Most reviews (including my own) of anything Mories-related trip over themselves to mention all the different projects he’s birthed or lent a hand to. While normally I’d lampoon this constant reminder of the man’s profligacy, I’m going to go ahead and hitch myself to that little red journalistic wagon as well. Few artists work at such consistent levels of quality and under so many pseudonyms that the very mention of their name is a byword for “quality harsh and heavy music” (if such a thing can realistically exist). It is in part because of, rather than in spite of, these multiple noms de guerre that his consistency is so enthralling.
Nekrasov has been plying the fetid waters of his own brand of blacked-out noise insanity since “Into the No-Mans-Sphere of the Ancient Days” appeared in 2007. Much like Mories’ output, Nekrasov’s sound is highly idiosyncratic, a blend of HNW sandwiched between sharp-edged slabs of basement riffs that, while pulling from two well-established genres, manages to combine them into something distinctly, brutally mind-flaying.
Mors Sonat largely eschews the watermark sound of it’s two creators. Both Nekrasov and Mories’ most prominent project, Gnaw Their Tongues, dwells in a blasted no-man’s land of harsh noise, angular black metal, and ambient formlessness. One would generally expect a collaborative effort from the pair to also be some form of noisy, difficult, black metal-centered insanity. Hence my surprise when the album turned out to be anything but. Instead, “Comforts In Atrocity” unreels itself as a fine sheen of sound that whirls between two equally extreme poles without ever settling.
Photos & Text by Saul Torres
When Mamiffer took the stage, the lights went off, and they reminded like that dropping a mysterious and dark atmosphere to the place. Throughout Mamiffer’s show, a peaceful ambient surrounded the crowd, leaving them quiet and appreciative to the performance. Faith’s delicate voice made the beginning of the night unreal and exciting.
The instant Alcest set a foot on the stage, my soul left my body, and I am sure I was not the only one feeling like that in that moment. I loved how Niege expressed his feelings on the stage; he looked happy and peaceful on every song. They played two new song of the new upcoming album “Shelter”. The first one was called “Opale”, a very melodic and catchy song that kept the essence of “Les Voyages De L’Âme” with a powerful touch of Post Rock. Their set was an amazing mix of their best work, old, and new, I was really surprised when they played “Sur l’Océan Couleur de Fer”, I wasn’t specing that song to be played. Their last song, the very last song of the tour, was another new one, called “deliverance”, sounded like a mix between “Souvenirs d’un Autre Monde” and “Les Voyages De L’Âme”, I believe this is going to be the best song of “Shelter”.
Anathema closed the night with a powerful and energetic performance from beginning to end. The played many songs from Weather Systems and Natural Disaster, and they closed with a song that is very special for me, “Fragile Dreams”. The crowd was amazing; I was standing on the back of the venue, and I could still feel the energy.
I have no idea what to make of this. Like, legitimately no goddamn clue. Albatwitch, apparently from “parts unknown,” though my guess is somewhere in backwater Pennsylvania, has totally stumped me. Their facebook describes them as “blackened swamp crust noise drone folk,” and what the hell else could Only Dead Birds Sing Over the Graves of Fallen Kings even be?
This is just a weird fucking record, through and through. About half of the tracks are some guy playing banjo, and the opener is partially sung in German. And then there’s stuff like “A.M.P.I.C.,” which is the most necro sound imaginable, drum machines pounding under guitars that sound like they’re being played through a boombox.
And what the hell is an albatwitch, anyway? According to this website, it’s a sort of dwarf bigfoot that haunted a very specific part of rural Pennsylvania, prior to its extinction in the 20th century. The name, somehow, derives from “apple-snitch,” as the little things apparently liked to steal apples and throw them at picnickers. Seems apt for a black metal band.
And is this album actually about hydrofracking? Well, the last two tracks are titled “Frack-ture” and “Black Waters Rise,” and the former seems to contain a long sample of testimony about the deleterious health effects that come from natural gas drilling using hydraulic fracturing, so I guess it’s fair to say at least part of it is. But then again, there’s also someone screeching over top of everything, so I have no idea what this is actually about. Could it just be a concept album about bigfoot? Possibly.
Droning synths, ambient field recordings, and sculpted feedback usher in Fragments Of A Fallen Star, the phenomenal second album from the as-yet criminally unknown Harrow, and they are indicative of what’s to come. This two-man black metal project from Victoria, British Columbia, draw from a much wider than usual sonic palette and a will to push beyond traditional genre confines. Pummelling blast beats, tremolo picked fury and piercing shrieks share just as much space as gentle acoustic finger-picking, somber crooning, and ambient drone. Multi-chapter song suites work their way from pagan folk through first-wave Scandinavian black metal to instrumental passages of pure psychedelia and prog-ish exploration, with elements surfacing as diverse as banjo, bodhrán, and most interestingly, samples from NASA’s Voyager probe over the moon Io.
Fragments Of A Fallen Star is the aural equivalent of a DMT trip, rocketing from the moons of Jupiter through a dimensional portal to frosty northern forests, pagan rituals and medieval battlegrounds. Exemplary of music and lyrics in perfect alignment, Harrow’s genre-hopping sound scores an interstellar opera that subversively combines black metal’s traditional preoccupation with the mythic and fantastic with less common scientific and cosmic imagery. The usual suspects – serpents, swords and sorcery – people a heroic tale that also references DNA, space, and inter-dimensional travel while contemplating Carl Sagan-esque notions of cosmic unity and the single source origin of matter.
Today we are going to show you how CRYPTS distorts reality and will engage with your night terrors like no other band. This Seattle band have just released a new visual directed by Matthew Ellis Siltala for their song “Breathe” and CVLT Nation has the honor of premiering it! Make sure to check out CRYPTS’ self-titled debut, out now on Sargent House!
Did someone spike my coffee with acid this morning? Why do I feel like I’m crawling down a hole in my mind filled with magic mushrooms? Maybe it’s because I’m listening to the new 30,000 Monkies entitled Somewhere Over The Painbow. This band knows how to construct cycodelic noise into mind-altering sounds that will have you scratching your head and then coming back for more. CVLT Nation is stoked to be streaming 30,000 Monkies Somewhere Over The Painbow in full below…This record will be released via ConSouling Agency on Oct.11th.
Any article written about Wes Eisold often starts the same way: “Wes Eisold needs no introduction…” Well, yes, that’s true, but like virtually every other article that starts that way, I will spend the next paragraph explaining to you exactly who he is.
Unless you’ve been in a coma since 1997 or living under a fucking rock, chances are at some point you’ve come across one of Wes’s many, many, musical outlets. First starting with the seminal Boston hardcore punk band American Nightmare, then moving on to the San Diego super-group Some Girls featuring Rob Moran of Unbroken, Justin Pearsons of The Locust and Cody Voltato of Blood Brothers, in addition to others. From there it was on to the spastic “what the fuck?” intrigue of XO Skeletons and the hushed static derecho of Ye Olde Maids before forming Cold Cave. What seemed to have started off as a back-bedroom affair has spiraled into one of the better known modern synth acts. From the quaint romantic nihilism of Love Comes Close to the plundering heights of Cherish The Light Years and onward to this somewhere-in-the-middle we find ourselves in, the only constant thus far has been Wes himself.
First and foremost, Wes Eisold is a poet of the highest caliber, capable of bending word through rhyme with simplicity and expertise like light through a prism. They seem like peepholes into a tumultuous life. But I wondered if torture is a necessity for honesty. Lyricism, to me, has always been the balance of journalism and poetry, but can you be honest and profound as well as not surrounding yourself with the deep morass of sadness? I spoke with Wes about the all consuming bridal reigns of the written word, his literary influence and the revelation of the lyrics behind People Are Poison and Black Boots.
Today CVLT Nation presents an exclusive premiere: two live videos from AUTHOR & PUNISHER’s recent journey supporting Philip H. Anselmo & The Illegals. The videos are taken from the live backdrop visuals at the show created by Will Michaelson, aka Cutmod, who took footage of the actual performance and mixed it conceptual and artist-found footage. We are showing you the visuals for “NTG Part 2″ and “Lonely” – so sit back and enjoy the show!
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 (email@example.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.