Our comrade Ralph of the Planks turned us on to Sarah Kastrau, who is an amazing photographer with a very interesting style. We just got word from her about the new photozine she created entitled Like Ghost. The zine is a collection of concert photos taken in 2013, featuring ██████, Amenra, Birds In Row, BLCKWVS, Celeste, Coliseum, Colaris, Downfall Of Gaia, Goldust, Gottesmorder, In The Hearts Of Emperors, Light Bearer, Omega Massif, Planks, Sundowning, Syndrome. Check out the preview on CVLT Nation, and you can buy Like Ghost by Sarah Kastrau HERE!
Abalam marks the return of the Danish killing machine Hexis, one of the most promising bands and most avantgarde within the genre. After a handful of EPs, splits and some tours across Europe and South America, where the band left a trail of destruction wherever they went, Hexis left everyone on their knees begging for more. Well, do not despair. Your prayers were heard and have been answered. Hexis are back and they are angrier than ever.
First, and to contextualize you better when you listen to this album, the title: Abalam. In the Christian demonology, Abalam is the name given to the demon that possesses the human body and forces him to commit profane acts of lust among others, and this demon involves himself in such a way that sometimes the only way out is death.
On November 13th, 2013 The BODY shook the walls of the Almost Holden Collective in Santa Monica, Ca. The band performed an unreal set at the Crash the Clubs & CVLT Nation event. Now we are super proud to be able to let the world download the show right here and now. Stay tuned for the other sets from that night featuring Harassor & White Dove. In the meantime, get your eardrums shattered and download The BODY live!
My homie Del the Funky Homosapien has released a free new album for download…So open up your third eye and peep how a master flips words!
This is a new FREE LP that is futuristic and fun – but still on some Hiphop shit. Lyrically ill but fun to listen to, nothing super heavy. I did the production on it as well. Hope yall enjoy it, peace.
With the recent passing of Polish composer Wojciech Kilar, it’s an appropriate time to revisit one of the more well-known films he scored during a long career. Francis Ford Coppola’s 1992 version of the ultimate vampire story, Bram Stoker’s Dracula certainly needs little introduction and is no doubt a favourite among gothic horror aficionados.
With a large budget and an ensemble cast (most notably Gary Oldman and Anthony Hopkins as Dracula and Van Helsing respectively), Coppola’s Dracula remains one of the few big horror productions from a large film studio that effectively captures the dark, brooding, gothic eroticism of Stoker’s story that normally wouldn’t pass beyond a first draft if a director like Coppola wasn’t attached to it. The costumes, set design, cinematography and overall production of the film alone would have been enough to guarantee its legacy of a cvlt classic were it a flop (it wasn’t), but beyond that, it’s also really entertaining and can be pretty spooky when it wants to be. Of course, there are elements that are inescapable of the Hollywood cheese machine but the rest of it is so well made that we’re prepared to overlook those moments.
There have been rumblings across this cybernetic spectrum unsure as to just why exactly it’s Youth Code that has generated such extreme gravitation. They certainly aren’t the first to revitalize a genre. They aren’t children of extreme conditions (although Ryan’s tenure in Carry On may count). They aren’t…whatever else people say they aren’t. So why exactly? Well, to those bush-league detractors the “reason” is as follows: Ryan George and Sara Taylor bring so much energy they make a cargo-plane crash look tame by comparison.
Youth Code have certainly hit the ground running, releasing and playing virtually non-stop since the quiet premiere of Destroy, Said She on Soundcloud. After a demo cassette and a 7″ on Angry Love Productions, Youth Code bring the total tonal eardrum assault with their self-titled debut. The remastering of tracks that have previously appeared elsewhere gives them enough breathing room to sprawl and unfurl like the wild animal each one of these songs are, while the new material shows extreme growth. From top to bottom this album is a classic.
One often finds that the dark ambient genre – while no less diverse than any other field of music, in terms of the variety and number of its artists – has a tendency to over-invoke the concepts of “cold” and “infinite” to the extent that many recordings can seem indistinguishable from one another ( I hasten to add that, as a fan of the genre, I rather enjoy its preoccupation with sprawling voids and cosmic timelessness.) Fortunately, however, there is life in this dark universe, swirling in the grand designs of Michael Page’s Sky Burial.
Return to the Source: A Dereliction of Beauty is the eleventh full-length Sky Burial release and Page’s second one this year after the well-received Pas The Sarvering Gallack Seas And Flaming Nebyul Eye (Obfuscated Records). Return’s lone 48-minute track diverges from the ecstatic trajectory charted on Pas the Sarvering – the familiar dynamism remains, but the overall tone is formidably darker, vertiginous, and unsettling. All of Page’s releases exude a powerful elemental quality, but this one is aptly named given that its effects are primal, humbling, and occasionally terrifying.
It took me a fair few listens of this album to get even the slightest understanding of anything that was going on, but now it probably rates as one of the best albums I’ve ever heard. Inaccessible is a gross understatement. Portal play impenetrable, brutal, fucking crazy music that commonly gets referred to as death metal but sounds absolutely nothing like most death metal I’ve ever heard. Waaaay down-tuned guitars spew just unrecognisable streams of noisy murk that is actually impossibly technical (once you start to realise what is actually going on, after about listen six), drums hammer and blast like armies of mammoths using jackhammers and wrecking balls to fight each another, and the vocals sound like the battle cries of some fucking alien beast that lives deep underwater. This whole album sounds like it came from the ocean floor, or a world made entirely of concrete, or two massive spaceships colliding. Clearly I can come up with no shortage of hyperbole when it comes to this album and it all gets nowhere near conveying the indescribably heavy reality of this colossus.
Merdarahta is the experimental alter-ego of Ottawa grindmongers Fuck the Facts. With new release breathe electric out this Tuesday (17 December 2013), project leader and FTF guitarist Topon Das talks about his longstanding interest in the experimental/noise genre and the process-based approach of improvisational music.
Merdarahta – “Breathe II” – A Cvlt Nation exclusive track premiere:
A nineteen-minute long behemoth of decaying madness, Dyodyo Asema, is the bastard creation of Belgium raw sludge/black metal miscreants Alkerdeel and Dutch black metal/noise/industrial experimentalist Gnaw Their Tongues (a one-man well of madness project spearheaded by the infamous and mysterious Mories), and specifically written to celebrate the fifth anniversary of Belgian label Consouling Sounds. What comes together in this release are two bands that have as their core intent, as their ultimate sonic goal, the creation of immense and disgusting walls of obliterating, emaciated and evil sonic slime.