England’s CORRUPT MORAL ALTAR are about to unleash another slap of totally fucked up Grind/Sludge/Death Metal madness upon their willing disciples in the embodiment of a 7″ titled Whiskey Sierra. Just as the name professes I assume all of the material was created under the influence of quite some booze and probably a bunch of other substances as well. And this shows not only in the naming but also in the headache provoking music that is taking only the heaviest, sickest bits of every genre that is already extreme in itself.
By doing so CMA perfectly pursue what they also did on the previous (and excellent) Luciferian Deathcult EP, except that these four obviously very angry men became even tighter and heavier, making Whiskey Sierra an absolutely convincing release that should please the ’83 Napalm Death shirt sporting 40-something guy as much as the 15 year old dude who only recently got introduced to Spazz by his older brother.
The four songs of Whiskey Sierra get straight to the point, hit you in the face, kick the shit out of you and disappear as fast as they came, leaving you as a bloody wreck begging for more. In about ten and a half minutes CMA do really everything it takes to tear your shiny happy world apart. The down-tempo’ish, sludgy parts are wisely placed and mostly leave you only a few seconds to breathe before one of these really ridiculous fast blast-beats bevels your skullcap or a 10.000 ton breakdown beats your head onto the concrete floor. If you still don’t have enough, the dual vocal assault makes sure you feel completely fucked. The high screams ultimately sound like a buch of rusty nails onto a blackboard. Nice eh?
What’s really remarkable about this unhealthy mixture is that CMA have in down like not too many other bands to make all this sound very coherent. At no point you have the feeling that Whiskey Sierra sounds put on or strangely constructed. It’s more like CMA found a way to melt down over 30 years of extreme music and turn it into a merciless, unforgiving sonic mayhem. Try this at your own risk.
This 7″ EP is up for pre-order via Dead Chemist Records.
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.
It seems Dark Descent have once again done well by unleashing Lantern’s newest effort upon the metal landscape, sprouting another frigid root into the festering soil of death metal to petrify and rot whoever enters its reach.
My introduction to Lantern was through their Subterranean Effulgence EP, and while it was good for sure without having gone back and re-listened to it recently I would’ve have said it wasn’t too memorable. Promising? Sure. However with their new record Below they’ve definitely got my attention. Lantern has heightened their unique, chasmal death ceremony, resurrecting old heretics and using their essence to form something decidedly old school, and cleverly (if not subtly) inventive as well.
Since you’re all probably pretty tired of the grind and -core I’m putting up, I’m gonna pump in some more black and death metal for a few posts. A warning though you can count on plenty more of that regardless so have fun. Speaking of: if you’re waiting on the new Immolation, Ulcerate, or Inquisition then I think you’re gonna want to give this a few spins as well. Might be a bit of a sleeper gem for 2013 or just something really solid. And yes I will be getting to those Abyssal albums sometime soon.
I posted Witnessing The Fall last year not long after I saw Svart Crown support Ulcerate on their first North American tour and was very impressed by both their tight performance and quick, dissonant sonic seige. This french horde has obviously been taking their writing even more seriously in the past three years, fleshing out their influences and strengthening their skills to invoke a distorted vision of dissonant blackened death metal entitled Profane that would make Immolation proud. It’s a surprise and crept out of nowhere a few days back and may end up on my year end list.
Profane is a far more absorbing venture through vigorous, bendy American sounding dissonant black/death metal compared to their more tame (or less colorful maybe, while enjoyable) 2010 record. I say American because instead of feeling more creepy-chaotic like French/European acts Deathspell Omega, Hectic Patterns, Dodecahedron, etc. Svart Crown use Profane to channel the fiery, blasphemeous, and weighty sound of Immolation with a wild, open-stringed blackened discord and pacing of Inquisition. That’s not to say the US doesn’t have it’s share of torrential death chaos (Ævangelist for instance, holy hell) but the other brand is far more recognizable obviously.
Let’s start with the present – “The Formulas of Death” was officially released last weekend with a launch gig. How was the event? And are you happy with how the finished album has turned out?
The festivities surrounding the release of the album turned out the way we wanted them to. We had a sold out show and I guess you can say that we arranged the entire night by ourselves. We only played songs from the new album since it was the release show, and that all felt really good. Yes, we are of course very pleased with the way the album turned out.
I’m curious about the genesis of this new record, as it seems like a giant leap in every way from your previous work. I only discovered recently that there was a big delay between the recording and release of “The Horror”, so I’m curious first of all: did the work start on the writing of “Formulas” before “the Horror” was released? And did the time between the recording of the first album and it finally seeing the light of day allow you time to reflect on how you wanted to progress as a band?
The first conscious decision to start writing on a new album came after the release if I’m not mistaken, around three months after the release. Some of the riffs actually date back as far as 8 years. I don’t recall us actively discussing how to progress, it all happened when we were not together really. We didn’t rehearse for quite a long time due to various things and once we started doing it again we were somewhere else. No one objected and no one really said anything about it. To say a cliché; it was all very natural. We all knew that we were going somewhere else, and I guess we are still on the move.
Rage loud and ride the flames of hell! BLACK BREATH fucking wrecked shop at the Knitting Factory in New York a week ago. Our videographer comrade Pit Full of Shit was on had to capture the band’s sonic onslaught! Check out the full 46 minutes of mayhem here at CVLT Nation! BLACK BREATH Rules!
Jason G. of Brainsplitter.tk captured the live audio for the creation of this video. Necrot is a band you definitely want to know about. Killer Bay Area Death Metal!
Diseased riffage and rotting vocals with the aggressive attitude of punk only begins to sum up Olympia’s BONE SICKNESS. On April 30th, the band’s debut album Alone In The Grave will be released via 20 Buck Spin. Today we are streaming the whole deranged piece of torment below…Read the CVLT Nation review of the album HERE!
As some of you might be aware of, the Cassette rip of the limited demo (?) version of the upcoming Antediluvian record Λόγος has finally been circling the outer rungs of the web. I really wanted to hear this at the end of 2012 but only heard about it weeks after it was stealthily released. Anyway here we have it.
Pronounced “logos”, a cursory Google search suggests it’s ancient Greek for “I say” or “that which is said” (or possibly “reason” but I am both lazy and out of my element here), lending to the ancient biblical and cryptic tone the band has shouldered thus far even more so. The art is once again very eerie. I know that it’s a little hard to believe but even in demo form (and depending on the future, even more so here) its blatantly obvious this material represents the greatest channeling of archaic global turmoil Antediluvian have achieved.
At first Λόγος seems like it is far more formless and fluid in structure than all their past recordings, and in reality their bizarre conjurations are definitely far more entangled than ever before. They once again manage to keep vigilant and cull only the best 34 minutes it seems. Riffs which are constantly mutating through copious dissonant bends and decrepit time signatures is what makes Antediluvian and their brethren so violating and captivating, and yes they continue to wallow in this filth here.
Something that also continues is the wrecking ball drumming, putting a lot of guys to shame as she coordinates with the frightening guitar work Haasiophis dredges up. “Beyond Diurnal Winds” for example, this chick is a fucking beast. The bass however is fairly lost underneath everything else, I can hear it but it needs either more growl or bounce; this was not a problem on the last few records.
The crooked paths of the songs and their unpredictability forces you to pay attention as there’s so much buried in each track you have no choice, lest you get lost and write it off as poor writing (a hard sell no doubt). On the first listen as it progresses Λόγος grasps a firmer foundation, probably around “The Ash and the Stars” (which is huge and complex) you’ve begun to just get hold of this writhing serpent; a song which is the first time I would argue that the Portal comparisons are actually accurate. Everything before this was almost overwhelming in it’s reveling in chaos, where you only get glimpses as you adjust once again to their craft.