomb. The production adds to the static, crunchy tone that permeates the record.

None of this is surprising to those enjoy the previous projects both members have been involved in, though this new formation is evidence that they have more intriguing insights into the void of death from these two.

Buried under the sheer weight of the terror and horror is a repugnant plume of death metal with certain black metal influences (cue the eye-rolling) that strangles the listener slowly. When those influences are strongest it more often sounds like Darkspace through Wormed (terrible analogy), and overall I would say this record leans a little more to the side of death metal than anything else even with the huge emphasis on atmosphere.

In fact their unique breed of pestilence is strewn liberally throughout this record but again never without being accompanied by negative illumination and sour flows of the dark symphonies you hear on the first track; which is the only one which indulges in stretching that atmosphere as long as it does.

Out of the box an eerie sample greets us on “Anno mortii : Gnostic Transcendental Heresy”, something I’d describe as an industrial terror-dimension themed soundscape that drifts from the rough and cybernetic, then to cathedral and ghoulishly angelic patches of undulating sound-craft. This is different than one may expect, far more tech/machine driven rather than fleshy or organic as the cover suggests. Supernatural for sure.

This purgatory extends becoming all the more cavernous and the atmosphere is certainly foreboding and rich, and it is interrupted by a death and black metal siege: malformed tremolo frenzies eventually give way to a swaying rhythm that dominates the track. A wall of distorted fear tearing through the atmosphere, a stream of psychotic and indecipherable roars, strangled and muffled growls no doubt relaying some kind of primordial curse.

Vocals are sick and varied if not very out of the ordinary and get a little muddled in the conjuring noises but that may just be the hypnosis working. They do contribute to the frightening haze though. This is a track, the longest, where all the ingredients Ævangelist deal in are at their most reactive and expansive. They opt for different combinations later as you’ll notice.

While the similarities with recent aberrations of the genre are easy to spot the structure overall are less complex in technical structure than say Mitochondrion in the guitar/drum arena, and not as amorphous as Portal’s. Ævangelist craft these and other influences into new forms unlike their peers, they have their own approach and it's effective. While there’s still there’s a strong tradition of crawling, often thicker-than-expected riffs the key is in repetition, swirling, and this builds alongside those aforementioned elements (usually slow to mid paced

This is definitely not to say this doesn’t get pretty complex and full at times, the opening track for example, but this more so to do with a convergence of well crafted industrial “noise” or symphonic atmosphere with these other aspects than more twisted riffs and fast drumming.

Look to “The Longevity of Second Death” for example of reliance on repetitive blows while simultaneously poisoning through atmosphere: we’re treated to a huge and spellbinding set of slow, swaying rhythms which saturated the majority of the track, over those fearsome snarls and floating symphonic ether that erode sanity from all angles.

Even at it’s most simple they resonate strongly, and the nightmare ethereality never parts from the earth-chewing death metal. Take the three shortest, most straightforward tracks “Pendulum”, “Funeral Monolith”, and "Blood & Darkness” where those influences are strongest.



“Pendulum” shows a better balance compared to the opener and an example of how well it works. As chunky and dissonant rhythms plow through the six minutes the droning cavalry wails like nuclear war sirens. These wails contaminate and adhere to everything despite the continuous and belligerent hammering from the other instruments, on a more traditional and deliberate path. There’s some pleasing moments here.

“Funeral Monolith” is similar in this respect, and more easily grasped. The passages are more well lit and decipherable, chunkier and death metal oriented — but it does not relent in its darkness, horror-drone atmospherics clouding the deluge of death beneath.

The occasional rise to the fore of eerie feedback between the both meaty rhythms and twangy sustained discord is perfect, like an orbiting entity affecting everything it comes close to. It morphs and modulated beneath as well as if it were being held under a liquid often alongside the vocals.

This track and the chaotic forerunner to it “Death Illumination”, which really flattens shit in it’s wake, are stand outs for me, though it’s a record where there’s very few weak points and all tracks stand like pillars.



So, what could sometimes seem like a concept that could easily get messy and confused, or even boring if not approached with skill or passion Matron Thorn and Ascaris show to be a worth while exploration in horror and metal. They’ve been thorough. De Masticatione Mortuorum in Tumulis is organized thoughtfully and Ævangelist’s creative output on this record is impressive. Like some kind of inverted, crippled Lykathea Aflame.

There’s one instrumental, “Hierophant Disposal Facility”, and it is staggering with again a much more industrial-ethereal-horror, percussion and bass emphasis at first which entrances no less easily, and eventually bringing the guitars in for the later grooves — slowly twisting and bending over nine minutes in order to deconstructing you spiritually.

Even after being dimensionally raped over the course of this journey, the finale will still surprise you, especially on it’s immediate front with clean flanged-out progressions and bouts of instrumental reflection. “Crematorium Angelicum”fells like it was produced differently, thinner. Regardless it transforms quite a bit over these final nine minutes, going from some kind of bizarre Pantera - Planet Caravans cover to a very Darkspace-esque tone by the time we approach the middle, back again with heavier delay effects, and into a descent.

Chalk another up to the growing “awesome records that I missed last year” list. I wish I had been more attentive because De Masticatione Mortuorum in Tumulis displays how ugly and ferocious new breeds of this genre are becoming. It’s a creaking monster of the trans-dimensional depths. If you’ve fucked up like me and didn’t get to it last year then seriously buckle down and dedicate an hour to this. Fans of Antediluvian, Portal, Mitochondrion, Darkspace — anything like that, you should give this a glance.

Pick up a copy of it if you can. Head over to Debemur Morti Productions' webshop to do just that and follow them elsewhere to keep up with their progress. I’m certainly eagerly awaiting their next record and really want to hear the split and EP once I get the chance.

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Gets Worse - Gets Worse / Year of the Bastard / Negative (2013)

EP, Hygiene Records / Evil Purple Bastard
August 3rd, 2012 / January 3rd, 2013 / May 10th, 2013

Genre: Grindcore/Powerviolence
Region: UK

This becoming a common theme but yes, once again I went about my life oblivious to something absolutely devastating last year: Get’s Worse and their self-titled 10” grind/powerviolence masterpiece. I believe it was the curator of Perpetual Strife or the guys at Built To Blast that alerted me to Gets Worse. And these guys are not fucking around. They craft savage grind, blunt and unyielding in it’s fury. Shit that is hard to top.

So while I missed that last year, you better believe I’m all over their two new EPs: Year of the Bastard which is digital only for now and Negative which was recently test-pressed in 10 copies for now. Both of these records prove Gets Worse remain stiffly at the head of the pack in vicious sonic warfare especially in the UK and are unwilling to compromise in their composition of undeniably ferocious powerviolence.

I’m going to wrap these two new EPs into one post here and also because it can’t be ignored I’m including the 10” from last year because it’s truly terrific; making this a three-in-one. Also I’m not including a link for the Negative EP that was just released right now since I don’t want to be a complete scumbag and leak shit. Besides it is a test pressing and it’ll be pressed in larger numbers and probably make it’s way onto bandcamp for free like all their other records.

Some patience if you please. I'll post a link pretty damn soon.

If you’re not familiar with Gets Worse they’re a three piece who hail from the UK and who are also pretty damn new to the scene as far as I can tell. You wouldn’t know it from listening though. Their first demo surfaced April last year and already blew shit up effectively, but it was quickly followed by the 10” which displayed powerviolence that will loosen bowels and leave massive poisonous craters; so loud and polished and tight it’s unreasonable.

Gets Worse are different from Napalm Death, Iron Lung, Water Torture, and Frightener but residing in that same realm, taking copious influence from them. Clean and filthy at the same time, the guitar and bass are thick and gritty chewing through speakers and headphones, tight drumming rattling the skull and blasting holes in windows, and vocals that will collapse lungs. Social and political themes abound, dealing in the disgust with weakness and ignorance, intolerance, all that good shit and fuck does it translate with the frontman’s pipes. The art adorning their records (by Tom is the Bastard) is pretty damn eye catching and slick too.

The self-titled 10” I grabbed maybe two months back and along with that ACxDc/Magnum Force/Sex Prisoner and SBB/Water Torture has been in heavy rotation ever since. Packaging is beautiful and so is the colour. Thirteen tracks in sixteen minutes (their longest release, including a Charles Bronson cover) and all of them gold, with a few major stand outs even then.

Three of them are within the first couple of minutes: "Tuff Guy" starts slow, an evil bass riff before the guitars join the groove— then boom, you're thrust into a squall of anger. The break down comes and then again the track accelerates savagely; the e-brake pulled one last time before the end. "Cheapass Weekend" scalds you with the blazing snare and sliding fury of powerchords before taking a very traditional punk groove and driving it into filth. It's a great thing indeed.

“False Friends” is the third monolith, craving high volume — a frenzied stomping brawl with one bringing in harmonics, and then a gap with a line worthy of a smile: "GO FUCK YOURSELF, YOU FUCKING ASSHOLE!" Very cathartic and also a bit amusing, proceeded by a distant shouting chorus as the riff gains momentum to a blunt ending.

Really though everything Gets Worse have recorded hear shouldn't be taken lightly. It's all written to be razor sharp and brutal. "Kill Shot" and "Armchair Activist" contain some huge grooves and nice switch-ups in pacing, easily as addictive as the former three songs. And then all of a sudden they drop "...No Fuss" on us and oh man is this ridiculously heavy. It's the first truly slow track and remains so only for a short time after a deceptive intro ramp: each blow from the guitar/bass coupled with the cymbals crashing, kicks peppering the sludge. This doesn't last however and the turn is not as predictable either: a brief grind and then into a bouncy set of rhythms.

"Straight Up Schrompfin", "Beyond Words", and "Liquor Lobotomy" have some of these lethal slow moments as well but play with them differently, and without fail coming up with spellbinding material.  Particularly "Beyond Words". The Charles Bronson cover is spot on and "Loner" should be mentioned specifically for it's Adventure Time sample at the end, if not for it's 30 seconds of stroke-inducing grind. The only other relatively short track is "Toothless" which quickly winds up and back down just as fast.

Year of the Bastard continues the attitude soaking the 10” with four filthy slivers, starting with the slow crawl intro of “No Resolve” which turns into a bloodbath not long after the sludge has settled. "Daily Fail" is 22 seconds of utter obliteration with an opening riff that will sear into your brain, followed by the no less grating and livid “Tunnel of Goat!”.

The self-titled track is the last one and is vrushing in it’s vitriolic agony, the vocals before a feedback-drenched sample (hilarious by the way) are some of the most pissed I’ve heard in a while — spazzing over top another deeply pleasing slow riff. There is no way you’re not enjoying this if you even remotely showed interest in the self-titled record.

Finally there’s the newest slice of material entitled Negative. And guess what? It’s no less terrifyingly awesome as the previous two records. Opening with a short and slow intro (“Negative PV”), Too Much Talk shows immediately Get Worse haven’t been slacking with a white hot attack, leading into a crushing break down and a frantic close.

The beast in this one though is quite obviously “Excessive Bullshit” — holy fucking shit is this aggressive and loud. This is the one that's been on repeat for me: an open that is a blistering pummel cut into by a perfect groove, which only gets more engrossing and reprehensibly enjoyable. It swings so powerfully you can't help but sway in it's gravity. The drums puncture your chest, spine-curving screams and growls shift to various styles all of which harbour great animosity in fractions of seconds. It's a track that will leave none standing.

“Scabs” sees them dive back into restless tumult, managing to entrance before droping out with only the bass left, and a final crushing riff. “Neighbourhood Ninja” opens the second side in expert fashion — eroding your bones with frenetic thrashing which opens up a bit more as the blasts become more punk-paced. “Pessimist” and “Positive PV?” might be my favorites on this side, back to back monstrous forces slamming down like granite slabs in rapid succession. The last one is “Stubborn” and it takes a similar approach to the opener but a little more bulky: tribal drums at first, then a slow writhe with layer screams and growing noise/feedback.


I suggest you do not hesitate to support these guys. I don’t know which release I like more because honestly they’re all without blemishes, equally enjoyable and jarring. This is sharp, finely tuned delicious grinding violence of the highest quality. Gets Worse have unleashed a series of precise strikes that will break bones if played at high enough volume.

The self-titled 10” is available for free download on their bandcamp while physical copies are very limited there. Same goes for over at Evil Purple Bastard (a few 10"'s, red I assume) and Hygiene Records (only the CD version) as well as probably a few distros, or from the band; they’ve said they’ll be out once the tour’s done. It comes with a download code for the Year of the Bastard EP which is not set to be released physically yet.

Negative is being pressed en mass to be released on May 10th as a co-release by Hygeine Records and Evil Purple Bastard so keep your eyes peeled for that. It is now available on bandcamp for free and in physical format. And also on bigcartel so there are many options guys.

Oh and as an added bonus they have their first demo up for free too if you’re into more free shit.

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Svartidauði - Flesh Cathedral (2012)

Full Length, Daemon Worship Productions

December 3rd, 2012

Genre: Black Metal
Region: Iceland

With the imminent release of one highly anticipated Icelandic black metal record (Wormlust's 'The Feral Wisdom") now would be a good time to shine the light on another hidden scourge emanating from that isolated and beautiful land. Svartidauði slowly and quietly honed their sound over ten years of selective demos and EPs, all their work thus far culminating with their first full record Flesh Cathedral and it is undoubtedly impressive and harrowing.

I admittedly only just caught on to the enigmatic one-piece Wormlust (for shame, yes) and this is the same for Svartidauði. Both of these bands are dabbling in the more dissonant, eerie sides of black metal via Deathspell Omega, or much like Thantifaxath likes to deal in but theirs is a little more distinct and jarring. Svartidauði have found another avenue to explore and they do it well.

Flesh Cathedral commences with "Sterile Seeds", a song that makes it clear from the outset that Svartidaudi have something unique brewing, crafting a swirling riff that begins as a muffled, crunchy pulse, chimes and chasmic barks incanting around it. Once the transformation through cycling noise is made you get a clearer picture of the beast surrounding and it's humbling to be sure.

These guys have taken great care in their writing, each song progressively gets more complex and spidering outward, mixing atmosphere with unnerving cacophony. Another big transition occurs around six minutes in, a pillar like jagged riff surfaces and will surface again. Infact the selftitled track here also has a similar evil riff that infects the rest of that track. Svartidauði cast a spell of monolithic proportions from the start and I easily fell under their spell.

Very much like Necrite in tone I would argue but with a different focus, which is being sick and warped and dragging in acrid fog, the structures are corroded and fluid: the riffs sound tense and severely malformed, between the blasts of cold tremolo attacks, the vocals coarse and shrouded. The approach is much different. Also the record feels clean in that the instruments don't get muddled but retains that wonderful murk so it's still organic sounding, not sterile. In the wide open tracks they present there's a lot of room for the drummer to be creative and you see great examples of that in the particularly long final track.

Occasionally like in the opener they strategically place sampling or noisey moments, in this case almost sounding like a looped passing train, or the final fifteen seconds of "The Perpetual Nothing" where there's spine tingling metal scraping, like rusted gates swinging and steam valves being released.

By the time you're introduced to Svartidauði in this current incarnation on the first track they've shown that their dedication over all that time has amounted to something worthy of being put along side their peers. Certainly something of a milestone for them I would imagine.

"The Perpetual Nothing" leads with it's dissonant side but devolves momentarily into frantic classic blackened turmoil, blasting and occasional slower fills; showing their cabilties to thrash with the best between their experimentation. This cycle repeats to the point of a percussive cascade, directly into a mesmerizing modulating string skipping passage, bass pounding it's own path, peppered with wails and switch ups on the drum front. I enjoy these moments a shit ton and not only does Svartidaudi's technique employ a decent amount, they manage to further alter it in it's course several times in this song alone to make the groove unending and refreshing.



One of the best moments on the record and it ruptures into a very Deathspell Omega-esque chaotic brawl, in fact several very interesting tumultuous sections close out this song. The tight, technical yet atmospheric approach is hard not to love.

It's impressive at this point already but the Icelandic witchdoctors have another nearly thirty minutes of conjuring to perform, and the selftitled track continues their established path. "Flesh Cathedral" actually feels a little more bassist friendly as the growl is far more present here than previously, particularly at one moment a quarter in where it's rumbling strongly alongside the guitars discord and then in the final fade where its isolated before a tribal build.

At the halfway mark there is this mind rending build, it's completely intoxicating as it fades between background noise, upfront sharp gouging, and slow sustains where the bass is left to ponder over feedback. But the melody is still there, twisted and lingering for a time before going back to that ugly scraping over plunging bass lines one last time.

Out of a tribal drum build from the previous song, a squall erupts in the form of "Psychoactive Sacraments", the eighteen minute leviathan closer. It's longer as it indulges in more slower writhes at various points which remain creative and chilling, but the start is far more in step with DSO again. One of those slower sections comes pretty early though and you get a sense as to how oppressive they will continue to get, in one instance the bassist pulls some Forest-like fret work.

The decay, the suddenness with which it stops and morphs to a blackened blitz — this pattern sucks you under ocassionally breaking back upwards for one of those twangy, strained slow downs. Once or twice like in the first track the silence returns and the riff is muffled for instance in the middle here, though its far more brief, buttressed by aching screams that sometimes waver close to clean territory. A pretty big groove evolves from one of those dirges and leads to a solo on what sounds like a flute to me (probably melded some with a lead guitar, or an effect), soaring above the dissonant rhythm and contrasting well.

Oh and those last few minutes after the collapsing chords where the riff sounds isolated, stuck repeating and pitch shifting as it's wound and unwound, it almost sounds like a twisted reinterpretation of the last few seconds of Pantera's "Floods". Nice and eerie way to end the record.

If you didn't already know I really recommend fans of crawling black metal get on this one. Enormous, complex, maybe a little psychedelic, pretty damn vile and captivating. I myself am ashamed I had not heard of these guys before last year but I'll certainly be watching them eagerly now. In the top twenty of 2012 no doubt and in my top ten, I gotta recommend this for those in love with the twisted and heavy like Deathspell Omega, Necrite, and Nightbringer. Flesh Cathedral is a wicked black metal gem that should not go unnoticed.

So far this is pressed on cds from Daemon Worship Productions but every copy has been sold out for a while which sucks cause I would love to get a copy. Follow these guys on facebook for more info on future pressings and their plans.

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Crawl - Mine Maille Shone Not The Light of Death (2012)

Demo / Live, Self-released /Independent

August 1st, 2012

Genre: Sludge/Doom Metal
Region: USA

Not long after I listened to Crawl's demo I purchased the cassette release that follows it titled Mine Maille Shone Not The Light of Death. As I mentioned in that previous post this Texas experiment in tortured ambient doom has found a more unique avenue to express the weight of defeat and uncaring isolation through a simple ceremonial set up of drums, bass and vocals (and here a didgeridoo), and with Mine Maile... Crawl capture this desolate expression more intensely live.

"The recordings herein serve as an interpretation of failure. They are not intended as a gift to the spiritual inner, but merely as a gateway to the tunnels of depression brought unto the underwhelmed. 

These tracks have been released onto tape in order to properly express the beaten and downtrodden aspects of aural imprisonment."

This is how the author wishes to express this records goal and perspective. The three tracks here do a good job at instilling those feelings of swirling around a frigid and dark drain, droning agony filling your consciousness. Instead of shorter dissonant doom spells, on Mine Maille... Crawl is reveling in a slow, blunt bludgeoning from the out set, swamped in rust and archaic ritual odours. However the change is a shift away from the heavily distorted machine-like pace and sound in order to find other paths to grow from.

That is not to say this element is completely gone, but this tape seems more focused elsewhere. The first blow comes in the form of "Breath of the Dying", a ten minute descent marking the start of that different approach for Crawl. This kind of sonic force does well this way if tailored properly — again it's not funeral doom but it's also not the dual bass stoner rockfall of Horse Latitudes either. Crawl desires to meddle in more chilling, martial horrors. After a quiet build that brings the anxiety up with tribal thumps, feeback announces the journey has commenced. With this track it is the closest the record sounds to anything on the first demo (track two would be a good example).

You'll get an intoxicating dose of tone all the way through the opening song from the thick humming and growling that takes heavy swings in the pitch black atmosphere. A solid and slow groove is carved out in the tolls of a girthy bass tone and enormous, hammering percussion in harmony with one another. The way the track flows gives more insight into the title. It progresses to a point of feedback resembling a flat-line and kick/snare drops, and then becomes cold with only the beat that slows drastically like a dying heart in the cold of night.

(Unmarked black cassette)

"Summon Greater Bonespirit" is a pretty substantial track despite what it might sound like. This is where the didgeridoo is utilized to surprisingly great effect, much like a siren in the middle of a either a raging fire or torrential downpour as thunder rolls ominously above. The combination works well, drawing you into Crawls hex from a different position. Those blasts oscillate occasionally as if off kilter sometimes (foreshadowing), the atmosphere only disturbed by eerie whispers in the right channel at around the four minute mark — and suddenly you're shocked from this fade by an augmented howl from the didgeridoo. Digitized, industrialized. Much more 'noise' oriented for that brief section, a very clever use of that instrument in my opinion especially for doom — blending a little death industrial in there.

By now it's easier to recognize that this heap of sludge has been experimenting more even within it's own forming niche, in "Frozen Horror" the ambient side comes out for four minutes but does not expand much. It consists of a chime or bell that has been distorted and morphed, and flexes over the course of the track sounding like something out of a horror film. The dragging samples are the final sounds on the tape.

As a live recording it sounds fucking crisp: bass and drums while pounded ferociously are not distorted or muddy, sharp cymbals, though the vocals are a little too far back. The style though may lend to being a little more buried: frenzied screaming like the angered caws of a raven fighting over a cadaver. It's a cryptic release and feels more like an interlude or teaser of what is to come than a proper or thirst-quenching record but what is hear is not replicated elsewhere too often, if at all.

If you're into the heavy and obscure there's no reason not to check this 19 minute live ritual out, it's free and crushing so I recommend you do. The changes do nothing but make the project more intriguing. Below you can get a taste of Crawl's recent pulverizing ceremony.

Also if you like what you hear you can grab a copy of the limited cassette over at Crawl's big cartel store in both regular and limited edition, and at Murder/Suicide Incidents, or a digital copy on their bandcamp page. I was informed he was going to update the store with more merch in the near future so check back if later if shit's not up. Follow on facebook for show and future release information.



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Black Mask - Black Mask (2012)

Demo, Very Tight Recordings / Get This Right Records
June 1st, 2012

Genre: Hardcore
Region: USA

Just another record request that got buried and I unfortunately just never got to it. It's stupid because a few months back I came across them on bandcamp journey and that's when I caught Black Mask's demo. Then I checked my inbox on a hunch and bam — my inattentiveness laid bare. Anyway I've been spinning it pretty regularly since then. Black Mask are a four piece hardcore unit from Pennsylvania with just this six song demo to their name, but I suspect that they'll be pretty busy in the next little while if their sound here is any indicator.

First thing that has to be said is that I am under no illusions about Black Mask's sound, they're not exactly breaking convention or pushing the innovation envelope. It's very feedbacky Entombed/Converge/Catheter influenced crusty-thrashy-core much like a lot of the recent Southern Lord catalog so if you're tired of that you're probably considering a pass on this one. I suggest you give this a shot despite your warranted cynicism. For me all that doesn't kill something as long as the material does what it should do and these guys can manifest some vicious hardcore that resides a bit on the dark and crusty side. I keep coming back to it.

The guitar tone is that thick chainsaw growl that Vorum, Magrudergrind, Black Breath, and early New Lows have adopted and it definitely amps up the simple break downs and hardcore rhythms to have greater impact. All of them strike with a lot of force. Lots of sharp feedback between songs and in fills and the vocals are what you might expect: pissed, rasped, and loud. Very much like YAITW which is hard not to love. Drums feel a little weak in the mix at times with all the noise (not the performance), while the bass is clear but not as chunky/weighty as say on a Protestant or Converge record; some minor shit that doesn't lessen my enjoyment overall.

Stand out tracks? Honestly they're all really good. "Bottom Feeder" and "Serpent" probably if I had to say followed by "Agony". The first one there is hugely memorable and catchy (like something ACxDC or Osk would do but a notch or two slower) with a giant final riff, the whole this is very tight and should be played loud. The opener "Serpent" has a similar finale that just cracks concrete, leading into "The Greys" which is fast and gnarled.

We get a slight change of pace in two songs: the closer "Loner" which is shaped slightly different then the rest of the tracks, littered with bends and a thick oldschool groove. And then the only break in the hardcore gallop in the form of  "Death Unfolds", a static and feedback-laden semi-doomy instrumental flowing through a lone, crawling bass line for the first minute only to evolve into a nice slow buzzing procession.

This is one of those records that is just simply enjoyable, something that if you cranked your tubes and started jamming to you would get a great deal of enjoyment out of; I've done that few times. No real weak spots as the focus is clearly on aggressive, short, noisy, and catchy blasts and while it's hard to fuck that up it's also hard to make it interesting anymore. Black Mask do it for me an laugh in the face of a saturated scene.

Brutal, loud, jagged hardcore that I slept on. Recommended to those of you who like Converge, All Pigs Must Die, Young And In The Way, Baptists, Magrudergrind, Black Breath, etc. you'll appreciate this. I guess if you are the cynical type you can at least rest easy knowing black metal is left out of the mix. Plus it's less than 10 minutes long so they won't wast much of your time.

If you want it you can grab it for $3 on bandcamp or for a physical copy check out Get This Right Records for the 7" version. Follow them on facebook for more info on tours and upcoming material.


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Osk - Wretched Existence//Bleak Future 2007-2010 (2012)

Compilation, To Live A Lie Records
April 9th, 2012

Genre: Grindcore
Region: Canada

Finally got a hold of this: compilation of all Osks' material up to 2010, including the spits I have. It's a wicked collection that represents the band as well any full length would. Wretched Existence /// Bleak Future should have made it onto my year end list in at least the underrated section if not on the main list even if it isn't new material. Actually I just recently realized that Cvlt Nation gave them some attention right around the time I was still checking out records for my Canada article

What's great is it is absolutely about trampling you but the shifts in pace and ideas is very frequent and swift which keeps things very fresh without leaving the fundamentals. All of it is smart and very much worth your time, in this case just over 20 minutes. You can spare it for Osk especially if you're as late on this as I am. This is well worth the small amount of cash and they sell it cheaper live too. This mangled patch of grind is laid out as follows...

Tracks 1-5 From Split w/Scumbelly
Tracks 6-9 From Split w/Roskopp
Tracks 10-13 From Split w/War Hero

The first 13 tracks are all from their early Canadian grind-powerviolence colaborations which I've mentioned before. This is where two of my original favorites reside ("Endless Repent" and "Arm Yourself") though really Osk are not a grind band that mess with filler as far as I can tell, and manage to keep their grind chops varied. For example "It All Means Nothing" reeks of Mudlark with the slow swing of the rhythms, or "Empty White Box" which starts out sounding like something Adversarial might cook up but then shifts back into the grind ebb ("Blank Page" does this too), and "Giving Up" which has a GridLink/Sleep Terror quality to it in terms of it's urgency and intensity of the abrupt riffs/blasts.

This leads into the deadly line up of "Endless Repent", "Knowingly Ignorant", "Arm Yourself", and "Beyond Control" which are some of the more memorable tracks they've put out. "Assume" is an addictive 40 second thrash attack with a minute amount of dissonance. You get the idea: everything on these splits is loud and finely tuned for scorching earth. A few I heard a few weeks back when they opened for Iron Lung.

Tracks 14-16 From Split w/ The Afternoon Gentlemen

One of the tracks from this split I had heard ("Mouth Pollution") but the rest I couldn't find. Now that I have WE/BF that's been remedied, and the three tracks here continue to show Osk's merciless grind assault in a very good light. "Stranded At Sea" stands out the most for me because like "Empty White Box" (but even more pronounced and focused) the specter of death metal grabs hold for a few seconds to great effect. It's really cool to hear some of that influence surface more purely before being mixed into the grind chaos, it's impressive and something that I really like. "Stranded At Sea" is quickly moving up my list of favorites from them, the mixture and positioning of the styles and the strength of the material that filters through them is tremendous; all in one minute. "Walking Asleep" is also worthy of a mention: the aggression will erode your skull like an eraser on paper and then the grooves that follow make it all the more sweet.

(If you want to hear/download The Afternoon Gentlemen's side of this split they have it up for free on bandcamp)

Tracks 17-20 Previously Unreleased

Several of these (17 and 18) I had heard prior to this but I suppose they are officially the unreleased songs. Not overly remarkable compared to some other tracks here, but the ruthless approach has not lessened and there are a few excellent moments in the long tracks. "Lie Thru Yer Teeth" is one example especially from the mid-point onward where it turns into stoner sludge almost, and "Creeper" slows things down a way further. Osk certainly can shred 30 seconds in pro fashion but they can do an equal amount of damage in longer stretches without fighting to hold your attention.

Track 21 From Intellect Comp.
Track 22 From CYCL 2 Comp. 

The final tracks are from other compilations I've never heard of, and one track here "Gobs From Reno" I heard live when they closed their set with it. It's a real nice song hampered a little by the production here. "Earwig" is another exercise in compression in under 30 seconds, slashing through powerviolence territory with razor riffs and a small amount of chunk.

Again I recommend grind fans check these guys out. You can buy this from Scream//Writhe, To Live A Lie Records, and probably a few other hardcore/punk/metal distros out there so check around.

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Old Soul - Who Are Willing To Draw Close (2012)

 Full Length, Dingleberry Records / IFB Records / East Train Records
 2012

Genre: Blackened Hardcore/Post-Rock/Black Metal/Post-Hardcore
Region: USA

Apparently I missed this last year as well. Who Are Willing To Draw Close is something I came across by accident and I think it's pretty sweet. I'm sure the combination of genres will pissoff a few people out there and normally I'm a little wary of such mixtures these days, but like I said this turns out to be very enjoyable. Containing only four tracks Old Soul's second album should have got a little more attention.

Five guys from Mount Pleasant that are experimenting and coming up with some sounds worthy of your time. Both of Old Soul's present releases are short and sweet, realistically EPs but the content is pretty sweet. I would describe their compelling style as Celeste channeling Darkest Hour through a haze of post-rock and black metal; maybe Alcest, Krallice or Wildernessking. Actually Dweller On The Threshold are doing a similar thing but in a more folk Do Make Say Think kind of direction.

Right from the opener "Crater" you know this is as least going to be a little different. The clean bends in the beginning of this track remind me of a few moments from Skagos' "Colossal Spell" or Godspeed You! Black Emperor's work. It takes a almost mid-east tone before erupting into chaotic blackened distortion, swirling and slowly breaking down and tangling with Celese-like dark hardcore until the finally volley — mellifluous and aggressive, suddenly post-hardcore is thick in the air. It combines with the black metal to make an almost Alcest beauty flowing in the twinkling black haze. They don't rest on this for long though and break into the next track quickly.


This is the pattern that gets put through some creative paces within the next three tracks, feeling legitimate and never staying longer than wanted in its experimentation. 'Twin" goes from wailing black tones to a more playful progressive chord section and back again. Amongst this strange mixture organs and children spoken word samples ("Forest" and "Tundra") weave their way comfortably enough into some tracks. avoiding cheese nicely. "Forest" is the one track that feels very much on the post-hardcore side of the tracks for the first two minutes before the climax which is a massive but quick blackened explosion, repeating only once near the end after a particularly melodic clean build.

All the tracks have this undercurrent of placid sadness that works its way out in the clean moments, "Tundra"'s intro for example. That track is another where the screamo/post-rock influences reign, and the bass is far more showcased (though the production doesn't cover it up elsewhere).

I think the record could be a little louder and maybe longer but not by much on that last part. Song lengths here are perfect and offer great variation without stumbling. The spoken samples don't feel necessary but they really don't derail the music either. The vocalist hits perfect shredding rasps and at times lets them bleed into anguished cries, percussion and bass/guitar work is complex and with purpose — there's no wankery or needless busyness and that goes for the ambient/post-rock elements too. If anything there's more to be explored here and hopefully they push it further with the following record.

Recommended especially if you like Celeste or some of what Dweller On The Threshold was fucking around with. If you want a taste go to their soundcloud page, and if you like it there's a couple of places you can get it from like Halo of Flies, Scream//Writhe, etc. or directly from them over at their blog where they have a download link to both records (here's a direct link to the store). They have bandcamp as well so you can download shit for free there as well.

The new record called "Tidal Lock" is coming soon as are shows I believe so check their facebook for updates on that stuff.

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Cower - Mind Over Matter (2012)

Full Length, Howling Mine / Vendtta / Television Records
December 21st, 2012

Genre: Sludge/Hardcore
Region: USA


I've become obsessed with Cower over the past few months, this record in particular but even more their split with Thou (who's members really dig this as well). I'll be putting up the rest of their catalog eventually but Mind Over Matter deserves a little more time first. I said it pretty concisely in my list so lets see if I can mess it up here.

Cower are definitely flying under the radar despite their odd accessibility, putting out four records so far all of which are really good as I found out. This one is at the top with their split. Their grand, usually upbeat style of stoner-sludge hardcore is difficult to not enjoy and has mad staying power.

I think they're sometimes a four piece but usually a three piece, drummer Logan and bassist Jakob providing both clean and scratchy punk shouts. The important thing about the cleans is that they're melodic without becoming cheesy or overdone. That doesn't mean everyone will like tit of course. Tons of thick riffs sometimes filtered through tremolo and flang effects bringing a little stoner psychedelia into the mix but never oversaturating the riffs; it remains fuzzy and loud. Cower also offer a lot of aggressive punk energy that can quickly part the dope cloud and stir shit up nicely.

Mind Over Matter has a lot of variation even if you want to boil it down to just sludgecore. Listen to "Skylids" which is loud and anthem-like and also quiet and bluesy., it's ridiculously catchy from every angle and one of my favorites on this. "The Secret Garden" has similar qualities but it's arranged a little differently so as to make shit fresh, ending up with another hypnotizing song with a sick build from the beginning. Those bass lines are engrained into my mind.

Then check out something like "Fungus Summer": a pretty acoustic balad that turns into something much more once the drums and bass creep in. Even from "The Secret Garden" you leap into something much different directly afterwards. It changes over to a bouncy almost southern rock near the end before slipping into the pure hardcore "404" which only progresses into a more sludgy Converge section at the end. This is the mark for the next track "A Rocket Man's Reality" which falls right in line with the first two mentioned as it carries that Converge-twang for only a few quiet moments, yet again morphing into a swampy sway.

As on previous releases each song shows that Cower does these genres extremely well separately and fused, with passion and making them just internally enjoyable. Another example of this is in "The Lonely Road" which is a bit dark but clear cut hardcore while "Fifteen" sounds like something out of the fastcore punk '90's or maybe Touche Amore these days; high speed, frantic with a bit of a screamo vibe by the end without the vocal style. The final track might be my pick though. "Moving Day" is just so heavy and hypnotizing, from the scratchy punk intro to the  heavy rhythms and cadence of as he shouts along jerkily, it really couldn't get much better you'd think until the slow fade and build at the end.

Admittedly you might get a different impression from the first track "Cops" as it is deceptive for the first half of the song, more obtuse and angular hardcore then most of what Mind Over Matter sounds like; though these elements are certainly incorporated. The switch is made and like that the stoner-sludge influence takes over at the same pace. Its even more palpable from "Cowboys Pt. 2" (appropriately titled) onward. They do some of this mid song flips in other tracks like "Thieves of the Night" which becomes very melodic and chilled, grooves pulsing and vocals turning clean, as well as in "A Rocket Man's Reality".

Cower on each release have brought this accessibility to a manageable/tasteful level, as with the experimentation, so there's no way you can't enjoy it even if you're on a strict diet of kvlt. A sludgy Cave In is what I would describe it as except I'm getting far more consistency and enjoyment out of Cower than Cave In.

This doesn't have a physical release yet but considering the fact that all their previous records made it on to wax and cds you can bet this will, and probably from Television Records too. Possibly Howling Mine or Vendetta in Europe if I had to guess. For now it's up on bandcamp as a pay-what-you-want download along with the rest of their discography (which I will also be posting in the future) so please give these guys what you can if you like what you hear.




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West Coast Round-Up #1: B.C. Grind & Hardcore Part I

My previous post about the Vancouver group Ahna kind of resulted from a renewed interest in the underground on the west coast of Canada, specifically because I'll have been back on this coast longer than I have been in the past 4 years. So excuse this local focused and semi-indulgent round up of a handful of good grinders from B.C. and if it's not your thing then don't worry, more posts are coming. I think it fits in well with catching up on 2012 too.

It's strange growing up on Vancouver Island and just when you've become more invested and interested in underground music, you move to Toronto. That basically happened to me, and understandably from there I became more observant of the metal and hardcore scene in Toronto than I ever was of the one back west. Even when I was in B.C. I was in a place where it was an ordeal to go to a decent show (local or otherwise) even if I had known where and when, or was interested in music bands around me were putting out. I was a little underage as well so that wouldn't have helped.

What I'm getting at is I'm ashamedly very unfamiliar with the B.C. underground music culture where. I did know of and love a few acts (such as Skagos, Baptists, and Mitochondrion) however despite my geographical disconnect for so long I know I can do better.

In that spirit I plan on attending more shows when I can while I'm here, I've only been to two here compared to the hundred I've seen in Toronto. Even then in those two I came away with two great locals outside of Mitochondrion: Griefer and Ahna, plus others like sludge makers Hoopsnake. I'm kind of annoyed because I just missed a Despise You show with five bands I'm writing about here, a perfect chance to ease into things, meet people, and pick up some records while avoiding increased shipping costs.

This post will deal with releases under the punk umbrella but I intend to get some local doom, sludge and death/black metal together if I find enough enjoyable records. What you'll find below are some of the grind and punk bands I've been enjoying lately from my home province.

Ahna - Empire (2012)

Full Length, Choking Hazard Records
September 18th, 2012

Genre: Experimental/Drone/Sludge/Doom Metal
Region: Canada

Here's a case where I missed something that a) should've made a few of my lists last year, and b) I should've been on top of because I've been aware of Ahna's presence since I saw them open for Mitochondrion a few years back. Once again I find I'm kicking myself for being more oblivious than I think I can be when it comes to great local bands hammering out interesting sounds.

And that is definitely what Ahna are doing. They're a two piece — a dude on bass and a chick on drums/vocals — from Vancouver who since at least 2008 have been crafting an intriguing blend of drone and doom lightly coated in black metal and crusty powerviolence; what they've dubbed "drone violence". Very bare bones, very simple in structure and concept, and very heavy, jarring and strange.

Despite this being only 20 minutes Ahna have made every second captivating, intimidating, loud, and harsh. Their sound is quite recognizable. Empire really shows that you can birth doom that crushes without going over six minutes per song (of which there are five here), and still make it a unique experience without being gimmicky or pretentious.

I've only heard some of their previous material (plan on catching up immediately) but the impression I get from the blend of styles and lyrical content there's a very oldschool punk 'lefty' ethos surrounding their records, which makes sense given the general vibe of B.C. So if you're into that it's definitely a bonus. The tone of Empire is serious for sure and that comes across in all aspects here, thankfully they do it well without hammering you over the head.

What strikes me most now, and indeed when I saw them live, is Anju's vocals. While both members contribute in this department, Anju's are immediately what you focus on and could be the deciding factor of your enjoyment level of their rituals. Not only is she handling the percussion (powerful and solid) but she does so while emitting some of the most ear-splitting, visceral, and loud vocals I've heard in a while. They're on the higher pitched side and resemble fulminating cries of a furious demon, enunciating very clearly as she recites raw hymns about history, war, injustice, imperialism, etc. often in a Canadian context.

Her vocals are balanced out by the low death rasps of Graham who handles the bass duties, pounding out some ugly riffs both slow and doomy and occasionally fast, blackened and crusty. The main ingredient of the songs on Empire are enormous wrecking-ball blows of doom but as you progress through it the blackened and punk influences seep in without being offensive. Arguably you can even hear the powerviolence (boardering on screamo) influence in Anju's vocals, in terms of pitch and tone.

The title track and "Mental Corrosion" shows the mixture I mentioned in action. On "Empire" the pace picks up as the bass spews rumbling, crusty lines after the first minute, while on "Mental Corrosion" the black metal attack bleeds into a few moments of punk galloping, and a full blown avalanche by the end. Her rasps have a definite blackened texture without a doubt, just listen to "Shouts In My Ear". In fact in that one the approach is quite angular and the quick blasts of grind between the doom make for a very dynamic song.

I gotta say "Colony", "Empire", and "Declaration" are my favorites here. The vocals are particularly overwhelming and passionate on "Declaration", piercing you physically as the bass feedback drones and throbs, the pace grinding to a hault over noise. A perfect song to cauterize this short but weighty slab. "Colony" is really just one riff that bulldozes onward at different levels of heavy but the cadence and rhythm builds so nicely it feels like there's more going on. "Empire" has some wicked blackened howls from Anju much different from her more clear invocations, providing a nice change.

In conclusion I want to apologize to my Canadian brethren in Ahna for not being more astute last year (or indeed the past few) and giving some props on my 2012 best of Canada list at the very least, because Empire is an absorbing, scornful record that should get more attention and support. Certainly from Canadians.

They're playing a few shows in the coming months so I want to catch one of them, but for now I'm playing catch up on their stuff and the west coast scene in general. I think one of the reasons I wasn't more aware of Ahna even after I saw them was just due to the nature of their sound and my own lack of expectations. Took some time to process while I was focused on seeing Mitochondrion close the show I guess. I remember circling their merch table contemplating buying something but decided not to, and this has come back to haunt me several times; I'm sure you're all familiar with that scenario.

Anyway you can buy copies of this from Choking Hazard Records or on the west coast from Scream // Writhe, and I highly recommend you do. You can download it (name-your-price) from bandcanp too which I've linked below.


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Hell - Hell III (2012)

Full Length, Eternal Warfare
2012

Genre: Doom Metal
Region: USA

Having spent a little more time with Hell's recent full length it has begun to grow on me as much as their first record and their split with Thou. In fact it's easily in the top 20 last year (definitely in the top 5 doom releases) and would've made it high on said list of mine had I allowed myself to spend more time with it.

Often on this album Hell slowly start sounding closer to black metal, especially in the long stretches of tremolo riffs and drawn out rasps. Still  they somehow retain a full on doom pace, heaviness, atmosphere, etc. without resorting to bland funeral laziness. Hell still very much have their own sound and it's even more emphasized here. There's quite a bit of successful experimentation with the use of violins and string instruments and varied dramatic vocals in the second track, never forgetting to make it all bleak and crushing.

Overall at least half clean, harmonized, sorrowful builds echoing alone before drums, bass, vocals or distortion are introduced, which isn't completely off from their past stuff but still threw me a little. III balances the frigid quiet with the explosive tremolo wandering and dissonant doom very well, the simple structures and intensity of the rhythms combine with well crafted writing (maybe their best following their split) and come out with an under appreciated smoldering doom gem.

Only two tracks this time, structured similarly and clocking in at just under 20 minutes each. Both are honed, very strong pieces of charred doom that will collapse mountains if played loud enough. "Mourn" takes a few minutes to climb on clean melancholy before plunging into a very sick series of tremolo attacks, which lose momentum and collapse into a moaning abyss of feedback and down-tuned ugliness.

And then, right when you think its ended a reconstruction begins to take place over top the distant howls, leading into the second side of the tape. "Decedere" opens with another clean reverby passage, the tone a bit different but entirely groovy; accompanied by violins. This is a another wonderful slow build as the tone changes again to almost

Following a silence we start to ascend through mournful chords, before feedback bleeds in to claim the song. The main riff here is mesmerizing, feeling slightly crooked in it's depressive gait, made even more so by the operatic vocals — intensified by a dialed-up pace, altered by tremolos and powerchords to bring the heaviness to higher level. There's a switch midway to some serious fuzzed-out doom trudging (by way of Joe Preston), sampling and noise, a final spiraling push (which has some serious atmospheric black metal characteristics), before lonesome and clean finale.

All of which will sweep you into the darkness guaranteed.

Hell's III is probably a grower for some, as it was for me strangely. I should've liked this immediately but I think the inclusion of operatic vocals put me off instinctively despite enjoying other elements. It could've just been an illogical bout of low expectations. Anyway if you give it a chance it will flatten you.

This is one to check out for sure. Right now the cassette version is sold out, but since every previous release has been pressed on wax I'm assuming this will be too. I would also assume it's going to be Pesanta Urfolk, Gilead Media, Eternal Warfare, or their label Woodsmoke who will press it so watch those for updates. Or buy and stream it on their bandcamp.




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Sanakan’s 2012 Year End List

Late as fuck.

Before I get to my top 20 for 2012 I’m starting with an unnumbered underrated records list that accompanies my overall honorable mentions; an idea I lifted from Haxan over at Forever Cursed. A few of the records I would consider fitting for this list end up on my top 20 and as such I’ve just left them off this one.

I’m also closing this whole shitpile with a best live shows list which I thought could be fun. Since I’ve been to quite a few this past year. I'm only listing six since they stuck out the most. I would split this into two posts but why not cram it all into one wall of text.

If you don’t give a shit and want the main list scroll waaay down.

Amenra - Live (2012)

Live, ConSouling Sounds
October 2nd, 2012

Genre: Atmospheric Sludge
Region: Belgium

It's coming up on the release date for Mass V, which is up for preorder right now from Soul Slayer and Neurot Recordings. Until then we have a live record of theirs.

Eight tracks in total from four different rituals from 2007 to 2010, each show recorded and mixed by different people. The first three (De Dodenakker—Nemelendelle, Your Shapeless Pain, Aorte—Ritual) are from the visceral live show on 23.10.09 in Belgium which were captured and released on their infamous dvd, as well as their four part 7" split series. 

"Your Shapeless Pain" is easily one of my favorite Amenra songs, and hearing it altered and slowed down slightly live makes it even more powerful. "Ritual" includes guest musicians from Oathbreaker (Caro on vocals, Gilles on guitar, Kristoffer on bass, Thomas on percussion) who they've toured with often and are fantastic musicians; Caro's vocals are great especially in the context of this song. A little different from her style in Oathbreaker.

The extension of this track is wonderful — as Colin is hoisted up on the chains and members of Oathbreaker are slowly added to the stage, creating a thick layer of spellbinding chugging and pounding drums, to the final moment when Caro screams Colin's lines: "Chains encircle my broken wrists — but we can get out of them now!" Deeply cathartic.

I've already given my appraisal of the dvd and the songs on it in a previous Amenra related post (on the re-press of Mass III-II and the various splits), so I shouldn't need to say much. They're much more impacting with the footage mind you, but the weight is still clearly represented regardless.

The switch in the first track, just when the final throes of De Dodenakker begin to ramp up to those crushing riffs, to the final hypnotic riff in Nemelendelle is a great touch. The two tracks melt together seamlessly, replacing one set of excellent riffs for another.

The next three tracks (Thurifer, Silver Needle Golden Nail, Razoreater) are from a 2010 show in the Netherlands. Track s7 (Nemelendelle) is from a 2007 show in Belgium, and track 8 (Am Kreuz) is from a 2009 show yet again in Belgium. The performances here do not disappoint, and are a great selection of tracks from their best albums. Especially Thurifer, Razoreater and Am Kreuz. Hearing Nemelendelle in full as opposed to the spliced version in the first track is great as well.

I'm a fan of anything Amenra as you probably know already, so what should I say about this? The bass feels a little underrepresented in the mix on the first three tracks but I don't have many other complaints. The track list is excellent and the additions to songs here and there make things more interesting too. Colin's vocal style is probably my favorite at this point in time, and he loses none of his tortured and agonized tone live; if anything these qualities are heightened.

I've still yet to see Amenra live but this coupled with the dvd is all I have to experience until the day comes I can witness one of their rituals.

Definitely a good representation of their art in live form. I suggest you guys grab this one if you're a fan of their work. You can get a copy from Soul Slayer's store and at ConSouling Sounds, its packaging is as lovely as the sounds within. It looks like stock is running out so grab it quick if you want one.

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Flourishing - Intersubjectivity (2012)

EP, The Path Less Traveled Records
November 13, 2012

Genre: Technical Death Metal
Region: USA

I enjoyed The Sum of All Fossils a ton, but it didn't make my top 20 last year for a few reasons. While Flourishing play a style of haunting, complex death metal I enjoy to no end, the full length felt a little disjointed and unfocused, and it didn't pull me in. There were a few tracks I really liked (By Which We're Cemented, A Thimble's Worth, In Vivid Monochrome), and others that felt a little arduous. Their Gorguts-y tone was tasty, just barely skirting worship, but it never stuck with me.

Make no mistake. It was definitely one of the best releases in death metal last year, and it was far from being a record I didn't like, but there were a lot of others in both death metal and various other genres that held me longer and crushed me flatter. I honestly haven't given it too many repeat listens despite the quality and potential being self-evident.

With the release of Intersubjectivity, I'm compelled to make a more serious effort however.

What this new EP from New York's Flourishing shows is perfect progression, improved writing, structure, and a clear vision. Flourishing have created something truly impressive here and have dived into their true potential. They've been complex and beautifully chaotic from the start but on Intersubjectivity these qualities have been refined, honed to a viciously sharp edge while moving in a slightly different direction on several fronts.

In one aspect Flourishing seemed to have distanced themselves from some of heavy influence of Gorguts and mix what's left of it with Ulcerate (TDOA in particular) and possibly some of the sounds that drive Deathspell Omega or Mitochondrion; yet again miraculously sidesteping simple worship and carve a very distinct, disturbing sound from these influences.

This shift in style is immediately obvious from the first of the three tracks, "A Living Sundial", where (after the orchestral static in the opening seconds) I instantly recognize another change from their previous work which supersedes the one I just mentioned: the bass. The low end presence on Intersubjectivity is now a key ingredient to their sound, ringing and droning like a bell in a steeple and bringing a whole new flavor to this new dissonant path they're skulking down.

While admittedly the bass wasn't exactly nonexistent in The Sum of All Fossils (as evidenced in "By Which We're Cemented" for instance), the pace and intensity of that record relegated the instrument to a more traditional position found in technical death metal. Sure you could make it out more so than in other records, but it didn't stand out or color the sound in any big way.

That has changed entirely here. I don't know if it's due to the production or a new impetus on the bassists part, or a group decision, but the change is powerful.

Instead of trying to keep up with the other instruments in speed like other tech death acts, or being relegated to a muffled patter on more "occult" records, the bass work stands as a foundational and eerie pillar in the music. The first track is magnetic in this respect. The bass lines here were what stuck out the most, not because they were technically impressive but because of their rich addition to the dissonant atmosphere created alongside the sharp discord of the guitars, pummeling percussion, and terrifying hoarse barks from the vocalist.

They thunder and moan with deep resonance even when keeping a higher pace with the drums, and when things begin to creep they ache in a way that can only be described as harrowing. Thick and strong, building up the track after it's fallen quiet. All the while, on the guitar end the chords are struck violently when the slow down comes, and when things are fast paced they bend and writhe between howling single-note solos; invoking cold fear. On occasion things will be tremolo picked but this is never solely relied upon to force whirling intensity.

This bass-heavy emphasis instantly differentiates Floruishing from a more atmospheric death metal act like Ulcerate, where the bass is fairly lost among the chaos, essentially adding nothing to the music. On Intersubjectivity the potential for the instrument to create a frigid atmosphere is realized in ways not often heard outside sludge or doom; certainly a rarity in death metal. And it achieves this without burying the other instruments. This contrast isn't even taking into account the other aspects that set them apart from bands in the same orbit.

Another difference here is song length and pacing. With only three tracks, two of them are over seven minutes in length, providing space to concoct a layered, dynamic journey that has time to unravel fully to great effect. And even with the shortest track the refined approach they've taken here makes an impact, paced slower and brooding in darkness.

A Living Sundial is probably the best track here (or at least my favorite) with some truly ear-shearing dissonance and spellbinding rhythms imbibed with restrained technical prowess. "The Petrifaction Lottery" and "Intersubjectivity" are nothing to sneer at though. Both retain the undulating presence of the bass, with slithering, reverberating discordant riffs that grab you and don't release until the record ends. 

On the former, the flavor feels more occult to me just in the tone of the opening riffs and shuddering bass notes, as the vocalist shreds his throat over top the slowly swirling chaos. Again, the solo that appears is not flashy which is perfect — it's shrill, obscene and smothering followed by creepy high pitched harmonic notes, and a short tumultuous series of wavering, intense tremolo lines. The bass continues to hold the one riff from the beginning throughout most of the track, uttering total doom and providing a rigid backbone for the whole track.

The self-titled track follows a similar path as the first, with some more creative and haunting bass work opening the track, and then weaving within the twangs of strings, which scrape and bellow like enormous ships colliding amongst stormy ocean waters. The swells of feedback and reverb between the halts and builds adds greatly to the lumbering weight this track, and in several moments I hear something akin sped-up "Clouded" by Gorguts tones before the middle point of this track.

The tail end brings echoing notes that hang and drip into the oceanic atmosphere, forming rings that waft outward as a steady bass riff circles beneath. Except for a few brief breaks of silence, the drums thrust quickly through the majority of the track, becoming more martial near the end with some quick kick blasts in between.

I could not recommend this more. The evidence clearly shows that Flourishing are approaching new and unexplored ferocious depths of what technical, atmospheric, dissonant death metal can achieve outside of the "occult" sphere of influence while containing some of it's oppressive majesty. Intersubjectivity is impressive, hypnotic and worthy of your attention.

Please be so kind as to toss them the measly $2.50 they are asking for on The Path Less Traveled Records' bandcamp page to download this record. And if you didn't know yet, The Sum of All Fossils is being pressed to vinyl and up for preorder at Australopithecus Records as I write this — so grab a copy of that if you so wish.

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Velnias - RuneEater (2012)

Full Length, Pesanta Urfolk
September 8th, 2012

Genre: Atmospheric Black Metal/Doom Metal
Region: USA

"From the mountains 

Where storms are born 

The wind blows Cold and ruthless 

Before that 

All tremble"

The above passage was written in Lithuanian, in a silver-wax sealed letter on a cardboard slip accompanied with a handmade key. It was a precursor to something slowly approaching.

 Over a year ago I chipped in to a kickstarter project for an ambitious album from a secluded and frostbitten musical entity. The promising album and the handmade wooden boxset packed with merchandise (Beyond Victory edition) was something I was highly anticipating. A lot of dedication and thought was put into this project, both the music and the packaging.

And finally a few weeks ago (nearly a month after the above mentioned letter arrived) the ancient box, secured with a heavy lock, arrived with something equally primeval laid down on vinyl residing within, emanating sounds hidden deep within forested, snow-capped mountains echoing times when the surrounding landscape was untouched by modernity.

This project was undertaken by Velnias, a five piece black metal group from Colorado who have slowly been building their catalog since 2007 — showcasing a fairly unique doomy atmospheric black metal with folk influences.

This is their second full length record entitled RuneEater and is definitely their most cohesive, thoughtful and tightly written material they've released thus far. Previous to this they've released two tour cds, a demo and a full length called Sovereign Nocturnal, which was heavier on the doom elements compared to this new piece of work. While I enjoyed it, the first record did not feel as impressive as I was hoping it would be, but you could feel Velnias working through their sound and forming a style that was different from the rest of the 'cascadian' circle of metal bands in existence.

And on RuneEater they have achieved this with great precision, a palpable undercurrent of disgust for the modern civilization in which we reside paralleled with an equal passion and reverence for nature, and unwavering archaic atmosphere found in the deepest, darkest undergrowth of the most untouched thickets.

All of this comes through in every aspects here: the darkly mystic earthen lyrics, the bemoaning tortured vocals, the meticulous analog production, the intermittent flurries of acoustic beauty between the blackened mass of scorched riffing — this guitar work which acts like a forest fire clearing deadwood to birth new life in each following track, leaving billowing smoke that will smother the listener in an acrid atmosphere. In the shuddering bass lines which rise high enough to be clear through the thunderous drum beats that crash down upon you like a magnificent rock slide.

The cd and vinyl version of the album have different masters; the vinyl version is meticulously dedicated to a pure analog vision, recorded on a two-inch tape with the lacquers being cut directly from the tape by a different team from the cd. The packaging is also different, but both sound and look brilliant regardless of which you choose to absorb.

"Proclaim your best intentions with all your heart from atop the highest hills, you are naught but the substance of the life you choose to lead."

The lyrics express a deep commitment to the earth, abhorrence for the ills man in their pursuing modern development against nature, the slow decline of our civilization, and the glorification of times passed. Throughout the record this is made clear but one passage in "Desolation Of Grandeur" these sentiments are laid bare:

"How long will you writhe amidst the ruin of another's folly? Where are we to sow our seeds amidst the endless decay? Mine will be the hand to cast the torch to this empire ripe in its falling!"

The words are put elegantly in each sentence and with passion through the hoarse howls rolling over the woeful guitar melodies.

And when it comes to the material on RuneEater it is incredibly strong throughout all five tracks. I would argue that it is their strongest, most resolute and well written to accompany the distinct theme it permeates. The first track includes a brief intro "Velnio Maldavimas", booming tribal drums, spoken words in Lithuanian and slow "auns" to break the album open, while the third track "Velnio Ugnis" is a short acoustic piece to announce the second half.

Both songs break up the impassioned assault that makes up the core of RuneEater: "Desolation Of Grandeur", "Reverend Flames Of Antiquity", "Reclamation Of Valour", and the closer "Iconoclast". Two extend past eleven minutes and two fall just short of ten, but all of them have been carefully written to make each minute important and meaningful. The tracks flow by in no time despite their length, a testament to the enveloping atmosphere, robust song craft,  and talented musicianship.

You can hear the growth of their style throughout each track since their first record. "Desolation Of Grandeur" displays some fantastic riffs and rhythms, and they lead off with one immediately here: powerful tremolo galloping ascending and dropping back down to repeat before the vocals tear through the atmosphere. This opening riff coupled with the concussive bass is a perfect way to open such a record.

We experience the gritty distorted guitar tone for the first time, jagged and raw as it churns in and out of harmonies and feedback. The journey they pave is memorable, leading to a slow breakdown three quarters of the way through where we feel the doom peak in briefly. The scratchy howls linger as the pained strings bleed into a calm and sad acoustic melody at the end.

In the track that follows titled "Reverend Flames Of Antiquity", Velnias find a satisfying balance between atmospheric black metal and elements of doom that circles around Lycus, Pallbearer, and some of the earlier incarnations of the style. If you were worried that with their move towards a more 'modern' black metal style in the first track they were boiling down their sound to a more essential level, Velnias show here they have not left old elements to rest with this song.

This is easily my favorite track on this record. The blend of genres, the peaks and valleys it snakes through, the changes in pace all without losing the sense of isolation and cold beauty, it's all so excellently crafted and powerful. It starts quietly and cleanly, meshing subtle additions of the acoustic alongside the electric guitar; the tone is dark and tragic as the cymbals begin to shimmer in and out before the doom bursts into full bloom. This slow build and the feedback makes the oncoming crushing melodies all the more cathartic.

Heavy notes hang and dip low, wandering about like a lone traveler in the forest. It's a track that slowly melts into black metal before you're aware of it, once the pace is quickened it becomes all the more intense. But then they return to the drudgery, punctuating the pained notes and shaking bass lines with pinched harmonics and scraping.

It gets all the more sorrowful with a beautiful clean/acoustic build at the halfway point, leading to a climax with a return to raw riffing. We're met with some excellent reverb drenched passages that break away from the rhythms before the song ends — soaring from the mountain tops, drawing ever closer to the ground which they left; landing in feedback and darkness.

"Reclamation Of Valour" is interesting in that I feel it has a slightly nautical rhythm to it. You don't get it as much in the clean/acoustic intro but once the distortion, drums, bass and vocals kick in I get the distinct feeling of swirling stormy seas battering a lone vessel as it approaches feral coasts. The lyrical themes do not indicate such intentions however — speaking of the valor of vengeful battle with steel against steel, and the readiness for conflict to right wrongs of the opposing forces which built a system degrading men and the land they walk:

"Upon what skull is crown beset to afford such travesty as writ, that in darkness we are left to stumble with our hands devoid of sword's hilt? 

Truly tis the folly of fools to tread any path unarmed for unbeknownst is one when time shall come for need to spear or sword.

Hark, brothers - let radiant infinity open sleeping eyes! 

Again let hands blades hold fast and thrust them to the face of man's facade. 

Beneath open sky again shall burn the flames of our revelry. 

Beneath our feet shall run the blood of those who had stood in our way. 

With the grimace of kings, as from gallows they swing, again shall true strength reign.

Through the Vacant stares of your beheaded sons this world shall see its rebirth.

Burn by our hands!

Burn by our hands!

Never shall you see remorse; for every wrong you have ever wrought yours shall suffer a thousand fold!"

Regardless the track is quick paced and sharp, swaying with excellent rhythm through tremolo chords, and actually picking the pace up a notch through an acoustic intermission and the following passage. The slow down again is soaked in a wicked sorrow, single notes ringing strongly before another acoustic intermission to change the attack; and with this the deep choral moaning underneath. This track again ends in a somber acoustic ballad with some backing from the drums at times.

We end with "Iconoclast", the shortest song and a tale of what it means to be legend, to revere the old ways of men and nature once intertwined. Opening strong on a loud note, this gives way to another acoustic flourish that slowly builds pace and we rush into the whirlwind fury of distortion again. This happens again shortly after, but the riffs and drumming preceeding and following these sections do not lose steam and are quite creative, those at the half way mark break through with a wonderful gallop.

It's strange but these a few rhythms here that I swear feel familiar but I can't place where I may have heard them; specifically the acoustic section at 6:12 in which is followed by a reworking in multiple forms after. Regardless this final section is addictive, leading to the final acoustic push to close the record down.

Overall this is a great record with some great writing that sets it apart from the rest of the bands in the genre, with great integration of folk and doom elements sprinkled throughout. Admittedly the doom elements are lessened here but when they appear its blended so well. The drums could be a little higher in the mix, I feel they're a little buried under all the other elements. Outside of that I don't have any complaints, it's very tightly written and arranged.

I highly recommend getting this album. While it's not necessarily breaking new ground it is full of raw expression and their best work to date, a huge step up from their past efforts. It is well worth your money and Velnias are a band that deserve your support.

If you would like to procure a copy of this excellent record you can it in digital form from bandcamp, or if you want it on cd or vinyl in various forms you can go to Pesanta Urfolk's webstore. The boxset is not available, it was only possible to get it through the kickstarter preorder project and limited to like 25.

DOWNLOAD/LISTEN/BUY (Bandcamp)
DOWNLOAD (Mediafire)