It’s been a while since we have done a giveaway, but today we have a great one for you! Candlelight Records has given us a red wax test pressing of the WOE Withdrawal album to give to one of our awesome CVLT Nation records! Check out some photos below, and email us at firstname.lastname@example.org with “WOE” in the subject to enter the giveaway! We will accept entries until Thursday at noon PST, and then we’ll draw our winner!
CONGRATS Andrew Lusby!!
Irish scourge ZOM present us two cosmological atrocities on a wicked 7” EP that lights the altar of Blasphemy, Morbid Angel, and Slayer aflame in it’s worship. While these tracks did appear on their 2012 “Hells Pleasure” demo I unfortunately did not get a hold of that so these are new to me, and also rip really hard.
ZOM’s assault is not new however. Their self-titled demo was certainly promising, making heads turn despite the perceived ordinariness outside of the locale they hail from, largely because the worship they display is flat out enjoyable with subtle additions that the newer revivals are bringing with them that seem to have naturally leeched into their classic sound. Just enough to refresh things at least because they were getting a lot of attention, and I still managed to miss their second demo last year containing these two tracks.
Though, as it was a demo, I assume they were rougher which is either a plus or a minus depending on your attitude. There are two tracks, virtually the same length but with different approaches to their thrash formula, the first “Multiversal Holocaust” dips into the slower realms near the end while “Terror of the Cosmos” really is a relentless and blistering offensive.
On April 26th it all went down at our 2nd Anniversary show that featured some of the most amazing bands in California. Honestly, the event was a huge success with truck loads of positive energy. All of the bands performed to the highest levels of gnarlyness and you could hear their passion in every note! Just as important as the bands that took the stage, CVLT Nation would like to salute everyone who came out and showed support. We would like to shout out Gehenna, Seven Sisters of Sleep, Youth Code, Children of God, Stoic Violence, Whip Hand and Unit B for an awesome fucking night. The night’s festivities were caught on film by our comrade in photography Adam Murray – good looking out homie! Without Crash the Clubs and Lace Pickups we would not have been able to pull this off, thank you for you support and hard work. It was cool to be able to connect with people outside of the internet. That being said, we really appreciate everyone who makes this webzine a destination every day! Now it’s time for the pictures to do the talking – check out these unreal flicks from CVLT Nation’s 2nd Anniversary and SSOS record release party (they fucking killed it – make sure to check them out on their upcoming tour with Full of Hell).
There are very few times when I listen to music and am completely at a loss for how to describe it. Most metal bands, for all their mixing and experimentation, can still be broken down into the constituent parts they are channeling: this is sludge, this is post-rock, this is black metal, etc. Even the best, most adventurous records, like Inter Arma’s great Sky Burial, can fit this kind of classification. That doesn’t mean they are less for it, just that my mind can more easily describe them.
But, with Teethed Injury and Glory, the newest from Ireland’s Altar of Plagues, I’m completely stumped. On its surface, it contains many of the same elements as previous AoP albums, screeches and blast beats and hazy guitars. But all of those pieces fit together in new, alien patterns, drawing from an inanely wide range of sources, yet wholly original. You likely won’t listen to a better, more interesting extreme album this year.
And that extreme tag, rather than metal, perfectly sums up this record. It contains many of the signifiers of traditional and experimental metal, blast beats, growls and palm-muted guitars. But what is most striking is how these standard elements somehow make the album sound less like something a metal band would produce, because for every ‘normal’ bit, five other elements undercut or twist it until you don’t know what you’re listening to. The most human sounds somehow become the most alien.
Out of all the bands I’ve seen here in New York in recent memory, none were as much of a surprise as Ruin Lust. I was lucky enough to catch them open for Urfaust and snagged their demo which I’ve almost worn out from repeated listenings. Their style of black metal meets death metal, a la Blasphemy and Archgoat, was uncompromising, frightening, and light years ahead of any other band in that same vein. Fast forward to 2013 and here we are, privy to one of the best releases this year.
The eponymous full length debut features everything I could have wanted and more as the band has moved into an aggressive onslaught of Incantation like death metal hybridized with a fresh Blasphemy approach and an astonishing production that highlights the stab and kick of each instrument. Totaling four tracks, the last split into two sections (okay, so five), Ruin Lust is a non-stop buzz saw of primal grunts, crunchy and heavy guitars and relentless drums that border on inhuman amounts of force.
Last year I was approached by a mysterious gent going by the name of NoOne – he’d seen a piece that was published for ThisIsNotAScene regarding a reissue of an album called Uncovered Ancient Gateways and he was interested in having it published on CVLT Nation. I of course obliged with this request and found myself corresponding with NoOne fairly often, and it was during this correspondence that I was made privy to a new record, Third Wave Holocaust as well as a short film that T.O.M.B. (Total Occultic Mechanical Blasphemy) had created as a companion piece to UAG. Much has been written concerning the lengths NoOne and his shadowy collective will go to in order to create the atmospheres and negative energies surrounding their recordings, and the three minute film that I saw goes a long way to prove just how far NoOne has gone and will go in the future. I’m not at liberty to post said video, but I was given permission to at least upload screenshots. I think it’s much more intriguing to let you make up your own minds as to what is contained on that film. But rest assured, it will give you nightmares.
This band is truly something special. This is the latest release from the Artist behind The Gault, Weakling, & Asunder. All of which are incredible and should be essential listening for anyone trying to expand their dark musical horizons. When you have a pedigree like that with the new addition of Sixes, your listening experience is going to be otherworldly.
This is a preview of a frightening track titled, “All Paths End The Same”. There’s a continuation of the romanticism of misery and absolute horror involved in their trademark soundscaping style and now it’s even denser and more methodically controlled. Unnerving, Hypnotic Bliss. Enjoy the preview and make sure to support the band.
The moment I started researching for this particular review it hit me: I am covering a cassette tape release. And with only 39 copies available to the world, a very limited cassette tape release it is. It is from a label that presses only cassette tapes. This specialty underground label is Colloquial Sound Recordings and the release in question is the new split between A Pregnant Light and Deeper Wells.
The idea of dealing tapes in the digital age is a bit strange. It is old technology and has a much shorter shelf life than a CD or an LP. But it is also a very cool technology. Archaic, yes, but nostalgic at the same time. People seem to like them. Tape trading is how I found a lot of new music myself (back in the day). It has its place in music’s subculture.
Michigan’s A Pregnant Light was formed in 2010 by multi-iinstrumentalist and vocalist, Deathless Maranatha. He alone is responsible for nine releases in a little over two years. Quite prolific for one solitary guy. Everything he has released so far has fallen under the blanket category of Black Metal, but that is selling it short. A Pregnant Light touches on many genres. “Glint, Glimmer and Glow” sounds like an indie rock song for the first minute, then veers into heavier territory. The music is very raw, reminiscent of DIY punk or hardcore. Sloppy good. Intense. And short. “The Heavens Alone In Love” basically has two parts with a lovely intermission between. The vocals sound distant. Odd and angular guitar licks sit in the mix with blast beats. It’s fast, and slow. Long. A Pregnant Light Is trying new things. I think that’s what most matters here. Solid.
All photos & text by Luana Magalhães
Their microphone-less screaming alone would have been enough to consider them one of the bands of the weekend, as those inhuman howls could be heard from the hallway outside. The fact that their black metal fury even outclasses what can be heard on their records helps, too.