Music progresses. It is a fact of all genres; metal being no exception. It is this fact that keeps things interesting throughout the years. Without it, the masses would still be listening to classical music on bakelite records spinning at 78 revolutions per minute (not that anything is wrong with classical music. Without it there would be no metal). It is all about progression. Speaking of progress, Australia’s Altars have taken death metal to a new place. Their first ever full-length, Paramnesia, teems with innovation and pushes the boundaries set forth by the originators of the genre.
Altars is Alan Cadman, Lewis Fischer, and Cale Schmidt. The trio formed in 2005 in Adelaide, South Australia. They have previously released a demo, and appeared on a couple of splits. ‘Solar Barge’ was released as a single in early 2013 in support of Paramnesia, a record which should garner the band some great
Before Colin Marston went on to found Behold The Arctopus, he wrote and recorded a few tracks for his solo project entitled Indricothere. Some time passed and in 2007 the debut self titled full-length of Indricothere came to be. Anyone familiar with the bands that Marston participates in, from the technical/progressive metal of Dysrhythmia, the jazz influenced Behold The Arctopus, the progressive/avant-garde death metallers Gorguts to, my personal favorite, the enthralling avant-garde black metal of Krallice, gets what the common denominator is: unreal levels of musicianship and technicality.
So in the sophomore album of his solo project, Marston is able to put together a sort of Frankenstein’s monster. The album has numerous influences from diverse genres, each of them bringing to mind a different project of the mastermind behind Indricothere. From the experimentations with the rhythmic patterns that bring to mind Dysrhythmia, to extreme metal parts that are either flirting with the death metal spectrum or the borders of black metal extremity. Therefore the best way to describe the sound of the band is simply: progressive.
Execration review by By Metaloath
“Ancient Tongue” (2013)
The Norwegian deathmetal act Execration has been around for quite a while, and they have steadily evolved from the early demos in 2004 into a really solid band. The long and winding road from demo to demolition includes one EP (Language of the Dead, 2004), two full lengths (Syndicate of Lethargy, 2008; Odes of the Occult, 2011) – and a European tour; oh, and that Fenriz from Darkthrone ‘Band of the month’ thing he has going.
Anyway, Execration provides the lethal combination of raw and intricate song material – especially the Odes of the Occult album really laid down the rules of how to do malign deathmetal while avoiding a mindless grind & blast-o-rama. The musical expression is closer to acts like Deathspell Omega, Blut Aus Nord and similar bands, but is different as Execration has very much kept the organic live feeling in the production.
Pick up, say, the ‘A Crutch for Consulation’ song from the Odes-album, and you see what I mean. Slow and heavy, then lighting fast, all evil and sincere, and this funeralish riff-hymn at the end of the song.
Just over a month back on July 6th I attended a pretty awesome DIY grind gathering in the forests of Squamish, British Columbia, Canada that lit up the tranquil atmosphere with blazing grind and powerviolence from the afternoon straight into the night.
Organized by locals and inviting multiple comrades from both sides of the border, while respecting the land and putting on a grand celebration of fastcore, this year’s Squamish Fastcore Fest while it was my first, will not be my last. So this is kind of a (late) summary or reflection with some photos and video.
Different day, with another post full of killer music from some of our favorite artists! So let’s get straight to it: we are streaming new music from Chelsea Wolfe, Witchrist, A Storm Of Light, Subrosa and Ephemeros’ full album – all tunes found south of heaven!
CVLT Nation is stoked to present the ANCIIENTS Fall 2013 Tour Kickoff show at the Biltmore in Vancouver, BC on September 27th! Vancouver’s finest are embarking on a month-long North American tour with TESSERACT and SCALE THE SUMMIT in October, so this Biltmore show will be one last hometown booze up before they leave. Alongside Anciients will be NYLITHIA, HOPELEUS and HOLICUS and all four bands will rip through our collective eardrums! Stay tuned for an awesome Anciients giveaway and more leading up to the show…for now, check out more event info HERE and our review of Anciients’ Heart of Oak HERE!
Like a demon’s birth in the darkest depths of hell, the death metal of Vasaeleth is a wretched natal ritual giving life to a truly horrific beast. Every so often the US death metal underground, and indeed worldwide too, falls victim to a ferocious new fiend and that newest fiend comes in the form of this new record – All Uproarious Darkness.
Put together members of Kill The Client, Baring Teeth and Tyrannosorceress and what you get is old school death metal powerhouse Cleric. The band from Texas, with their full length, Gratum Inferno, is set on bringing back the aura and sound of the old school Swedish death metal scene. That is right guys, if what you like is the classic Sunlight Studios chainsaw guitar sound, combined with the disturbing heavy groove and attitude of the late 80s and early 90s, then Cleric is a band you really want to check out.
The short length of the album (about thirty minutes) makes the listening process even more devastating. Clericbring forth a bludgeoning assault, starting with the disturbing intro of the title track, soon to be followed by the infectious leads, influenced by Dismember and Entombed. The vocals come straight through the abyss, set to drag you into the darkness while the drums and bass are building the shattering groove of the song. Of course Cleric are not as one-dimensional as to only rely on the groove. They unleash in many occasions faster, more aggressive parts, filled with influences from the proto-death metal bands (the paranoid solo in the end of the title track for instance), enriched with sonic characteristics found in the old school US death metal scene.