I don’t recall feeling so lost and alone and surrounded by sorrow and desolation as much as I do when listening to Dopo L’Apnea, the debut self-released album of Italian apocalyptic crust band BUIOINGOLA. This album is massive and grand in so many ways, but that’s not exactly the description we’re going for right now. What we want to tell you about this album is how its intensity, heaviness and bleakness literally force you to your knees under the immense weight of a darkness impossible to withstand and then drags you by the ankles into an enormous oblivion of starving shadows. This album literally boils over with darkness and is so steeped in misery and loss that when sitting down to listen to it almost feels like madness and sadness start seeping through the walls and flooding the room. The music is grand and majestic, beautifully shrouded in an outer shell of sludge and doom that maintain the tempos very paced and dilated and the sounds monolithic and dense. But the heart of this work is what really shines of its own blinging light. What is hidden beneath is where the pulsing soul of this music lies and where the magic happens.
Hi Justin, can you tell us about the recent Godflesh West Coast tour cancellation?
Yes, we’ll officially announce new dates soon. It was really bad news. We did all the work on our end to get the visas in time, but once again this process proved to be cumbersome. We’ve been there before and we know how this stuff works. But due to the government shutdown, Immigration just delayed our visas again and again and again. Basically they tried telling us they weren’t affected by the shutdown but they most definitely were. It’s already hard to get a fucking visa for this country, and then along comes a government shutdown and that pretty much killed all our plans. Godflesh and Jesu have had visa issues with US tours as long as I can remember. Jesu bassist Diarmuid Dalton was busted years back for marijuana possession and decades later that was enough for Department of Immigration to deny him a visa. So once again this tour is fucked, just as other tours of ours have been fucked in the past regardless of the band, times, anything – it’s just how it is. I still remember the first time this shit happened. It was 1990 or something like that and Earache Records sent us to play two shows in the US with guitars, but no visas! So we flew into Boston to do two shows, and no fucking idea what we were doing. I was twenty years old, and had no idea. Flew in all excited to finally play the US, and instead we got detained, interrogated and shipped right back to England, we didn’t even have the chance to leave the airport. And now every single time I want to tour the US they ask me about that incident and I have to explain it to them over and over again. Now we’re shooting for April 2014, and we started work on the visas again, immediately, like six fucking months ahead of time, so let’s hope that’s enough to deal with the US’s crazy immigration bureaucracy!
Did you pick the bands to bring on tour with you on this run?
Basically, yes. It’s unfortunate about Prurient, but Dominick couldn’t do it, so at that point I wanted to get Aaron more involved, initially getting Old Man Gloom to play but they couldn’t, so at that point I suggested to him to get House of Low Culture to play. Nails are solid, they are from the West Coast, so they were never in question.
All videos & Photos by PITFULLOFSHIT!
A couple of weeks ago, it all went down in Tucson, AZ at the Southwest Terror Fest. Our comrade in video Frank Huang aka PITFULLOFSHIT was on hand to capture this heavy four day fest. Now check the raging footage from Pinkish Black, Kylesa, Demon Lung, Ancestors, Subrosa, Landmine Marathon, Transient, Aseethe, Theories, Children of God, Sex Prisoner, ACxDC, Ladybird and Early Graves!
Cvlt Nation: Hi guys! First of all thanks for finding the time to do this interview, it is much appreciated! So, would you like to introduce the band?
Chad Remains: The band is Darcy Nutt – guitar and vocals, Chuck Watkins – drums, and myself, Chad Remains – guitar and vocals. Nick Phit – bass was released from his duties in UZALA after the last recording wrapped up. We have no plans to find a replacement bass player at this time.
Cvlt Nation: What I wanted to ask since I first found out about the band is where you came up with the name UZALA? I guess it is a reference to the Akira Kurosawa film Dersu Uzala. What attracted you on that film? Apart from that it is awesome!
Chad Remains: You are correct. The relationship that develops between Dersu and Captain is very moving of course, but the main attraction to the film for me is the cinematography of the great Siberian landscape and the difference between the “man vs. nature” approach of the Imperial Russian soldiers and Dersu’s harmonious relationship with his surroundings. He is not apart from nature like the soldiers believe, he is woven into his landscape and forest home.
Meet ORHORHO the new frightening brainchild of Michele Ferretti, the singer and guitarist of Italian atmospheric black metal trio GOTTESMORDER. Why do you need to familiarize with the music of ORHORHO? Well first off because this necrotic and plague-infested slab of crusty black metal is just simply awesome and memorable, and second – and most importantly – because it is an enormous sonic middle finger pointed straight in the face of pretty much anything that exists, even of black metal itself. In fact Michele has explained to us that the name “Orhorho” is the name of an ancient African princess and that the music of this new project of his digs deep in the ancient traditions of African magick and occultism, something that black metal has probably never before even dreamed of venturing into.
Subrosa’s More Constant Than The Gods is out now on Profound Lore Records
My favorite moment on More Constant than the Gods, SubRosa’s newest, comes at its very end. After over ten minutes of spare piano, flute, violin and distorted guitar, a looping hammered dulcimer solo passes into view and drones on and on, until it’s the only noticeable thing. In a sense, it’s very un-metal, but it might just be the heaviest thing on the record, a piece of powerful instrumentation that transcends whatever context the band had worked in before. It’s fantastic.
Naturally, I wanted to find out more about it, so I talked over email with Rebecca Vernon, the group’s frontwoman, guitarist and songwriter. We discussed the changing nature of the band, why metal musicians don’t break it big anymore, and why Vernon is compelled to see “what is behind the curtains.”
I have come to realize that there is a never ending waterfall of creative beings in this universe! This fact is made evident by the new full length collaboration between the blackened doom band The Lion’s Daughter and the somber folk group Indian Blanket, entitled A Black Sea. I have only heard one song, “Wolves,” but I’m beyond impressed. These two have teamed up to create some very moving music that speaks to the hidden places in my soul and I want to hear more. CVLT Nation is streaming “Wolves” below – press play and you will hear what I’m talking about. The Lion’s Daughter and Indian Blanket record A Black Sea will be released by Good Die Young Music on Nov. 15th, but you can pre-order it HERE NOW!
When it comes to blackened noise, few bands have the power to truly unsettle you at an extremely deep level and creep you the fuck out for good. Sure, the genre is dark and claustrophobic, but we’re almost in 2014 now and it’s definitely not anything we haven’t heard before. That is true until you run into a new Sutekh Hexen album. To this day, no matter how prolific and active, this demonic quartet from Oakland still manages with every single release to scare the shit out of you once again, and inject into your ear ducts music that literally gnaws on your synapses like a horde of demonic rats, tunneling through your sorry skull to feed on your brain. As such it comes as absolutely no surprise that their new EP Monument of Decay is yet another caustic, excruciating and frightening mauling of dark ambient, harsh noise and black metal, vile and evil enough to plunge you into complete unsettlement and turn your skies black in a matter of seconds.
CVLT Nation interviews Toby Driver of Kayo Dot.
Pick up Hubardo here.
Hubardo no matter the length, came along fast, little over a year after Gamma Knife – can you tell us why?
A few reasons – firstly, the past couple of releases (Stained Glass and Gamma Knife) were relatively short, so I’ve just been overflowing with inspiration for a couple years now with no real means to get it out of me. With both Stained Glass and Gamma Knife, going into those projects, I knew that the band was already severely limited by budgetary constraints… So, in cases like that, I believe that it’s a better idea to keep the scope of a project small so that you don’t end up writing music that can’t be executed due to the budgetary constraints. With Hubardo, we budgeted from the getgo to do a larger-scale album, so were able to let the ideas flow freely. Secondly, we used more repetition in the writing this time than we ever have before, so we were able to make entire songs out of only two or three ideas, as opposed to the past where each song would have very little repetition and would consist of dozens of different ideas and permutations. Thirdly, I’m fortunate enough to be able to dedicate almost all of my time to music now, whereas in the past I’ve been crippled by my day-jobs… So these days, I can finish writing pieces of music in fewer weeks.
In the 2013 death metal pantheon, Washington label 20 Buck Spin has done reasonably well for itself (see: Bone Sickness) but with just two months or so left in the year, the label seems intent on rolling out one more cluster of filthy DM, this time in the shape of Vastum’s sophomore album, Patricidal Lust.
The San Franciscan unit has just one album to their name thus far, 2011’s Carnal Law, but with members of Acephalix and Hammers of Misfortune amongst their ranks, they’re certainly dab hands at their craft, evidenced by this terse but obliterating effort.