Night Heir - A Maze Of Evenings (2013)

Full Length, Self-released /Independent
July 28th, 2013

Genre: Experimental/Avant-garde Black Metal
Region: USA

NOTE: These hard working fellows are looking for a label of some kind that would be interested in releasing this record in physical form, so I'm putting the word out. If you think you could help them out I suggest you contact them (chambermusick@gmail.com) because this is a record I'd very much like to see on wax or tape or something. A release very much deserving of a physical home.
 
I’m excited! The new Night Heir album has finally appeared. It’s funny because I was wondering a few months ago if this year we’d see something new from Night Heir. Their last album Wind In My Dream Mist In My House is a sleeper gem of 2010, it’s impression grew on me significantly since I first heard it — so I’ve been wondering what exactly this now growing collective would come up for a follow-up.

Well, it’s quite brilliant. Overall it’s stronger and more generous than the aforementioned record. This new effort quickly ensnares you with it’s charm, unique atmosphere and bold approach which has been refined and expanded since last we encountered Night Heir.


A Maze Of Evenings brings more members (or contributors) into the circle, and with them more sounds and textures along with extended life; it hits about an hour and twelve minutes. While it was largely a one and two person project last time this record brings a swath of different vocal contributions and styles which enhance their tradition of wide scope in that arena, smoothly buttressing the swooning progressions both in the traditional guitar/bass/drums threesome, but also in the synth/keys and noise. These last two elements come to play an even bigger role than last time overall.

All of this thickens the already eerie atmosphere, new and larger amounts of varied, layered vocals add new dimensions to this records sound. The production was handled by the band rather than Colin Marston resulting in a more coarse, lo-fi quality compared to a surprisingly finer one on the previous record. This leaves the distorted and loud moments sounding grittier and the quiet valleys are a little more crisp.

It has made the drumming (snare for sure) a little more distant and thin but this hasn’t dampened the impact of those gripping bass grooves which played a prominent part on their Wind In My Dream... and now do so here. Especially on a lot of the clean sections, but also for instance on the the opening ritual “Inamorata”, and later on “Inner Female”, "Daymare" and “Draw Me Down The Moon” where those licks stick out and play prominently.

The journey feels more contemplative in its pace and volume this time around — even when it is being loud. Night Heir has not lost anything by doing this as their strengths buoyed further in the longer treks on the album allowing them to explore both parts equally and more fruitfully it seems; where the builds can be big and slow with just as much pay-off.

I’m talking about tracks like “Giver & Receiver” and “Inner Female”. The former is a perfect example of tricking the listener into thinking the metal has taken a back seat, crafting an alluring chorus haunting sounds; somehow incorporating twinkling pianos and not sounding annoyingly out-of-place. Quite a beautiful track. The latter is the climax of the record, possibly my favorite and very enchanting. Quiet and ghostly and ramps up to overwhelming but never coming unhinged.

Rainfall and silence. Remember that bass? Damn do the riffs on “Inner Female” kill. By the time the female vocals split through the distortion those grooves have begun their spell in full force; a few choice harmonics punctuating the heavy rhythm satisfyingly. It definitely has a very ethereal atmosphere by the end, aided greatly by those synths.

Having said that, a lean towards the rapt has not loosened the grip of metal on this project. As is made clear in tracks like “Daymare”, the change in production can allow that more fundamental ‘black’ metal quality to return with full force, scratching and galloping into some stunning territory. It's a bright track and one of my favorites and rivals “No Sympathy For Demanding Idols” off the previous record. Excellent vocals, it’s a monster by the end that whirls and roars coldly with a melancholic tone thriving in the lo-fi environment.

Yes the opener “Inamorata” shows a different side of this, the anguished cries over a looping rhythm unceasing with a final spectral push into the wicked "Daymare". So too do “Draw Me Down The Moon”, “Solar Piexus” and “The Curator” (both nearly nine minutes) which all bring the aggressive chime-like tremolo progressions, chunky rhythms, and stormy percussion as they have evolved between records.

The assault of “The Curator” accompanied by creepy, slithery singing,  is only interrupted midway through for ambient/noise manipulation, and that leads into some really chunky riffing and modulated female screams to close. Some of the lead’s vocals after the gap stray into quirky Daughters territory and amongst the crushing, dragging cacophony it works to their advantage.

So by the time we’re stretching into the second half of A Maze Of Evenings after multiple listens things are becoming clearer. Night Heir have given themselves both the span of time between records and the overall length on this record to allow for growth and breathing room. The clean and quiet elements taking as strong a role as the louder metal infused ones, but far more concentrated and focused than in their previous effort.

The result is some contrasting and very stunning sounds on both ends of their unique spectrum. The two “Inviolate” intros, “Theme From Slowland”, “Inner Female”, and “The Wheel” all creep on you but are no less captivating and creative than the more blunt attack. Tracks like “The Wheel”, a gentle throb bursting with radiance that starts quiet and almost loses control, but never dropping the meditation while gaining in aggression. A wobbly and entrancing trip.

Even “Solar Piexus” which contains mounting craggy riffs for a time (almost in oldschool Melechesh fashion) dives deep into a dark and contemplative chasm for a time. The gulf of quiet after the shredding just over three minutes in is breath-taking, the gentle atmosphere is thick and cool with organ keys and the splashes of percussion lighting up the dark. When the return to distortion is made over mourning hymns it’s heavy as the ocean from which their bursting forth.

I think near the end of this record is where it gets more intriguing, the contrasts continuing.

First we have “The Snakewife” which I think is one of the more interesting or surprising songs here just in terms of the switch off in styles and tones from the beginning to middle, and then the slow change thereafter. At seven minutes it’s almost noise-scape-y at first with a slight creeping horror veneer: off kilter, severely slowed-down, almost twilight-circus styled tones melt through feedback which in turn builds into howling and screaming synth — really nice — and finally gives way to bleak, hypnotic riffs as the build behind gets louder.

Suddenly the style changes again into something that feels more oldschool death-thrash, and the vocals fall in line as well. It’s bizarre but enjoyable especially as the track progresses, the drumming becomes more complex and the vocals are spiked with clean howls.

Then you follow this up with “Theme From Slowland”, which is somewhat self-explanatory I suppose, and you have a decent span of music in just these two tracks that tries and succeeds at exploring new ways of combining influences. This track is simple, clean and smooth in the vein of True Widow but less groove oriented, employing some beautiful vocals from both genders as it slinks along. I’d even say it begins to develop a slight Neurosis flavor (Enemy of the Sun era perhaps) just after halfway but it recedes by the end.

A huge and memorable song for sure. Subtle effects behind the build at points really make the track powerful. There’s not confusion or haphazardness in their placement or structure either, it works quite well. Right into the more shrieking blackened gloom of “Draw Me Down The Moon” (Beherit pun?) which when combined with “Inner Female” make for a fuckin wicked climax on this record’s end.

Final verdict? Fucking home run all the way for this humble outfit and A Maze Of Evenings. Black metal? Maybe, how about yes just to bug people. Regardless of its label it’s a wonderful record that will probably be passed over and be relegated to lost gem status years from now much like their first. It will no doubt be on my year end list.

All things considered there’s not a lot wrong with A Maze Of Evenings (length is debatable, after a few listens it doesn't seem long at all) and a whole bunch right with it. The time and effort over the last few years have clearly paid off with a rewarding record that retains originality. Night Heir continue to be awesome and interesting, and hard to place.

Please go support this project by paying what you can for this record if you’re able to, of course over on bandcamp. It is up for free for now, no physical release yet but I assume (like the previous album) a cassette may be in the future so keep an eye on that. I’ll update this post once that shit’s a reality.



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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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Wreck And Reference - C̶o̶n̶t̶e̶n̶t̶ (2013)

EP, The Flenser
May 21st, 2013

Genre: Experimental/Electronic Doom/Noise/Industrial/Post-Punk
Region: USA

I always love requests like this one because I would've put it up anyway as the band involved is killer. Wreck And Reference just happen to be on a streak with everything in their creative history since 2008 (?) being strictly different and enjoyable while also cathartic. C̶o̶n̶t̶e̶n̶t̶  (or No Content, dual meaning) is their most recent record and continues onward eager to explore, remaining unsurprisingly heavy and delightfully gloom ridden.

Through two short tracks this humble duo can convey quite a lot. C̶o̶n̶t̶e̶n̶t̶  feels like a brief revisiting of Black Cassette's themes in some ways or maybe excerpts from No Youth at it's most 'metal' moments if you can call them that. The material has not weakened, only furthered tempered and those behind it thirsty.

It's not as shocking as No Youth was to me in that their sophomore release took longer to warm up to than the debut, and the difference here is the impact with this 7" is as powerful as when I first heard Black Cassette. I felt it as soon as I heard the vocals on the opener "Absurdities & Echoes" which it's fair to say are haunting and pretty different from their previous experimentation.

It works so well with the lyrics and for the gloomy vibe of the song. The beginning draws in a lot of sounds slowly at first without becoming cluttered while a strong digitized chime quakes out a captivating lead, and the drumming in this intro rules. Very hypnotic, indeed continuing once the vocals float shakily in. During the core of the song hoarse spectral wails reverberate in the open making for very spacy or ethereal atmosphere.

The lyrical build in this both tranquil and jarring atmosphere is strong, leading to a climax of tremolo waves and rising cymbals— and a stunning frigidity washes over the song like various moments in The Angelic Process' work which was felt in the previous record as well, "Spectrum" and "Nausea" for instance. The louder the better.

It's the rolling, crackling, concussive pulses looping behind the church bell paced MPC and organ drone and rich percussion, becoming more pungent nearing the final quarter. It feels/sounds like somethings burning softly in the distance behind the aching and cathartic performance of Felix and Ignat. The vocals are particularly explosive by the end. That style is refreshing in general not even looking at their interesting approaches.

"Abhorrence" brings back the blackened yells, making this track fuckin' awesome instantly. Lyrically far more in step with this return while the hammering on the snare, and blaring MPC texture things nicely and then when all but the 'bass' tones drop out that subtle doom atmosphere amplifies a lot more.

It feels like you've just stepped into a funeral doom jam for ten seconds which is something they do exceedingly well without bass or guitar at this point. Proceeding from that moment the climb instrumentally is intense taking cues from the lyrics and the vociferous, shredding vocals. This comes to and end quickly with those thunderous tones again and the swirling rise in high frequencies and static giving a short does of eerie anxiousness.

Absolutely recommended if you couldn't already guess.. 2012 wasn't that long ago but even since No Youth they continue to mature creatively and the hooks just dig in deeper. If you've liked everything they've done before this should not disappoint you. Passionate consistency, tense and rapturous, unorthodox heaviness — C̶o̶n̶t̶e̶n̶t̶  continues resolutely with all of this. It feels like there's more coming soon and they've generously shared for free a glimpse at that. You shouldn't skip it and if you're new it's as good a place as any.

You can grab a digital copy from them on bandcamp or a physical copy from The Flenser. The Flenser also put this up digitally for real cheap but everyone always appreciates "free" direct from the artists too.


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Cower / Thou - War is the Force That Gives Us Meaning: A Two Part Analysis of Personal and Inter-Personal Conflict (2011)

Split, Vendetta Records
June 21st, 2011

Genre: Sludge/Hardcore/Doom Metal
Region: USA

I wish I was more attentive to Cower's side of this brilliant split record with Thou when I first heard it. I mean Thou's side is just more unquestionably awe-inspiring and malice-soaked doom metal so it's hard to tear one's attention away from their side of any split; even when paired with the likes of Hell and in this case Cower.

Between the two bands and their strong, proven approaches to the niches of sludgey hardcore and callous doom it goes without saying this split has excellent variety. This is not at the expense of spellbinding song weaving whether it be furious beauty or an unbearable darkness as Cower and Thou only cull their best for each release.

When matched with Thou one might assume the younger Cower may not be up to the task of balancing the monolithic tendencies of the Baton Rogue sludge beasts, but they easily hold their own. Their use of a varied of vocal styles, the strong bass foundation throughout each track, and the creative blend of genres ensures they can stand next to such towering doom pillars like Thou.

In fact I've grown to enjoy their contribution just a bit more than the second side.

Cower's side is titled "Act I: Burn The Banks" and starts with the track named after themselves, and the subject of giving up. It's heavy and between sludge and stoner rock at first, the speed is increased briefly to bring in the hardcore but after a silence the sludgy vibe returns as we barrel into "Clonorchis Sinensis. Rhythmic hardcore takes hold for a moment before the slow jog heaviness returns, it's compouded at various points through hoarse shouts and  splashing cymbals over a wicked breakdown.

"Cut Down" is only 27 seconds but not necessarily in the powerviolence mindset despite being fast — it's contrasted by the acoustic interlude direcly afterward which is melancholic and somber. It brings other elements into the collection sounds like a piano and digital modulation near the end. Later on "Vise Grip" takes a similar approach There's a concerted effort to return to devestaing sludgcore with "Sixty Years", a track that trudges at first but hits the boosters at the one minute mark and scorches shit with noisy, drum blasts and scraping riffs. The return to slugging with trilled bends and stomping riffs. Lots of big grooves in that last moment alone

This leads to "Torch" which is my second favorite on the split. It starts similar to "Sixty Years" blending stoner riffs and hardcore pacing but by the time we're into the middle of the track, delay and reverb effects engulf the sparkling tremolo riff left hanging. It becomes manipulated for about a minute creating very pretty textures befire

My favorite track by far is "Rainmaker", it sounds closest to their material on Mind Over Matter:  bouncy and terribly catchy, considerably moreso once the great bass solo hits (these guys can punch those things through at just the right moment it seems). Bursting from that to a upbeat climb and descent through multiple noise rock attitudes, they eventually setltle on something amazing. It's probably the most memorable moment on the record, simple too, coupled with the lyrics there's a longing for release pervading this song and it's heartfelt:

"So come my friends and let us share our last breath. Let me live under the sun and remember. It's only for fun. Just remember... The tides will go in. And the tides will go out, and the leaves will grow again. Every beginning has to end, and every ending brings new beginnings, don't forget to scream and shout. There is no end."

It ends on a slightly depressive series of fuzzed out notes, and bleeds into a bonus track I don't know much about; I suspect it's a cover. Cower have done well on this split and it was a great prelude to the full length last year.


Moving on to Thou's side titled "Act II: Big City" which was released as a single EP online and kicks in with a even more sluggish interpretation of a Cower song from their first record (Hatred Songs) — it's fuckin ugly. Nothing but feedback, vocals and singular tom strikes for the majority of the track.

Then we get to dig into newer material with "View of a Burning City", a clouded lament to the state and industry's siege on humanity (in classic Thou fashion) starting darkly melodic and discordant much like their Hell split — and then straight into what I recognize as the down-tuned beat in Eminem's "Guilty Conscience"... it's bizarre. The song progresses away from this into more recognizably torturous swaying through low guitars and black vocals and I immediately feel quite cozy here. No one does this better than Thou or at all like them.

"How Lonely the City Sits" continues the vitriolic assault found before it calling out bred mediocrity, urban stagnation and the alienation it brings. This one has a fucking gripping groove midway through that flows so smoothly as Brian shouts "THE DEAFENING, ENDLESS, COMPLETE ISOLATION!!!". Thou show again and again why they sit on the throne of doom. The last section of the track brings scratchy dissonance back briefly as it slowly fades in feedback.

Closing with "Milestone" the desperate struggle continues unabated. Sliding warbled downtuned slaughter for the first while, with a great use of pinched harmonics interspersed in the marching. It gets a little more claustrophobic for a few seconds for the change in pace, where Brian's vocals become increasingly haggard and deformed in his bleak recitations. Near the end the vocals turn to clean slow chants while a buried lead riff distorts and drowns, however it reverts to more slogging before the abrupt close.

An awesome split with two dedicated acts I love a lot. This is worth the cash if you can find a copy of the LP, even if you're just in it for Thou. The art is fantastic and high quality outside of the crumbling doom and sludge imprinted on the black record. I don't know of any big labels or distros who still have copies (some smaller ones like this maybe) but they might have a few while touring still (I got mine at the Gilead Media Festival)

You can grab Cower's side for free on their band camp and Thou make all of their material available on their official site.

DOWNLOAD (Zippyshare)
DOWNLOAD (Mediafire)
DOWNLOAD (Bandcamp)  <— Cower side only!
DOWNLOAD (Noladiy direct) <— Thou side only!

Braveyoung - Will The Dust Praise You (2013)

EP, Self-released / Independent
May 3rd, 2013

Genre: Post-Rock
Region: USA

Braveyoung are definitely something ever more beautiful then originally imagined. Floating like they've cut ties to an anchor since leaving their moniker Giant as a widening, quietus plane has been formed between. A space where minimalism and tragic, sombre ethereality bloom, and that is fully realized on this haunting EP Will The Dust Praise You.

This has been streaming on their soundcloud page since late 2012 I believe, I heard it then but wanted to wait for official news. Where as the recent single was more of a heavenly siren call and breathed something supernatural into some of the uplifting aspects of their sound, Will The Dust Praise You takes the most melancholic moments of We Are Lonely Animals and expands them, enriching the already soul wrenching isolation in four movements.

I only labeled this post-rock because WALA at least resembled it, it's clear they're now a little outside of that. At this point for the time being they've embraced forms of minimalism, cold strings delicate piano, haunting and deep ambiance — as you've noticed in the brilliant single as well no doubt, same with their collaboration with The Body last year. That is the soul focus here: encase you in atmosphere through ethereal hymns flowing so smoothly, gently lifting you sometimes to terrifying heights only to cushion your slow, dark descent.



Only four steps in this journey but they're rich and consuming, albeit quiet and measured with the finale taking the emotional cake no question. Expect cellos and violin "Inquietud" serves as a telling welcome as moaning violin and other strings meet you, telling a sad tale and leaving the path dimly lit to "No Cure". A tranquil rise and the lonely plinks set in while the whirring continues, faint clicks of pedals, a second ascent is triggered as fingers press down progressively harder on those keys.  The switch there brings a muffled blossoming of beauty only for the piano to cement things one more time.



"I Felt Even Then How Monstrously A Man May Get Used To Things" is the third passage, reminding me the most of material from WALA with it's cautious, fragile keys which grow in confidence as the song unwinds, soft drone gaining weight with each bass pluck beneath — never trouncing the piano until the very tip of the track. It's the simplicity and minimal complexity used so well to channel some deep moving sentiment within all members, drawing it out from all of them as one cold melody. I would say they've accomplished translating it just fine. A very touching moment on this EP.

But it is "Relief Is Near In Four Parts", an eight minute trek, that as I said is my favorite here. The whine through the reverb fog that you find in the first minutes strikes deep within, slowly constructing itself as you're brought to the darkest, abandoned reaches of the sky over snowy tundra. Once the piano enters a whole new mass is given. The removal and sudden injection of the swells and ebbs, recombining at various volumes makes this all the more crushing,

Layered cello and violins with very subtle bass over an incredible hum, all of this reaches a climax and in the last two minutes a very Godspeed You Black Emperor approach is felt in the aural deterioration of the drone afterwards. It's hard not to draw comparisons at this point. Their sound is their own though and the wavering, diminishing drone is still gripping as it leaves.


Braveyoung do this well and you see it throughout their work. Growing sounds like flowers from the ground over time, and suddenly you're in the middle of this field of colour being overtaken by the thickest of mists. That's how it should be done and they do it effortlessly without pretense, and without padding or stretching. Just good, passionate writing.

Will The Dust Praise You is huge , lonely and graceful. Once again Braveyoung continue to set themselves apart from the bloated herd and cut through the wilderness of their own dense, haunting world emerging all the more impressive. You can preorder this directly from the band if you're in the US (two different versions, one containing individual art for songs) and if you're international like me send them an email about it. Or if you want go to bandcamp and pick it up for $5 and stream it.


DOWNLOAD (Bandcamp)

Shit Luck - Slow Death (2013)

Demo / EP, Self-released / Independent
April 11th, 2013

Genre: Blackened Hardcore/Crust/Grindcore
Region: USA

I'm still working back through my (and others') 2012 list so those posts will get more regular between newer records, but for now another new and quick one. Florida's Shit Luck just released a pretty damn enjoyable eight minutes with this demo and I think some people here will enjoy it. I definitely am despite this subgenre becoming a little watterlogged.

Creatively this is a couple of big steps up from their 2012 release Expired which, upon checking it out, showed promise but did not hint at the fairly intriguing mash-up that we find in the five songs here. Just on a base level this is louder, grittier, far more aggressive and full sounding, tighter with a more interesting approach to the whole YAITW blackened crust style.

They're not breaking conventions but this four piece do push something refreshing to various degrees and I'm interested in where they're going to take it. You can expect lots of feedback between tracks and raspy hoarse vocals, though here the vocalist is slightly outside the mold while spitting themes of alienation, apathy, bitterness. The down-tuned ashen riffs whirling onward through thick, muffled distortion creating a pretty bleak atmosphere. On the other end the drumming is competent, pretty tight snare and keeps shit together well but the kicks are pretty weak.

However like Dephosphorus they find a comfortable and rewarding zone where grind, crust, and black metal influences break apart and reform in energetic, satisfying and very heavy ways. Definitely more on the grind side of things but the brief excursions involving larger doses crust/blackened-etc. work in both the slower closes ("Slow Death") and the galloping rhythms ("Maniputlate") and compliment the furious attack found everywhere else.

You're met with this immediately on the opener "Into The Chasm", the opening riff and percussion taking after Dephosphorus to some degree before spilling into a series of blurred, crackling hardcore rhythms. It's the title track and "Manipulate" that are the stand outs for sure though and are easily the best formulations of their sound — filth permeating the riffs and vocals and both ending with phenomenal, simple slowed sections. "Slow Death"'s first half is grind ridden assault with hints of crust, and once you cross into the second half shit gets crushing as a torturous, dark section consumes you. "Manipulate" is the second boulder of this demo though where the formula found in the title track is repeated without losing steam and with a devastating effect.

This contrasts pretty starkly with "Waste" which follows, as it is nothing but a 28 second grind wildfire that drops all other masks. And to a large degree this is the case with "Timeless Grief" but this does not make them any less interesting. That latter track has some vicious chunks in it, the interruption in the final breakdown for a frightening roar combined with feedback beats you down bluntly. Overall the filthy storm of genres here is very effective and refreshing enough to set them apart from the pack.

So yes this is a fuckin' wicked little demo cassette that is definitely worth a listen. Especially for those who are into the crusty black hardcore out there like Young And In The Way or Dephosphorus, or even Votnut, Hexis, Unsacred, etc. Shit Luck are probably ones to keep an eye on. The physical version of this is limited to 35 copies and only a few were sold online — only two are left on bandcamp so if you want to throw them $4 get on it. Otherwise it's free.



DOWNLOAD (Bandcamp)

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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SIXBREWBANTHA / Water Torture + SIXBREWBANTHA / Agitate - Splits (2013)

Split, Nice Dreams Records / Witch Bukake Records
April 3rd, 2013

Genre: Grindcore/Powerviolence
Region: USA/Canada

Just in time for their soon-to-commence partial US tour and send-off show we have two new and quite fantastic splits involving Six Brew Bantha: one with Buffalo legends Water Torture and the other with Minneapolis's Agitate. Both are out right now and I managed to get a copy of each while at Six Brew Bantha's send off show the other day, and because they great I figured I squish them into one post to make it easier. And it just makes sense of course.

This also the second of two pairs of great grind splits with a wicked leading band, the other being the recent Suffering Mind splits with Phobia and MASSGRAVE which I'll get to soon enough in a similar style post.

First up is the split with Water Torture. Because I only recently submerged myself in the genre I'm not entirely familiar with this two piece but I have certainly heard of them for the past couple years. They're a rising powerhouse of bass/drum powerviolence and they seem to indulge in some experimentation outside of the punishing speeds, and here they employ a guitar with David Pacheco behind that end. So they end up sounding less like Thrones doing grind as they have at some points like on their self titled and the Shellfire EP but are no less capable of snapping necks with their brutality.

Six tracks to match Six Brew Bantha's five and contrast nicely with the more pure grind on that side. I went back and checked out previous records to get a taste of their sound minus the guitar as it seems to worry some people, I've heard its temporary but even so it sounds pretty fucking sweet to me. Of course it's always hard to make something sound heavier than the bass and drums combo they've molded (unless you add a second bass) but here the writing and execution are still crushing.

The first two tracks exemplify this and mesh together so closely they might as well be one track, starting off bouncy before the chaos seeps in; strained yelling underneath the grooves and blasts; both filled with a relentless hammering from all angles and very addictive. You're gonna return for a beating for sure especially for "No trophy", my favorite on this side, because that palm-muted break down is ugly combined with the hate-filled strained yells. This and "Alone Always" are the best here, with the latter consisting of literally two riffs: one blazing and then one lumbering giant which makes the blunt lyrics exponentially more weighty:

"RECOGNIZE THE TRUTH
LIE TO YOURSELF
FOR A POSITION OF SELF COMFORT?
FRIGHTENED
ALONE
ALWAYS
[NO]"

"No Trophy" eventually seaps into the relatively thrashy "Home/Sick", whipping you back and forth wrecklessly. "Black Blood" brings back the tumbling slabs in between spazz sessions which Water Torture do so well and I can imagine these would be even heavier with just the bass tearing shit down.

Their contribution sticks with the always gloriously simple formula they've strengthened up until now, and it is guaranteed to crack pavement even when returning to more punky roots like in the closer. From my limited perspective I'd say they strike a good balance on this release with their experimentation and bring some truly jaw-dropping writing here

Six Brew Bantha played a few of these at the last show and that was the first time I had heard them despite their bandcamp having their side up for download since early in the new year. There will be video of that soon. I was still digesting their full length which is something grind finds ought to check out if they haven't, and now I've gotten through their side on this 7" and can't get enough. They continue slinging creative one minute mincing sessions unlike any of their peers with one of the tightest snares I've heard, continuing a socio-political theme lyrically.

The first track "Struggle to Exist" was one of the closing songs the other night and boy is killer, there's a strong undercurrent of death metal in the middle chunk and buttressing that is blazing grind. I love the seamless blend. Other's like "Bred Into Enslavement" return to the core of there thrashing and just rip your face off before a wicked breakdown. A really groovy track and tied   a little bit of dissonance is spliced in the last third during a break downand the pummeling does not decreas

Everything here is engineered to stomp you and I would argue that goes twice as much for the drumming, the snare is just ricocheting inside your skull; unlike the original mix of Adversarial's debut the snare's pang here does not overpower shit. Listen to "Manipulated Public" or "Bred Into Enslavement" because the fills on those are pretty evil. "Opposition" is another good example. What's up front more so are the riffs and vocals, the latter filled with vitriol and unhindered bestial energy; the perfect style for the fury you hear around it.

It's hard to say which side is better. One boils shit down and bulldozes you while the other ensnares you throws you against the wall without losing grip so it'll depend on what you're in the mood for. It's a great collaboration anyway you look at it and I recommended it for sure.

The packaging on this split is pretty nice too so I suggest spending the cash to get it while you can, especially if you catch them on their tour. There was only a few pressed for the band on tour (200 in blue and clear) and even fewer for those who preordered (purple), and you can get the black press over at Nice Dreams Records. Or you can get Six Brew Bantha's side as a name-your-price download.


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DOWNLOAD (Bandcamp) Six Brew Bantha

The second of the two splits does not disappoint either, though I suspect more people were awaiting the Water Torture split. Six Brew Bantha destroy shit right out of the gate with "Outcome of Ignorance", a 34 second ripper that leads to a 4 second track and straight into the nicely dissonant "Mandatory Termination". This one is the longest of their side, they played at their kick off show and the was even more amazing, specifically the blasts beats and the transforming tremolo breakdowns near the middle. "Product of Your Environment" sounds like something Discordance Axis might have made in their earlier records; technical and discordant, ending with like a Dangers slam to cleanse you of the writhing prior to it and end their side.


Agitate are a two piece I haven't heard of until now, described as "no-frills mincing grind" withe the addition of "FUCK PORNO-GRIND!" I can go with both those statements I suppose, I can also get on board with the opening sample which is amusing.. It leads to the meat of everything of course: Agitate provide us with a glimpse storm trapped in cassette form as they completely shred the first half of their side in just over two minutes, or two of the three tracks. Occassionally I do get more oldschool punk and crust vibes mostly in the final track which slows shit down (much like Bridgeburner would), keeping it nice and lumbering for almost the entire length before stepping it up to a more crusty level.


Both contribute some nice stuff here but I'm gonna give it to Six Brew Bantha for now, they just don't cease to make memorable grind. Definitely grab the cassette if you can't wait from Nice Dreams Records or hold on and soon it'll be pressed on 7" wax by Witch Bukkake Records; or get both. The cassette is a nice green if you're into that.

DOWNLOAD (Bandcamp) AGITATE
DOWNLOAD (Bandcamp) SIXBREWBANTHA
DOWNLOAD (Mediafire) Full split with Agitate's side cut up for those who care.

ACxDC / Magnum Force / Sex Prisoner - Split (2013)

Split, To Live A Lie Records
March 19th, 2013

Genre: Grindcore/Powerviolence
Region: USA

So this might be the best thing I've heard so far this year by a long shot. It's not even close at this point and because I live under a rock it was made even more jaw dropping since, to me, it came out of nowhere. Three uncompromising grind/powerviolence bands contributing what is undeniably not only their best material thus far, but some of the most skull crushing -core packed into a ten minute slice of 10" wax that I've heard in recent memory.

I've had this on repeat every day since I discovered it, racking up a minimum of ten spins each time I place it on the turn table and it has not worn out it's appeal yet. To the point where it's gotten in the way of me checking out new records from Wormed, Defeated Sanity, Portal, Fell Voices, etc. This three way split is addictive in the most strict sense, each band dealing out barbarous, refined, and calculated assaults that will adhere themselves like a parasitic membrane to your skull.

The three pronged siege is headed up by ACxDC (aka Antichrist Demoncore) from L.A. who have been making waves unbeknownst to me with their two previous 7" EPs. Magnum Force follows them and apparently they've been working quiet hard prior to this split with multiple demos and EPs, and then we have Sex Prisoner who also have been quietly honing their shredding abilities for the past four years; both from Arizona.



Lets start with ACxDC. Wow. I need these guys and Magrudergrind to make a split. That's basically what this sounds like, that phenomenal 2009 self-titled record stripped of technicalities and boiled to three and a half minutes of purity. Fantastic catchy riffs with pacing that straddles regular hardcore and powerviolence with a truly biting tone (which the bassist shares to great effect), wretched vocals spewing some simple but effective and absolute words, and furious blasts. All this clashes with the blown-out production but I've become so accustom to it that it doesn't put a damper on shit; when I crank moments like the gallop in "Crux" it makes no difference. It's a series of severe and assiduous 30-50 second soil-scorchings, controlled chaos that is phenomenally catchy and gritty.

The chunk ACxDC have cut out of their repertoire and put on display here will linger with you. Every song has a spell-binding groove, it's embarrassing how good some of these are. The entirety of "Loathe" for example: the cacophonous blast opening, the bass solo, then the groove slightly altered comes staying just long enough. Right off the bat "Eye In The Sky" (a song revolving around the events of the truly awesome movie Casino) is like a savage beating, and then it grinds to a halt reminding me so much of Magrudergrind before spiraling into another excellent rhythm. "Crux" will catch everyone's attention if the opener didn't — that climax, lyrics and all, will hypnotize you with its inescapable heaviness:

"Savage Christians
Men of god
On a crusade
Swallowed by fog

Convert the world
By the almighty sword
Destroy all life
In the name of the lord

Live or die

You're still just a fucking pawn"

Original? Hell no, but within the context of the song holy shit is it great. I couldn't pick a favorite track as even now having heard their previous stuff, this steps up so much higher, but "Crux" (best lyrics) and "Worthless" I return to immediately upon finishing their portion of the record. The slams and rhythms here speak for themselves, burst-firing sonic contempt from every single second. You can buy their section of the split for a buck on bandcamp.

Magnum Force seem to have been at it for a while now but this is my first encounter, and the impression they left was nothing but pleasing. Whats fairly unique about the subject matter lyrically here is it's focused on gay rights, or more accurately the struggle and bullshit homosexuals have to go through. Clearly Magnum Force are passionate and sincere about this, the simple lyrics get right to the point and are obviously both personal and relateable for those who've gone through it. From "Boxed In":

"Why do you hate me?

Is it because of my sexual preference?

I refuse to change just to feel accepted.

I'll never go back in the closet.

It's been the death of me for far too long."

Simple and says it all, and it has a wicked slowdown at the end; driving you into the bloodied ground with a sledgehammer after a ruthless 30 second thrashing. Maybe this is just another indicator of my obliviousness but for all that the -core scene focuses on in terms of a humanitarian-progressivist bent the issue of gays and their plight is one I do not see that often come up in lyrical form. Again maybe there's a shit ton of bands who write about it and I'm very clueless, either way it's a bit refreshing.

None of that matters too much anyway if the music is horrid but thankfully Magnum Force drop three columns of slightly dissonant grind that form a single and secondary pillar of excellence structuring this split. While their contribution is smaller the quality remains, the production a bit dirtier than both their colleagues. Anguished screams permeate the tracks, driving home the anger within the words. Slower by a light incriment in some senses in terms of rhythms, however the blasting on the kit here may exceed either other group here (just listen to "Out of Time"). Their section provides a very slight breather from the two sandblasting sessions that box Magnum force in, powerful and no less groovy but a notch quieter in comparison.

And now we come to my favorite segment of this 10": Sex Prisoner. These guys look to be an unstoppable force in powerviolence. Just between their self-titled 7" and this you can hear enormous growth and a tightening out their style, applying it sickeningly well in the five songs they offered up here. Sex Prisoner are a little more than powerviolence and that is immediately clear. Obviously influenced by the old guard of Infest/Charles Bronson/SPAZZ they're also incorporating the best elements of the whole Entombed-chainsaw-crustcore sound, speeding that shit up while cut out all the horseshit in favor of pure, distilled quality.

They pack each song so full of excellence and yet I still feel my thirst unquenched no matter how many times I return, the battering is so brutal and I return again and again. Bathed in feedback, they're all equally absurdly catchy and brief but the shortest song on the whole split ("Crossfaded") is the one I'm captivated by. It's 20 seconds but it feels so fucking complete and definitive.

"Need release from the grind

Day to day, 9 to 5

Working class

Gotta cope

Cross faded"

The lyrics swing perfectly to the rhythm of those pulverizing riffs and blasts. What makes the words even more of a focus for me is that everyone in Sex Prisoner seems to contribute vocally while they still have one dedicated vocalist. So the mix in styles/inflections/tones is refreshing and certain words (like "gotta cope" or in the final track on "no sympathy") punctuate the noise, causing my attention to tighten a little more. I like the variety regardless of it all being coarse yelling, there's more life when I literally hear cracks and the spittle flying from their mouths as the roar about deception and frustration.

There's a particularly obliterating breakdown midway through "Whatever You Say" that is a neck snapper. Speaking of that there are a few moments where it's like if Hatebreed wasn't so loathefully 'bro-core" and faux-tough guy and didn't begin to stagnate by their second release; moments like in "I'm Proud of You" during the breakdown under "...SCORCHED TO A DUST - TRAPPED IN THE PAST...". They do it far better and do not linger, without the phony posturing. Actually their 7" is far similar to that direction than the rest of the split, more simple and bouncy.

And yeah if you're wondering I do enjoy some of Hatebreed's material. Kvlt cred = -500, 000 and falling.

I only want these three bands to make splits together from now on. I'm pretty sure you're out of luck if you want to own a physical copy of this at this point, though its entirely possibly that due to demand a second pressing will be announced at some point. Check out To Live A Lie Records for any information on that, go to their bandcamps, and if you're lucky check your favorite record distro to see if they have one of the 600 copies pressed; you can get it on iTunes and Amazon if you're desperate.

Either way there is absolutely no reason a fan of fast and heavy shit should pass on this. I'm gonna be a douche and say this is closing in on potentially "essential" much like the Adversarial/Antediluvian split last year. And similarly it may end up at the very top of my year end list.

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Old Soul - Tidal Lock (2013)

Full Length, IFB / Dog Knights Productions / Dingleberry Records / Listen to Aylin
April, 2013

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

Coming off of that recent post about Old Soul's 2012 record, I've been given the pleasure of hearing and reviewing the new Old Soul record a few weeks prior to official release and all that. Took a little longer to write up due to other priorities getting in the way but here it is. There's no download link right now, however like their prior releases this will have a physical release and be made a free download to the public at some point soon. So hold on for now if you're eager.

Tidal Lock sees Old Soul further shaping their sound and progressing quite a bit from their previous record, while bringing back some elements that were stronger in their debut Natures Arms Encircle All; mainly the tranquil post-rock atmospherics which grasp this release firmly and made a bigger appearance in that record. Lots of reverb and delay among other effects in those long passages sometimes like near the close of the opener "Ghost/Incomplete" they're sustained and take on a shamanistic luster as notes are carefully placed around the whirring loops. Outside of these glimmering passages the scratchy swollen tone of the guitar is a big contrast once again carrying over from their sophomore, varied drumming keeping up with the wide swings in style, and a great bass presence especially when those quiet stretches start to ramp up ("Watermouth/Mirage").
 
All four tracks here (which flow as one long song in reality) reach between eight and ten minutes in length, a huge contrast to the four and six minute jaunts in Who Are Willing To Draw Close and further proof of a commitment to change at least in structure on first observation. The production is smooth, clear, warm; feeling much bulkier than Who Are Willing To Draw Close and lending a little juice to the all it's qualities. Only complaint here is for instance in the secong track around six minutes in, where there's a transition from quiet to loud the guitars feel a little dampened initially; this could just be me as I only notice it in that spot. Lyrically as one would expect this record does have a temporal focus, metaphoric, taking a reflective or introspective approach but largely up for individual interpretation; sometimes these are spoken ("Ethereal/Faultless") while usually in all other moments the blackened rasps dominate.

When listening the blackened post-hardcore/screamo characteristics still reside in their formula but are less bursts and more Krallice-esque in execution: long blazing passages blurring post-hardcore June Paik aggression with uneasy/anxious black metal melodies interspersed conservatively. Between these lies moments that resemble traditional screamo like Mahria but the twinkling nostalgia doesn't last long. You can hear this from the outset. These are enclosed in the vibrant ambient and post-rock drifting, both clean and acoustic, sometimes minimalistic but usually energetic builds. These moments have Tidal Lock coming very close to the eclectic style of Irepress even moreso than I thought, and yet every time they do rub up close they make a drastic shift, usually launching the song into an aggressive fit.

While they effortlessly float between each other each of the four tracks. "Ghost/Incomplete" and "Watermouth/Mirage", while separated, flow as one track linked by a gleaming clean section and provide a great example of the above. Broken up by flurries of proggy black metal mixed with screamo but far less densely packed than in their previous records. The former track is evenly broken up between their black skramz attack and meditative   while the latter dabbles more in Irepress-esque quietus with only brief, more laid back post-hardcore blinks; rhythms more restrained but still strong, leading the track out of the haze nicely.

"Paradigm/Pendulum" picks up and quickly descends into progressive black metal territory only to melt into a pretty clean section which gets increasingly proggy and loud and busy before diving into a tranquility. For the first four or so minutes I would swear this is a less complex Irepress track. The build on this track has both channels evolving sounds gradually. The return to distortion is very stealthy only occuring near the end and giving way to a wobbly ethereal section.

Interestingly enough this leads into the aptly titled final track "Ethereal/Faultless" — arguably the slowest on the record Old Soul close with a more depressive or reflective tone, even when they embrace the distortion it's very mournful. The screams come back in full force by around the eight minute mark and while still less chaotic the blackened brew here opening up to a spoken word passage with some nice bass work and percussion which fades, leaving only the words.

Old Soul's newest record is more grand and less dirty than previous material, a relatively refined and different experience from them. I think I like Who Are Willing To Draw Close a bit more at this point mainly due to the length and blend of sounds. I'm definitely finding on repeat listens I'm enjoying Tidal Lock more than I originally did, it's only the shift of emphasis away from more chaotic blackened aggression that I enjoy more on the former. For instance the closing riffs and rhythms on "Crater" (and it's atmosphere in the close) or the explosive climaxes after silence in "Forest" which ascend impressively. For whatever reason those moments trigger a more visceral nostalgia-tinged satisfaction within me.

Having said that I am enjoying what these guys have done with their sound since then and their continued willingness to break from comfort. It's something to commend. I recommend those of you who like their blackened post-whatever-core to be a little more exploratory, perhaps those of you who enjoy June Paik, Irepress, and Tesa should get into Tidal Lock.

This will soon be released by IFB, Dog Knights Productions, Dingleberry Records, or Listen to Aylin Records in the very near future and will most likely be available in distros and labels like Halo of Flies and Scream//Writhe. Follow their blog and facebook for more info on that. Eventually a link will be posted too but for now you may stream it on Dog Knights Productions' bandcamp:

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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Sacrificial Totem - Hurqalya (2004)

Full Length, Katabatik Metacommunications
2004

Genre: Drone/Power Electronics/Dark Ambient/Death Industrial
Region: USA

Sacrificial Totem is or was a project that I've been aware of for a few years now but was never able to find a link or physical copies to any of his releases, so I just gave up looking for a while. There's a few reasons for the lack of availability: one being that they were limited runs under 100 hand made (often under 50) and most of the rare links that were up were torched in the whole shutdown waves a little while back.

Another reason has to do with the activities the sole member "Exile" was involved in. Apparently the ethic and ideology of atavistic environmentalism shrouding Sacrificial Totem was no gimmick, from the label's 2012 newsletter update:

"The project ceased to exist in early 2006 when the sole creator behind Sacrificial Totem, Exile, was arrested, having been betrayed by former co-conspirators, as part of the FBI's "Operation Backfire" for his involvement in eco-sabotage arsons attributed to the "ELF". After serving over six years in federal prison, he was released earlier this year."

So yeah, I don't know how much is true but it appears the guy was serious. The update explains that the already limited presses of all Sacrificial Totem albums became even more rare after most were lost, stolen or destroyed in the aftermath of a studio raid. It wasn't until recently I stumbled upon a few obscure links to the records as well as some tracks up on soundcloud which renewed my interest in this hidden creature of the cascadian sprawl.

On to the actual music already! Sacrificial Totem is entirely instrumental and 95% electronic. Their sound is described by other reviewers (and the one label it was a part of) as shamanic/atavist ritual dark ambient or "dark ritual eletronics", but you'd be safe calling it cascadian-themed dark ambient/drone with some industrial or noise clouding the two. With this kind of description you'd expect it could be either an unlistenable clusterfuck or a monotonous and boring sulk but I'm quite happy to argue that the rituals on Hurqalya are executed exceedingly well, escaping both categories and are in fact engaging.

I'd describe the sound and structure as Fauna if injected with death industrial attitude, some horror atmospherics and creeping grit. The ceremonial cascadian ethos and atmosphere however is preserved and remains a subtle thread running throughout each track but distinguished from the north american black metal interpretation of this style; always refreshing and welcome thing I say.

Despite the nature of the tools in use the soundscape woven over this record does take on a very organic, somber, earthen tone only mired in a ancient horror. As if you were trespassing deeper into a tangled and ancient forest, the sounds on Hurqalyya to me seem more like vibes from hostile and feral wilderness on the cusp of dusk. It never becomes too loud while remaining intimidating and very clear.

Repeating, cycling whirring noise, synths (or more likely an MPC), metallic instruments, pedals and samples — oscillating humming, declining then erupting only to decay and be repurposed. The huge orbit of the builds here and their raw, undulating nature make the ritual part of all this is very clear. Each track bleeds into the next forming a massive and oppressive series of ceremonial waves or chapters, reinforcing the spellbinding quality of Sacrificial Totem exponentially.

Simply marked in roman numerals each 'ritual' while connected is distinct, relying on repetition and growth within those cycles to reach enormous peaks. The first one from the outset is a warbled moan that has a very ominous presence. The deviations from this come halfway through, interruptions in the form of hazy, digitized bell-like notes that send the bends into the background temporarily. Eventually this transforms into an entirely different entity, more horrific, a clear revolving hum regulating the trance beset upon you by the shifting static and pitches; a wall of synth gathering behind everything. The descent is so gradual you barely realize it's happening as the tone becomes subdued and contemplative.

This first ritual is far more of a shamanic or transcendental atmosphere then some later rituals which bare a heavier cascadian tone. Other moments continue that meditative, very dreamy feeling such as the rising pulses halfway through "II" where the flow and static state of this section reminds me of The Angelic Process or Wreck And Reference when at rest, just following a track. The second ritual is far more placid compared to the previous one, disturbed at first only by looped samples of what sounds like a heavily delay/reverb swamped clean riff, chimes, clacking metal and wood.

Tones rise coloured by sharp echoes and the pulses build in the cavernous atmosphere coming together once again extraordinarily well. Everything begins to fall into it's place and not long after that there's a change. Actually this track has a good section where you get a feel for the type of evolution the sounds and rhythms go through on some of Exile's work. At around the 11 minute mark this build begins amongst ringing clanging bells (like a warning) and distant industrial quakes, and eventually ruptures with a very mid-east flavored tribal bass beat; it's soft and works well in the ritualistic haze that has been constructed thus far.

Sacrificial Totem does this well, almost bordering on some kind of  Clams Casino-esque "cloud rap" atmospherics but never reaching a crossover that drastic. It melts away before "III" begins and wipes the slate, a track that uses the first 10 minutes to construct a rising wall of spectral static. It is oceanic and as the build hits its first incline we again hear the use of cold Wreck And Reference MPC tones, sustained and rising with the rumble and skips in the background. A satisfying example of their sound's beastial progression. Eventually the sound is twisted to a breaking point and then dropped to near silence, only to be brought back but stripped bare as a bleating hum. Like a horn being blasted intermittently. as soft keys drift around each wail. This is a great section of the track and leaves you ready "IV", it's serious and eerie and a little relaxing at the same time.

Now I haven't sat through all his records yet so I don't have a grasp on how much his sound changes between records, but Hurqalya has that strange property of residing in a very inaccessible genre yet producing material that I find easy to be immersed in. The final track "IV" is the first material I heard from Sacrificial Totem and the one ritual that drew me in much quicker than I thought possible with this genre. Have a listen:



The final track is certainly the most captivating part of Hurqalya for me ("III" is quite close I must say). It's much like a shamanic ritual being performed in an increasingly violent electrical storm, weathering it through ceremonial worship. It's pretty much split in almost four equal segments of which all are crushing: the first half leads in with mesmerizing electrical pulses and an occilating hum that sets the rhythm into hypnosis mode (much like a section found in track two). It's gripping.

Just as ingredients are added and things are becoming crowded this gives way to a calm like passing into the eye, as you near the edges the raging calamity can be heard in the periphery. The rhythm left by the last section carries on but through a different filter, punctuated with piercing industrial shocks and a build in pulses of drowned shamanic chant-like harmonies. Any of you remember the fire temple in LOZ:OOT, the whole banned islamic chant deal? That's kind of the tone this sample gives off but more ominous, far slower and buried. By the 12 minute mark it is an all consuming trance of collapsing distortion and looping darkness, pulling you under over and over.

It is a gradual decay from there as we enter a third phase. The ritual synth morphs and the crackling, muffled throbs grow slower and more erratic as it's choked right to the end of the track, grinding painfully with each rotation like a boulder being ground into a mountainside. It becomes more cohesive by that point, spiking and groaning loudly before fading into a final dark acoustic melody over minor percussion which abruptly ends.

Sacrificial Totem bring something interesting and worthy of listening to for those who are adventurous, or enjoy something deeply ritualistic with a serious ideology behind it that manages to break a few crutches. It's a steep one to work up to what with the track lengths and comparative minimalistic approach to what I usually post. Don't let the pretentious sounding eco-centric, ritual dark ambient dominant nature of this project foul your impression of it before hearing it. The amalgamation of genres here obviously creates a decent bar for entry immediately but the intoxicating ancient whirl buttressed by old growth rot should be given a chance. Sacrificial Totem steers this intense instrumental vortex expertly.

Those of you who enjoy power electronics like Blue Sabbath Black Cheer, strange heavy stuff like the Body or Terra Tenabrosa, ambient shit like Final or Lustmord, or blackened ambience like Fauna might want to check this out. If you like what you hear then I dunno. These are virtually impossible to find in physical form, however the newsletter Katabatik sent out mentioned having found a few copies of the first and last record in storage. The price is pretty steep and if you want to inquire email them. I have no idea if there are any left.

Follow Katabatik Metacommunications and keep an eye out for info on whatever the fuck Exile is planning to do now that he's free.

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