CVLT Nation is stoked to release Sonic Cathedrals Vol. LXIV Curated by Mournful Congregation today! It’s cool that our writer and supernatural photographer T. Terrorist reached out to Adrian Bickle of Mournful Congregation to select songs for this awesome mixtape. Below read what he has to say about these tunes, then download this motherfucker and turn it up to way beyond LOUD!!!
These songs have all, at one point or another, served as both inspiration and influence. I’ve always been drawn to music of a darker/heavier nature and this collection covers everything from some of my earliest moments of awe to more recent sources of enjoyment. The profound listening experiences that made me rethink music entirely, that made me want to improve, that helped to carve the artistic path I would follow….a lot of them are here.
Stream Sonic Cathedrals Vol. LXIV Curated by Mournful Congregation
Cover and banner image Pat Tomb
Review source Sludgelord
The Lion’s Daughter is a Hardcore/Sludge Metal Band from St Louis, MO, USA
The Lion’s Daughter are a fast and furious Hardcore/Sludge Metal Band with a great social conscience attached to their music. They have featured on the blog before with their awesome split with Fister.
Well the guys are back with their eagerly awaited full length record – Shame On Us All – An 8 song bruising 32 minute encounter of top-notch Hardcore driven Sludge Metal riffs.
Thank God these guys sent me their album to review. This is the perfect album to headbang to with things not going your way. These guys don’t do happiness or rays of light. They are master tacticians dealing with in fast and furious Hardcore/Sludge Metal riffs.
Shame On Us All is a hard-hitting blast of bruising riffs that will surely leave you drained from start to finish. They have the passion of an angry Thrash Metal Band but in the realm of Sludge Metal.
The band wisely throw in some hard-hitting Social soundbytes to get their message across and I applaud them for not shying away from the bleak side of life.
Especially on tracks like – “Deadbeat At Dawn”, “Heavenless Far From Earth”, and “World Ender – Buried In Dust”.
These guys know how to play a mean down-tempo Sludge metal riff full of despair and passion at the same time. Plus the vocals are truly full of anger at the world but still makes you care at the same time.
This is a band with a purpose and nothing is going to stop in their in delivering their own brand of bleak down-tempo Hardcore/Sludge Metal.
If you’re into the legendary hard-hitting bands of the NOLA scene such as EHG and Corrosion of Conformity then these guys will appeal to you big time like myself.
The 32 minutes just flies by. You don’t know what you have just witnessed but your edging towards the repeat button on your MP3 Player. This is an amazing album from a great band who know how to write a top-notch hard-hitting tune with blazing Sludge Metal riffs to match.
Shame On Us All is superbly produced and played by all involved. You can hear every note played to brutal top notch perfection. The drumming is a major high point. Full of precision and drive that you will find hard to ignore.
Then again all the band are amazing musicians and each play their own part in delivering an album you cannot ignore. If you do you will be missing one of the heaviest and fastest Sludge Metal records of 2012.
Brilliant and Highly Recommended.
To Live A Lie Records never really take a break, right? Consistently releasing interesting grindcore and powerviolence records every year, TLAL tend not to put a foot wrong. With Magrudergrind, Agathocles and Pretty Little Flower amongst their releases down through the years, it’s hard to argue otherwise. One of their latest releases is this new 7” from Boston grinders Curmudgeon – five tracks of the usual suspects, killer, no BS grind.
One of the most intriguing things about this 7” is the amount of activity that has been shoved into its short running time. Krystina Krysiak leads the vocal charge with her loud, boisterous wails over break neck verses and equally slower crushing riffs. Her vocals are often complemented by some typical muffled powerviolence vocals too. Meanwhile the drums are a frantic, battering mess.
The Heroes of Glasgow “Nae Wave”? Unholy Noise Rock terrorists? Post Punk gone Metal? But not metal. But definitely channelling a recurrent theme in metal. Guitars and drums that work like whirring machinery, grinding gears and pumping pistons deep inside of some infernal machine. Imagine if a band like Aids Wolf got really excited about the Motorhead back catalogue and decided to start busting out filthy grooves like the sonic personification of the demonic express train on the front of Orgasmatron, or a hellbound panzer division storming through the ruins of YOUR city.
Over the last few years Leeds has produced some of the most vicious sounding hardcore bands in the land, and here’s one of the latest. Perspex Flesh. One demo deep and their strategy appears to be thus; First they bludgeon you with their sound that sits somewhere between Life’s Blood and Born Against and then they drag your unconscious body down into the sewers of their collective personal hell. Sound like a good deal to you?
Venus Star is another curious project coming straight from the darkest side of Circle of Ouroborus member and incredible musician Atvar. I must confess I’m not the biggest COO fan, but Venus Star is a totally different beast. It’s not as weird as COO, Venus Star is focused on a more gloomy, primeval and obscure death metal with some notable black metal influences, Venus Star has released, this year only, two EP’s and a full-length. I’ve heard this EP the most and i’m totally into this. Featuring three tracks only, Venus Star unleashes upon us a very heavy, unbreathable atmosphere, the sound, that shines a very low-budget and raw production, brings to my mind something in the likes of Crepusculo Negro’s Muknal. There’s some very dense, thick and obscure death metal on this one, like in the opening track “Let Blood”, with that hammering rhythm that drags us into the depths of the most dark and haunted mausoleums where constant shadow with fiery eyes lurks on every corner, waiting for the right timing to get their cold claws on your flesh. But beside all of that grimness on this EP, there is still room for a more melodic tone, like we can witness on the last track “Nighteater”, a much more accessible and a wonderful track. I only wished there were more songs featured on this EP, because i really love it, that’s the only negative aspect i can point on this one.
Story Source BoingBoing
Written by Klint Finley
You don’t play the ANS synthesizer with a keyboard. Instead you etch images onto glass sheets covered in black putty and feed them into a machine that shines light through the etchings, trigging a wide range of tones. Etchings made low on the sheets make low tones. High etchings make high tones. The sound is generated in real-time and the tempo depends on how fast you insert the sheets.
This isn’t a new Dorkbot or Maker Faire oddity. It’s a nearly forgotten Russian synthesizer designed by Evgeny Murzin in 1938. The synth was named after and dedicated to the Russian experimental composer and occultist Alexander Nikolayevich Scriabin (1872–1915). The name might not mean much to you, but it illuminates a long running connection between electronic music and the occult.
You can find traces of the occult throughout the history of electronic music. The occult obsessed Italian Futurist Luigi Russolo built his own mechanical instruments around 1917. The famous Moog synthesizer made an early appearance in Mick Jagger’s soundtrack to Kenneth Anger’s occult film Invocation of My Demon Brother in 1969. And in the late 1970s Throbbing Gristle built their own electronic instruments for their occult sound experiments, setting the stage for many of the occult themed industrial bands who followed. The witch house genre keeps this tradition alive today.
It’s little the surprise otherworldly sounds and limitless possibilities of synthesizers and samplers would evoke the luminous. But there’s more to the connection. The aim of the alchemist is not just the literal synthesis of chemicals, but also synthesis in the Hegelian sense: the combination of ideas. Solve et Coagula. From the Hermetic magi of antiquity, to Aleister Crowley’s OTO to modern chaos magicians, western occultists have sought to combine traditions and customs into a single universal system of thought and practice.
Electronic music grew from similar intellectual ground, and it all started with Scriabin.
Summer has always been the most conflicting season of the year for me – on one hand, the environment I grew up in for the majority of my life had been unbearable in extreme temperatures during this time of year. On the other hand, summer was and still is an indication of festivals and gig announcements on a more frequent basis, as well as new music to compensate for the terrible weather which takes over the majority of the country this time of year. Now, I find myself spending this season under some of the gloomiest and darkest skies of America, as well as my most recent musical listenings to correlate the criteria of such environments as well (It should be noted that I also find it to be quite pleasant to my liking). Grey skies, dark tunes, and a month of praise-worthy musical treasures on top of a handful of upcoming shows this month and beyond is enough to put the icing on the cake for me.
Hour of 13 – “333”
I had a hard time knowing where to begin to describe the untouchable work that is 333. I have been a long-term fan of Hour of 13 and have yet to sample one album that has left me feeling even the slightest bit disappointed. 333 is yet another traditional doom metal classic that has been left on a grand scale of reoccurring talented collaborations between Mr. Chad Davis and Phil Swanson. This piece of work is both catchy and maintains the easily distinguishable, old school doom “retro” vibe that has always radiated from their sound. Highly recommended and must also note that this is definitely an album that falls under the “replay in its entirety a million times before the next release comes out” category.
The first “Deathrock 2012″ mixtape (which is here) was so popular I thought we’d do it again!
Included here are some new bands I overlooked last time (The Now Dead, Funeral Parade, Population), some different tracks by bands already featured (Crimson Scarlet, Arctic Flowers, Cemetery), and, still continuing with the theme of tying in the old with the new, newer songs by older bands like Killing Joke, Rudimentary Peni, and New Model Army. It’s also worth mentioning that 80s California deathrock band Altar de Fey have reformed and are playing out again with the newer bands; a track from them is on here for good measure.
Most of these new bands come from the DIY punk scene and are reclaiming deathrock’s punk roots. There is a strong element of anarcho/peace punk in a lot of the bands’ sound – see Moral Hex and Dead Cult, for example. Although there are some precedents for this, this is one of the novel developments in this style of music. This compilation isn’t exhaustive; it’s simply a starting point to the incredible new goth-punk being made nowadays that is injecting much-needed new life and vitality into the music.
CVLT Nation Deathrock 2012 II Mixtape Curated by Oliver Sheppard
Steve from Embers interviews Davide from Iconoclast Records.
Read Embers interview with Claudio from Iconoclast HERE…
Davide: It was mainly a distribution of records and political stuff, books and info-sheets. I have been an activist for most of my life. I quit the political struggle 24 hours a day a couple of years ago actually, and when my friend asked me to start another label, it was natural to start again as something new, something different, with another name and another way, another direction. I mean, I didn’t change my ideas. I just wanted to focus on talking about the label. Focus more on the music and putting out records. Of course in a DIY way. I never changed my way about that.
S: So, something that Claudio mentioned in the original interview was that there was a decision at some point to change the focus of the style of music more into the metal area. Why did you make that decision.
D: Mainly for two reasons, one was just because we were listening to a lot of metal stuff, and we were more and more into metal. We started a band, Claudio and I together, we play black metal and I think it was something natural to move in another direction.
But not only that, how distribution was more into crust, hardcore, and punk, especially when we put the distro out at some shows and Agipunk was there too with their distro. It was actually impossible to sell any records. Every record I had in my distro was the same as Agipunk had. So when Mila asked me to be distributed officially by Agipunk I said, “Yes” because it was good for everybody. Spread the name of Iconoclast because Mila started Agipunk 15 years ago. His experience is way bigger than mine, and you know Agipunk records are more crust and we decided to be the most metal part of Agipunk without losing our name.