Doom / black metal band Vit’s recent album The Dry Season is perhaps one of the genre’s most interesting releases this year. The Dry Season feels like an innately looming album; it has an aesthetic that is truly moving and winding without being obvious to the listener. One of the first aspects of the album worth discussing is the pacing of each track which leads the listener on an arcane journey through a desolate wasteland.
The first track “Sixteen Bodies” is a slow burn that showcases the band’s ability to not only play, but tantalize the listener with their doom-influence. The song is begins similar to a journey across wilted farmland, dry and hollow, that ultimately leads to a place of lawlessness. Following “Sixteen Bodies” is the fuller, richer track “The Dry Season.” I particularly liked the vocals and guitarwork on the track, as I felt both exuded a sense of dominance and anxiety that fit the theme well. However, the following track is perhaps the most indicative of the scope that Vit wished to convey on The Dry Season.
Black metal often has moments of intense rebirth and re-imagining, and it’s projects such as Botanist that fuels these periods of incredible experimentation and in turn threatens to turn the genre completely inside out.
Botanist first came to our attention in 2011 with the forty track, double album I: The Suicide Tree//II: A Rose From The Dead which we talked about here, and last years III: Doom in Bloom/Allies (which had a particularly interesting take on collaboration in its favour, besides being excellent). Otrebor (vocals, drums, hammered dulcimer) has been constantly and consistently moving Botanist forward and giving us much to think about in terms of how we treat the natural world, our attitudes towards it and that we have a responsibility for our actions.
IV: Mandrogora continues the story of The Botanist and is fairly complex in its narration which hints at magic, pagan ideals, and legions of Mandragora (or demons) that are brought forth to obliterate mankind for his part in the destruction of the plant world. This is a record of intense scope, and Otrebor once again uses Botanist as a platform to call for action and whilst many black metal acts out there have agenda’s and missions and messages, they don’t always feel rounded out – Botanist feels entirely whole, and completely necessary.
The band’s Relapse debut Sky Burial, creates an atmosphere saturated with hypnotic hooks, spiraling riffage, and ritualistic drumming that captivates as much as it does mesmerizes. Setting the pace for an album that effortlessly waxes and wanes through contrasting imagery ranging from virulent downward crashes, to hopeful optimism, weaving together what is nothing short of pure sonic perfection.
Sky burial is an album that requites the listener to encompass the fabric of the album as a whole, capturing the full contextual meaning and representation therein. The album is built around creating a journey through veritable prowess expressed both musically and conceptually. Resulting in an experience that is very personable, spiritual, and deeply rooted into representing a sound that will reflect the band’s solem roots within live performances. This is no more earnestly reflected than within the track “The Long Road Home,” which sets the backdrop for a tale of travel and hardships amongst a reminiscent Pink Floydian soundtrack filled with somber lulls and despairingly visceral shifts before crashing into a full on blackened assault. While not to be outdone Inter Arma embody the very definition of influence, and showcase this in no greater fashion than within the tracks “Sblood” and “Westward.” Delivering a full range of southern post apocalyptic blues, harsh noise, dripping black passages, and psychedelic rituals that put the accentuation on a streamlined masterpiece. While haunting reverberations float above the last fleeting moments of the album, as in true departure to acclimate yourself once more in leu of having your senses shocked and amazed for the better part of 60 minutes.
Tour dates after the jump!
Text by Shane|Red River Family
ETERNAL WARFARE RECORDS (E.W.R.) FESTIVAL 2013
It’s that time of year again, where we start planning our funds to travel to all the fests that have mind-blowing line-ups. One that is on my radar is the Eternal Warfare Fest up in Oregon, USA. This year has a very impressive lineup, which could mean money burning a hole in my pocket to travel up to the Northwest. With bands such as Alda, HELL, Lake of Blood, Barghest and Mania are bands enough to get me to justify the travel. The fest will be spread across 3 days (Friday -Saturday -Sunday): the first two days will be packed with the bands that showcase the Cascadian region, as well as some bands journeying in from out of the region – Drought (NM), Wolvserpent (ID), Barghest (LA). The third day is more of a calm, relaxing day with a folk, string, atmospheric lineup – with bands such as River, Novemthree, Will O The Wisp and many others.
OEDE is back with a new tape entitled Sør Norsk Djevel Blues and only 66 of them have been made. If you follow CVLT Nation then you know that we dig the lo-fi distorted voodun blackened blues that OEDE spits out on to the world. When you listen to this cat, remember that there is one rule, and that is: there are no fucking rules with this cat. Sør Norsk Djevel Blues is 17 minutes of killer whacked music that sounds like nothing you have heard before. What I do find interesting listening to OEDE is that he really puts his all into every note. It’s CVLT Nation’s honor to be streaming Sør Norsk Djevel Blues in full below…Oh yeah, half of the tapes have sold out so hurry the fuck up and get yours HERE!
DEAFHEAVEN has been in the studio recording the follow up to “Road to Judah” that is going to be called “Sunbather.” The word on the street is that this record will be out in late spring via Deathwish Inc. In April, DEAFHEAVEN kicks off an European tour with The Secret, which I know is going to be off the fucking chain. This past weekend the band performed an one off show in Brooklyn at the St. Vitus Bar where they played one of their new songs called “Dream House” & “Punk Rock/Cody,” their Mogwai cover. (((unartig))) was on hand and captured DEAFHEAVEN wrecking shop – peep this footage after the jump plus their tour dates!
Love hate or fear, next month, the beast of furied sound that is SXSW will be upon us. Though I can completely understand the jagged glass, jaded view clenched by many amongst the horde, I have always found blackened joy in wandering its dizzying streets. And while I have been absent from SXSW’s cacophony for the past few years, in bit champing excitement of my return, I thought I’d share a few sacred slices of past videos from that world.
In perusing my capturings for this inaugural installment, I wasn’t quite sure which direction to steer the ghost ship, that is, until I stumbled into a brief bit sludgy, still-born doom from the epic Dark Castle. Roughly two years ago, Brooklyn Vegan, a trustworthy name in this department, hosted a free party with a metal stage whose lineup could not be quenched by all of the invisible oranges in the world. Many face pounding impressions were made that day, but this brooding and bloody Dark Castle set was a voidened stand out.
Hailing from Portland comes a four-piece who base their art on the mighty black metal. There was a time when people shit on American black metal. Now? You can do it of course, but it’s simply playing stupid, since it’s undeniable the talent that the United States has to offer in that specific department. We must “measure” one scene not only by the big names (Xasthur, Nachtmystium, Von, Krieg, Twilight, Leviathan, etc), but also by the new blood that’s presented to us music freaks every single day. It’s here, in the new blood department, where Spectral Tombs must be mentioned.
When I think about annoying trends I always find myself left with fake retro – Be it music or visual
aesthetics. Ever since the Eighties became ever so popular again it brought this wave of pictures,
made up to look contemporary from that era. In times of Instagram and Hipstamatic it is easy to
copy these grainy, soulful images most of us grew up with. But do they feel real? Not to me. One
of the coolest things to unfortunately wither and die in the last decade was the Polaroid technology.
These quirky, white-framed images never really made a 100% shot of reality. I remember my
mother saying how terrible the quality is. But it had feeling – and that’s what the ever evolving
To take pictures of a show used to be something special. Most people came to enjoy the music and
raise their hands, X’ed up or with devils horns, to cheer and celebrate. If you go to a show today you
will find more cameras than people in the first row. Cellphones or super expensive digital cameras
are common toys – and they all kind of take the same shots.