Deafheaven

Picture by rasmusejlersen.dk

Hexis

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The Secret, Deafheaven and Hexis
Now Showing! appeared first on CVLT Nation.

Young and in the Way‘s contribution brings us two tracks, the first of which being the assault called “Psychopathy.” Much blacker than past material, “Psychopathy” is a song that makes bounds in showcasing Young and in the Way’s mastery of their craft. The spells and smells of rotten cowheads have summoned, successfully, into this world, one of the band’s best tracks to date. The riffs sweep like winds over barren snow drifts, Nordic ice chipping-off as the chords are ran blood bare. “Psychopathy” snarls its malevolence, a berserk creature, focused on the blast-beat blizzard at hand. “Vaticide” opens like scream translated into music, surrounding the listener, consuming them and carrying them on rising church fires. Young and in the Way amazes in the capturing of their roots; “Vaticide” has horns that gleam in candlelight and is dirtier than late January sleet. Of greatest substance is that this split continues the band’s recent tradition of upping their own ante.

Withdrawal‘s side of this release contains what is, without question, their finest work. The unholy fire sparked into life by the incendiary “Faith, Flesh and Blood” have bloomed into a phantasmal blaze. Whatever restraint that had existed on prior releases is all but gone here, unleashing a flurry of thrastastic riff sammiches and old-fashioned, misanthropic fun. “Of Soul and Sacrifice” verges on blissful terror with how easily it will possess one to rapidly rise and start assaulting whatever inanimate (or animate) objects are around you. “Guardian Angel” is Withdrawal’s greatest gift to this record, a storm wail unable to be ignored. At times in-your-face aggressive, others isolatory and resonant, “Guardian Angel” is as lively as it is lonely. A jet diamond chiseled from a gloom, doom rough. “Human Garbage Existence Disease” is an infestation of hellion speed that desires nothing more than to contort the common human into an unrecognizable mess. A metallic majesty, this is an ailment to which a cure would be most unwelcome.

This split can be ordered from A389 Recordings here and can be streamed and bought in full at the links above.

Young and in the Way news can be found at here and also check out their discography.

Withdrawal can be found here and “Faith, Flesh and Blood” can be listened to here.

Full-lengths are due out by both bands throughout 2013.

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Young and in the Way Split
Review + Stream appeared first on CVLT Nation.

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With songs ranging from the fast paced kick in the teeth of Gasoline Punishment to slower and crustier Death’s Head Lifestyle. With howling distortion heavy vocals and not a single fuck being given when it comes to the rest of the instruments, you can really tell that meeting Quincunx in a dark alley could very possibly be more than a little terrifying.

Check out their track Commit to Black:

From the moment Gasoline Punishment kicks in to the final note of Commit to Black, Quincunx manages to hold a consistent lo-fi menace while delivering 7 tracks of blackened venom straight to your ear holes. Their grit is and knife in the gut attitude definitely exude the message that the world should burn.

I’m not saying this band’s gonna change the world, because they’re more likely to light it on fire and then stand in it just to spite the fire for not burning everything to cinders fast enough, but it’s a damn solid addition to the world of lo-fi. I’m definitely interested to see where they go from here.

And you can TRY to get a tape from Colloquial Sound Recordings HERE, but they’re currently sold out.

The post QUINCUNX – Quincunx Review appeared first on CVLT Nation.

Bands, In Order:
-Axegrinder (Intro)
-After the Bombs
-Contagium
-Cancer Spreading
-Bolt Thrower
-Hellshock
-Instinct Of Survival
-Limb From Limb
-Stagnation
-Stormcrow
-Axegrinder (Outro)

Thank you for listening & please support the bands.

The post Die Mofos!…
Deathcrust Apocalypse Vol. I
Free Download + Stream appeared first on CVLT Nation.

It’s a kind of standard answer but we mainly tried to write an album that was better and more complete than the previous one. “Solve et Coagula” has been a turning point for our band, it gave us the chance to play more shows and with a lot of great bands. Playing live gave us more self-awareness as musicians and taught us a lot about ourselves and what we wanted to move towards with our new album. We didn’t want to move too far away from the approach on “Solve et Coagula” but at the same time we wanted to expand and get more control over our sound.

Where, when and with whom was Agnus Dei recorded? What influences were brought forward for this recording?

We recorded “Agnus Dei” at Godcity Studios in Salem, MA in July 2012 with Kurt Ballou behind the mixing board.
I don’t really know if it’s been influential but we listened to a lot of metal classics while writing “Agnus Dei”. Everything from Slayer to Metallica, Dio or Celtic Frost, Morbid Angel and Satyricon and so on.
 
What manner of experiences has The Secret had working with the always good Southern Lord Recordings?

We really like that Southern Lord always pushed the boundaries of heavy music independently from trends. Even before signing with them we were great fans of the label and some Southern Lord releases have been very influential for our music so we are proud to read our name next to some of what we consider modern classics.
 

Agnus dei is a liturgical prayer, represented by a lamb with a halo and crucifix banner. How was this symbolism integrated into the recording process and what does it represent in terms of the work as a whole?

Agnus Dei is the Latin for Lamb of God. Between 2011 and 2012 we became really fascinated with the role of sacrifice in our culture and that’s what we are exploring with this record. We’ve been taught since the beginning that Jesus Christ died on the cross to free us all and therefore committing the ultimate sacrifice for humanity. Countries send their children to die at wars, sacrificed for their nation. We all grew up learning that we all owe something to someone, our God, our country, our parents. We learn that we all have to pay somehow.

This is what “Agnus Dei” is about, it’s centered on sacrifice.
 

Agnus Dei showcases The Secret in their most pure, unapologetic form.  What elements from Solve Et Coagula and its two predecessors are found on Agnus Dei?

I think our two first albums are very confused because we were still trying to create our own sound. What we are playing now started taking shape with “Solve et Coagula“. This doesn’t mean that our two last albums sound the same but “Agnus Dei” preserved the more traditional song-writing we used on “Solve et Coagula” or at least, we started from that. We kept most of our songs short and straight to the point but this time we tried to expand that sound and to make the album listening experience more complete. Tommaso’s drumming brought more control to our sound and led us to add more dynamics to the album as a whole.
 
The Secret’s discography plays like a violent middle-finger to the hypocrisies of civilization. What recent world events have endowed the music with this honest, bleak outlook?

The financial situation in our country is pretty dramatic at the moment and this influenced everyone’s lives in one way or another. At this point there is not much light to see at the end of the tunnel unless our whole system changes drastically at the foundation. People are becoming poor, scared and confused and and this fear and confusion is what we wanted to explore this time. Our generation was deluded and deceived so it’s very hard not to despise our whole establishment and this definitely has a big influence in our music.

You recently completed a tour of your native Italy, how did this compare to past outings?

Shows in Italy have been good, especially considering that playing 13 shows here isn’t something very common for bands like The Secret. It’s been surprising to play great shows in cities we never visited before, we definitely look forward to doing it again next year and hopefully hit a few places we missed this time.

How did the upcoming European tour with San Francisco’s Deafheaven take form and are there any cities you look forward to playing the most?

We had the chance to play with Deafheaven at SXSW few years ago and I think they’re a very interesting band. Even if our two bands sound different, we both share a part of the same background. I don’t like tours where all the bands sound exactly the same, some diversity definitely makes it a more interesting experience in my opinion.
 
Are there plans to tour North America and other parts of the world in the near future?

There’s nothing set in stone but we’re talking about a possible U.S. tour that we hope to know more about soon.

Any thoughts or comments you like to add for our readers?

Thank you for your support and the interest about The Secret. Cvlt Nation is one of the coolest things on the internet at the moment and it’s always cool to deal with you.

MICHAEL BERTOLDINI
 

The post CVLT Nation Interviews:
THE SECRET appeared first on CVLT Nation.

The album opens with ‘Nihil Fucking Lifeblood’ which follows a heavy musical tradition of starting with a slow pacing melodic riff, then stopping abruptly for some real heavy chaos. The difference here is from there they go from crusty punk to blast beats to slow sludge. They have this type of unconventional song structure throughout. Lots of changes but the the songs still maintain a decent flow. I suppose if you wanted to label the band you’d use something along the lines of blackened crust. But there is a lot going on here from crusty sludge to whatever other heavy down tuned genre you can think of.

Ramlord give a breath of fresh air I think, remember those distant echoes of when bands had originality, energy and enthusiasm. Even though perhaps all from a dark cynical place. This is what Ramlord have, all with a dark consciousness of the mundane factory floor.

Standout tracks being ‘Weakness’, ‘Dependency’ and the opener ‘Nihil Fucking Lifeblood’. ‘Extinction of Clairvoyance (Part Two)’ hits the proverbial nail on the head for an album like this by to finish with. A simple heavy riff but played with great power and just gets heavier and heavier, faster and faster but all at a steady rate. I want to see them live, come to Europe.

Pre Order HERE!
Hypaethral Records [facebook]
Ramlord [facebook]

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Crippled Minds, Sundered Wisdom Review appeared first on CVLT Nation.

The demo itself brings with it all of the gritty qualities one would expect to be associated with a demo: low production, cymbals crashing and creating waves of non-sound, guitars that are seemingly lost in the mix, however none of this is a slight against Unru in the least bit and if anything, it really drives the point home. Four interlude tracks I-V serve as moments of atmosphere for the album, giving the listener breaks in-between the absolute onslaught that is DEMO MMXIII. I think what strikes me the most about Unru is the ridiculous vocal sound because I’ve never quite heard anything like it; the vocalist creates something so animalistic and sinister that it’s actually quite exciting to hear from track to track. Similarly, I felt as though the drums throughout most of the tracks held a particular antagonistic relationship with the guitar, much to each instrument’s benefit.

Throughout the album, it becomes evident that Unru have a single idea in mind and execute it to the best of the ability. Unru avoid some of the more typical conventions of blackened crust (or d-beat) such as alluring listeners with enigmatic aesthetic and instead give them exactly what they’ve been looking for without the bullshit. Tracks such as “Es schiebt sich zwischen uns, wie Schatten” and “Ich bin der Hexenmeister” showcase their ability to avoid cliche in lieu of a distinctly primitive, chaotic burst of music.

Pick up what is one of my favorite demo releases of the year right here.

The post UNRU
Demo MMXIII Review appeared first on CVLT Nation.

From start to finish Kata Sarka assault with flying metal guitar riffage and pummeling drums creating the feeling of being lost and disoriented. Switching between a gargled guttural yell and howling scream, the vocals soar past like an angry wind. The band seem to go from one pummeling riff to the next, throwing in guitar solos only to heighten the anxiety, then blasting back into the relentless abuse. The music accompanies the themes brought in by the lyrics of anger with society and the normal state of affairs.

This release is a burner that soars by in matter of minutes that should not be passed over. Kata Sarka’s Crucible of Misanthropy can be picked up on CD from Auris Apothicary records in a beautiful hand crafted earth-tone ceramic tile stamped sealed in copper wax case and can be streamed on the band’s bandcamp. Get more new info about Kata Sarka at their website.

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“Crucible of Misanthropy”
Review appeared first on CVLT Nation.

Withdrawal:
[Audio clip: view full post to listen]

Young And In The Way:
[Audio clip: view full post to listen]

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CVLT Nation Streaming
Withdrawal // YAITW 7″ Split appeared first on CVLT Nation.