Humans can be separated by distance but can be connected by a shared creative spirit. Just is the case with Sangre de Muerdago & Novemthree, who have come together to create a dreamlike split.If you are a fan of music that will make you think of the beauty of mother nature, this album is for you…Avant! joins forces with German Sick Man Getting Sick, French Boue and Pablo’s own imprint Música Máxica to release a one-time pressing of 500, coming in a thick gatefold sleeve with dedicated artwork courtesy of domestic artist and friend BlutTanzt, and it hits the streets on March 10th. CVLT Nation has been given the honor of sharing with you the full stream of the Sangre de Muerdago & Novemthree split…Now press play and allow both bands to enchant you with their otherworldly soundscapes….You can pre-order this magical record from all of the labels NOW!
CVLT Nation is stoked to be a part of the second Under the Spell this Sunday, March 9th at The Electric Owl in Vancouver! CVLT Nation’s co-founder Sean will be DJing a rad mix of deathrock and post punk alongside DJs Profundis Nacht’s collection of neofolk, dark ambient and experimental, and live bands Funerary Call and Night Profound. Shawn Haché of Mitochondrion & Vanessa Dandurand of The Ballentynes are the brains behind Under the Spell, and he is planning big things for this event series, which includes two live bands along with two guest DJs every second Sunday. Make sure you’re there this Sunday by getting your advance tickets here for $5 or for $10 at the door!
Vindensång’s Alpha has been a long time coming with the band carefully perfecting and adjusting their second full-length and pushing back the release date on more than one occasion in order to completely lock down the sound. Due to be released in 2013, Alpha is a record that’s more than worth that wait and its development time has only added to the weight and beauty of the work.
Vindensång first came to light with 2006s demo Themes of Snow and Sorrow and with 2008s Terminus: Rebirth In Eight Parts... and their inclusion on the Der Wanderer über Dem Nebelmeer compilation (despite “The Reaper and the Seed” being unlike most of their output) in 2010 nudging them further into consciousness, the band took to the studio to prepare for their next record in 2011. Occasionally a band will take many years to create and record their music and from the outside it seems a little too much, yet when an album such as Alpha comes along and that time is heard quite clearly in the threads and landscapes of sound then the album takes on new dimensions and breathes a genuine soul into the proceedings.
by Oliver Sheppard
It’s here: http://current931.bandcamp.com/
Or, nearly Current 93′s complete discography. (There are so many unofficial releases, semi-official releases, quasi-official releases, etc., that a truly complete discography is pretty daunting.)
Current 93: The long-running dark-ambient-cum-post-industrial-cum-neofolk project, whose only constant member has been David Tibet, has been making musick for over 30 years now, providing a fertile matrix of material that has influenced, or that has indeed included, countless postpunk, metal, neofolk, industrial, et. al, acts into its orbit. That Tibet uploaded nearly all of Current 93′s catalog onto Bandcamp last Fall is of no small significance. In fact, it’s a radical move, exposing the project’s sprawling and esoteric catalog to millions of new listeners.
In many ways, albums can be compared to journeys; travels beyond reality and time that are able to make you see beyond truth. Nebelung’s latest album is certainly one of these rare albums which, for its duration, forces you to leave your consciousness behind and set out to a sonic trip of unimaginable splendor. So in Palingenesis, which loosely translates “rebirth” – a concept deeply rooted within philosophy and religion – Nebelung return to haunt you with their dusky melodies and sorrowful ambiances.
With acoustic guitars as the spine of their music, Nebelung set forth on this neoclassical, dark folk tribute to melancholy. As Palingenesis unfolds, it unleashes waves of despair at the listener, setting a dim mood as their minimalistic instrumentation emerges from the gloomiest corners of the human soul. The beautiful passages of “Mittwinter” make you lose yourself within Nebelung‘s saddening concept, and the very subtle vocals offer little solace from the pain.
CVLT Nation Exclusive Video Premiere of Nebelung’s “Mittwinter” from Palingenesis
Earlier neofolk was sometimes called “apocalyptic folk,” a phrase seen on at least one early Current 93 flyer that seemed to sum up early bands’ stripped down, back-to-basics acoustic approach to making doomy, and quite often occult-tinged, music(k). One of the longest-running current podcasts of this style is in fact the aptly-named “Aural Apocalypse: A Soundtrack for the Final Days” (hosted by the amazing Merrick Testerman, it should be noted).
The early grand trifecta of neofolk was Death in June, Current 93, and Sol Invictus, and those 3 bands had members circulating between them quite often. One of the few American bands that carries forward in that early, dark, postpunk, and guitar-strumming vein is Chicago’s Et Nihil. It’s been mentioned elsewhere that they are one band that put the apocalyptic rightfully back into the “apocalyptic folk” genre tag. Their debut LP, ONUS, is evidence of that fact.
by Oliver Sheppard
A lot of the recent infusion of music and interest into neofolk can be traced to bands like Cult of Youth and the excellent Agalloch, bands originally rooted in the punk and metal scenes, respectively. This is quite a new development in the history of the music, given that it was originally thought of as a “post-industrial” style whose principle founders had come from the industrial and postpunk scenes. (Granted, Crisis were punk as fuck, and that band ties directly into the formation of the genre, too.) While there is an indie/hipster component to some of the new attention – for example, some folks insist that Chelsea Wolfe is “neofolk,” and the boundaries of the genre do continue to blur – the core of the music’s tradition continues forward and reliably delivers beautiful and inspiring releases year after year.
2013 was no different, with new entries by bands like Australia’s Lakes and Chicago’s Et Nihil being added to the canon. Below are the Top 6 Neofok releases of 2013!
It took me a fair few listens of this album to get even the slightest understanding of anything that was going on, but now it probably rates as one of the best albums I’ve ever heard. Inaccessible is a gross understatement. Portal play impenetrable, brutal, fucking crazy music that commonly gets referred to as death metal but sounds absolutely nothing like most death metal I’ve ever heard. Waaaay down-tuned guitars spew just unrecognisable streams of noisy murk that is actually impossibly technical (once you start to realise what is actually going on, after about listen six), drums hammer and blast like armies of mammoths using jackhammers and wrecking balls to fight each another, and the vocals sound like the battle cries of some fucking alien beast that lives deep underwater. This whole album sounds like it came from the ocean floor, or a world made entirely of concrete, or two massive spaceships colliding. Clearly I can come up with no shortage of hyperbole when it comes to this album and it all gets nowhere near conveying the indescribably heavy reality of this colossus.
Haunted Horses are a trio from Seattle, Washington who play impossibly eerie, dark post-punk. Watcher is abrasive, dissonant and unsettling; full of rumbling tribal drumming underneath ominous synth drones and piercing, trebly guitar picking. Where many death rock and post-punk bands adhere to what are essentially pop song structures and tropes – albeit dark versions of such – Haunted Horses definitely draw their influence from the opposite end of the spectrum.
These tracks are free-form and impressionistic, steering well clear of anything even closely resembling new wave in favour of hypnotic marches and schizophrenic song structures that veer wildly from robotic repetition to explosions of volume and dissonance and back again just as suddenly. Eschewing the bass-heavy melodicism of other post-punk acts, these tracks have a nerve-shredding obsession with higher frequencies and atonality played off against drums that can come off as both tribal and organic and robotic and completely off-kilter. The vocals, too, veer wildly, from a flat apathetic drawl to harsh hollers, but they always sound distant and mostly are all but consumed in the cacophony of the instruments, like a ghostly afterglow adding yet more menace to the proceedings.
You better get on your knees, the apocalypse is coming and its four horsemen are Dreadlords. This group of ritualistic racket-makers summon up an unholy concoction of apocalyptic blues, Satanic southern gospel and shamanic sacrilege. This blasphemous demo tape sounds like the sonic incarnation of a Flannery O’Connor short story or Cormac McCarthy novel – back before he started winning literary prestige awards and was still writing twisted Southern bloodbaths about incest, scalping and backwoods violence.
Guitars and piano clang and crash in a free form fall through a cathedral-sized chamber of reverb, while Dreadlords’ singer rants and raves like a schizophrenic madman at the pulpit, veering from Nick Cave-style blues sermonizing (once again, think less his later dad-rock, Kylie Minogue duet-ing phase and more his spastic early years) to black metal-esque croaking and snarling, and even the occasional haunting howl of a werewolf in full moon fever.