Ectovoid was formed in Birmingham, Alabama in the United States as a trio in autumn of 2010 from the ashes of a couple of other projects. The band’s first demo, “Breathing Blackness”, was recorded in December of that year and self-released on CD-R in March of 2011. By winter of 2011, the band had finished writing the material for their first full-length album, “Fractured In the Timeless Abyss”. The album was recorded fully in analog in November and December of 2011 and is already out in cd through Hellthrasher Productions, a vinyl version is due out on Blood Harvest Records hopefully this summer.
Ectovoid plays a raw, atmospheric form of death metal that fuses the dismal morbidity of classic bands like Immolation and Autopsy with the sorrowful melodic urgency of European black metal. Lyrical themes are centered around afflictions of the mind and soul and the terrors that await mankind beyond the veils of death, space and time. Ectovoid’s sound pays homage to the respected bands of yore while remaining an innovative blend of influences and styles without the aid of any current retro trends. Now, i really enjoyed “Breathing Blackness”, it presented me a band that played this very obscure death metal with a very deep sound. And i immediately knew that the first length of this band had to be a killer album, and i wasn’t wrong.
“Fractured In the Timeless Abyss” is an outstanding album, a killer piece crafted by this new band that is taking first steps on the scene, and yet, they have already marked their territory. Ectovoid’s concepts and lyrics float around some very metaphorical and intangible themes, just look at the titles of the tracks: “Dark Clouds of
Consciousness”, “Chewing Through the Membranes of Time and Space”, “Splintered Phantasm”, “Emanating Spectral Vapor”, “Locked In Dismal Gaze”. Death metal hasn’t to be always around blood, guts and gore. And this is one factor that really takes this band to another level when it comes to death metal. Due to the fact that it was recorded fully in analog, the sound on “Fractured In the Timeless Abyss” is truly genuine to its roots, exhaling “old school” on every single note. The drum delivers a very “loose” sound that relates very well with the rest of the instruments, that crushing low tone guitar and the creepy bass, although his presence is not noted most of the time clearly out-shined by the rest of the instruments and voice, he gets to shine every now and then. The voice is superb, Chuck Bryant’s voice is one of those voices that, alone, can save an entire record, it resembles a lot to Immolation’s Ross Dolan, Bryant’s growls are deep as hell and enough to turn the most sunny day into pitch black. Basically, besides Immolation, Incantation, older Morbid Angel on influences on Ectovoid’s sound i can almost sense some european old school influences with acts like Rippikoulu, Altar or even Adramelech.
Tracks like “Transcend Into the Moonless Night”, “Chewing Through the Membranes of Time and Space”, “Splintered Phantasm” or the cavernous “Locked In Gaze Dismal” are filled with cutting and piercing riffs that will immediately suck you in into this dense, sinister, black hole where Ectovoid’s music balances between the dread, doom-ish sections, floating from mid paced to fast death metal. Unfortunately there’s one negative aspect that i point on this release, the fact the tracks sound pretty much the same, not in terms of musical construction, but maybe as a consequence of production. As i started to hear the album i barely noticed differences between the first three tracks. Nevertheless, “Fractured In the Timeless Abyss” is an awesome death metal release for the present year filled with tremendous tracks that will surely satisfy the hunger of every true old school death metal fan. This one here ladies and gentlemen, is death metal the way it is supposed to be done. “Fractured In the Timeless Abyss” is already available at the Hellthrasher Store here. Follow the band steps, shows, etc on their Facebook.
CVLT Nation is giving away a test press of the debut Chrome Waves – email email@example.com with “chrome waves” in the subject to enter between now and Monday, July 2nd! Release date for Chrome Waves is July 3rd, 2012, and it’s available for pre-order at Gravedancer Records. Check out our review below, and a full stream of the album!
A ‘supergroup’ of sorts, Chrome Waves sees members of The Atlas Moth, Nachtmystium, and Wolvhammer come together for the release of their debut self-titled EP. Very much mixing the flair of their respective bands, this EP had every right to be an impressive effort however hype could very well have dealt it a cruel hand, though mercifully it didn’t happen because Chrome Waves is one of the most impressive EP efforts of 2012 so far. At its core, Chrome Waves are black metal, that’s not up for debate, but the sheer melody and almost post rock arrangements has given the band a whole new depth. The ethereal artwork certainly portrays the serene and atmospheric side of Chrome Waves while Stavros Giannopolous’s searing shriek is totally at odds with it and the dichotomy conjured as a result of that is what keeps this short 28 minute effort interesting from start to finish.
Review source Toxicbreedfunhouse
Label A386 Records
I’ll be the first person to admit it I am probably the last person who should be reviewing this record because I am anything but completely biased, but I have to say I don’t care because this record is impossible to review negatively. I have seen Homewrecker since they started, and have seen how much they have grown and improved, from an awesome straight forward infest style power-violence band with both Matt Barnum and Ryan switching off on vocals, to the completely crushing metallic hardcore band that they have become. Not only have I seen them play but I also played bass for them on their last tour, and had a great time. These dudes are fun and some of the goofiest dudes you’ll ever meet, and on top of that they shred.
On to the album…..Worms and Dirt is absolutely flawless, and I am not just blowing smoke. I have been telling people that from the moment I heard it that it is by far one of my favorite records ever released coming out of the “holy terror” style, or whatever you want to call it. Homewrecker have the perfect blend of pissed off power violence (think Left for Dead/Infest) and metallic hardcore (Integrity/In Cold Blood). I don’t think there is a single band that manages to blend these styles in a more perfect unison than Homewrecker, with the exception of Pulling Teeth. The introduction, Wreck, is the perfect precursor to what the album will deliver, straight forward and crushing…and although I am generally put off by movie clips in songs they found the perfect one, it sounds like it was made for them. The stand-out song for me is by far Pipe Dreams. I think that Pipe Dreams is such a brilliant track, from the killer opening solo to the heavy breakdown ending, it offers a little something of everything I want in an album like this.
Recorded by Bill Korecky (Integrity, Ringworm, Catharsis) the album is beefy and crisp, what you’d expect from Cleveland Hardcore. The thing that threw me at first was the vocals. The amount of reverb at first was a bit off putting, but I have to say, sitting down with the album now for the 20+ listen I think the reverb is amazing. Ryan’s vocals have been improving since day one and I think he has really come into his own this record. He has a deafening scream, but still manages to have great pronunciation.
This record has a little something for everyone; it is not exclusive to a389 fans, nor metallic hardcore. If you haven’t heard Homewrecker start with this, if you have and you weren’t blown away I am willing to bet this record will completely change your opinion of the band. This is by far their best work. The record feels like it is over before it begins, and begs to be replayed immediately. With the addition of great guest vocal spots by Tony from Masakari and Dylan from Full of Hell, as well as awesome artwork from Szymon Siech this is going to be my favorite purchase of the summer.
GHOSTLIMB’s Confluence is the second chapter of the trilogy that has been started with Infrastructure in 2011. And of course GHOSTLIMB deliver a surpassing Hardcore record again. Twelve tracks filled with everything you love about them: the anger, the emotions, the fury, the desperately surging guitars, the fuming vocals, bits of blast-beats here and there – in a word, everything that makes a good, modern Hardcore record that’s not getting into a watered-down or, hell forbid, metalcore’ish direction.
GHOSTLIMB create this pugnacious, often melancholic mood without using strained symbolisms like so many bands do while trying to create a dark atmosphere. You can hear in every note played and every word screamed that all this emotion comes straight from the hearts of the people playing this music, and is not just an image that’s being made-up.
So if I’d have to rate this record I’d give it a 7 out of 10. Why just a 7? Well, basically because from my personal point of view, GHOSTLIMB do everything right there is to do, but really nothing more. There’s just nothing unexpected happening, I mean the Hot Water Music cover surprised me but it fits the overall package so well you probably wouldn’t recognize it as a cover if you don’t know HWM. Don’t get me wrong – I really enjoy listening to Confluence, but it’s not that I feel the need to listen to it 24/7, two month in a row. And besides I’m quite saturated with Hardcore like this, I mean there countless “neo-Crust” bands playing similar music – more often than not the results aren’t as convincing like in GHOSTLIMB’s case of course.
But that (super subjective & super bitchy) demur shouldn’t keep you from buying this record if you like your Hardcore truly emotional, fast and angry. You won’t go wrong with GHOSTLIMB, that’s for sure. Confluence will be released on July 10th, you can pre-order it from Vitriol Records.
Brooklyn Vegan is streaming four songs of Confluence:
Silent Order are from Halifax, Nova Scotia, Canada and play noise punk aka raw punk. This EP has taken 2 songs from their demo and added 5 new song to make a soild rager all the way through. Everything is blown out with the vocals sounding like they were recorded in an empty warehouse. I tried to get the demo a while back and couldn’t track one down, so I’m glad to hear this 7″. For fans of Gai, Perdition, or pretty much anything on the Violent Party label. You can check the band out on facebook and bandcamp.
Church Of Disgust are from San Marcos Texas and play down and dirty Death Metal, the way it was meant to be played. This is their first demo and they offer up three songs for you here. The tape is limited to 50 copies so tracking one down might be hard, but you can find the songs on their bandcamp page. I couldn’t find much info on the band, even on their facebook page. I did see that they have a full length slated to be released by Memento Mori, as well as a rerelease of their demo with two new songs added. I’ll be looking forward to checking out the new songs and then the full length in 2013.
Sons of Tonatiuh return with a new LP after self releasing a 7″ and LP on their own. Hydro-Phonic Records put this new LP out and man is it a ripper. It was recorded by Kyle Spence (Harvey Milk), and has artwork by Chris Parry. SOT blend Southern Metal with Crusty Hardcore to come up with a great batch of new songs. Lyrics deal with some real doom and gloom end times stuff: religious control, media manipulation, and self destruction. I would recommend this to anybody into Sourvein, Eyehategod, Buzzov*en, Today Is The Day, and even Melvins. SOT will be touring the South, Midwest, & East Coast in July. Check them out if they’re coming near you.
SONS OF TONATIUH – Beckoning The End Tour 2012
6/08/2012 G-Squat (house show) – Athens, GA w/ Proselyte, Utah, Rat Babies, Quiet Hands
6/22/2012 New Brookland Tavern – Columbia, SC w/ Humungus, They Eat Their Own God
6/23/2012 The Tin Roof – Charleston, SC w/ Hooded Eagle
6/30/2012 Album Release Show at the Basement – Atlanta, GA w/ Let The Night Roar
7/13/2012 Groundswell Collective – Knoxville, TN ~ w/ Thetan
7/14/2012 Cosmic Charlies – Lexington, KY w/ Whiskey Funeral, Tombstalker, Stampede
7/15/2012 Double Door – Chicago, IL
7/16/2012 Mac’s Bar – Lansing, MI w/ Bert, The Jackpine Snag
7/17/2012 Mr Roboto’s Project – Pittsburgh, PA w/ Vulture
7/18/2012 The Millcreek Tavern – Philly, PA w/ Hivelords, Occult 45
7/19/2012 Saint Vitus – Brooklyn, NY
7/20/2012 Strange Matter – Richmond, VA w/ Pike Possum, Gritter
7/21/2012 The Casbah – Durham, NC w/ Man Will Destroy Himself
8/10/2012 The Wizard Lounge – Hickory, NC
It’s been two years since Altar of Plagues graced a Dublin stage. It really is a shame that it’s taken this long but perhaps good things come to those who wait as over the last few years, the band has honed in on every single little detail about their live show, a skill harnessed by the slog of touring and a commitment to executing the finest live experience. This was all evidenced by their stunning headlining set at April’s Siege of Limerick and an outing in Dublin’s The Pint, arguably, eclipses it.
Accompanied by a fairly diverse bill from start to finish, Zom start things off though. They really have become the Irish death metal darlings in some ways, but at least its deserved as their primal old school death metal is always a joy to watch live and the addition of backdrops and three high candle stands lit ominously in the centre of the stage truly adds to the grim atmosphere.
Brains though are the odd ones of this line-up that’s for sure but it’s not meant as a slight. Lodged in the middle of this bill of death and gloom is their blues-ridden, 70s worshipping dark rock and there’s no doubt that this band has a flair for unforgettable hooks like the ludicrously rockin’ “3 ft Wide 7 ft Tall”. The band has also been undergoing some changes of late, namely the departure of one guitarist leaving all guitar duties to just one, meanwhile their sound is utilising more keyboards. This all made clear by the inclusion of new material, with fresh cuts like “The Deal” and a couple of others put on display as a sign of things to come, even if their set doesn’t necessarily add to the evening, it doesn’t really take too much from it either.
Altar of Plagues aren’t the only band here tonight that have been absent from live shows in Dublin. Wreck of the Hesperus released a new album last year “Light Rotting Out” but didn’t follow it up with any live shows and strangely this set is void of any material from the record. Rather the band is celebrating the compilation cassette re-issue of their demos on Fort Evil Fruit. Either way, their set is unnervingly good as deathly, sickly slow funeral doom filth is laid down with caustic vocals, and frankly some of the best vocal performance-induced facial gurning.
Label Daemon Worship
Echoes of terrified madmen reverberate through unholy chambers, rock bottom accelerates towards naive psychonaughts and once proud monuments crumble as the rot within them seeps through porous decaying rock. Iceland’s Svartidaudi emerge triumphant as heralds of a new (dark) age.
Taking the theme of urban decay, drug abuse and personal apocalypse as their framework, debut album Flesh Catherdal stands as a testament to the power of self destruction as initiation. This is genuine channelling of spiritual awakening that leads through the unravelling mind of somebody caught deep in the descent that ultimately leads to revelation. As each song surges, driving further oxygen into the maelstrom, the meticulous execution is a perfect counterbalance to the unrestrained fury that weaves its subtext throughout the work.
There’s a real darkness evident in this record that hints at Svartidaudi being more than familiar with their subject matter. Grim authenticity pervades the work and it is no simple task to escape the deeply ingrained misery that seems to transfigure the atmosphere around those caught in the eclipse of the supreme melancholy evoked.
Musically, technicality reigns supreme. Each note is planned, each groove structured and each song expansive, monolithic and destructive. There are hints of the avant garde, but not at the expensive of aggression. As movements build and withdraw the only constant is the sheer invective force that pummels unrelentingly.
Rest of the review after the jump!
Arctic Flowers’ Reveries LP (Inimical Records) was easily one of the finest punk records of 2011. With a new EP, “Procession,” coming up in advance of an East Coast tour in August, things are going good for Arctic Flowers. The Portland quartet play a type of gothy peace punk that, unlike some bands in this genre, is not afraid to go at faster tempos. “Our sound is a mix of punk, deathrock, post punk, and goth,” guitarist Stan Wright explains. “Aggressive but at times danceable and melodic.” Arctic Flowers’ powerful combination of these elements makes them one of the most exciting bands around today.
Interviewed below are vocalist Alex, guitarist Stan, and bassist Lee.