Sound has the power to change the way that we see the universe around us, and sound has the power to take us into an alternative universe that we never knew existed. When you hear the latest album from Argentina’s Vluba, a mind-bending sonic experience called Supraluminosos, released on experimental label Buh records. This is not a record that you should listen to in the normal sense, because you will not find anything ordinary about it. What you will hear are ever-changing soundscapes that evoke a ritualistic energy. Vluba uses sound to restructure how our imaginations operate – there is no way to listen to this band’s music and not feel or think about things in an otherworldly way! This album reminds me what a sonic jungle would be like, where the plants have voices or the rain drops are percussion instruments. You will encounter voices on Supraluminosos, but they will be in the form of ancient chants that will have the force to induce an organic audio mind meltdown! This band also knows how to use space and obscure sound effects as instruments that guide you through what you are taking in at any given second. This band reminds me what it means to free, and to do something because it keeps you sane, and not for monetary gain. Vluba’s music gives me the feeling that with each listen, I’m actually healing a part of my broken soul. If there is one band that gets way more than beyond high, it would be this one. Supraluminosos is not a collection of songs, but is more of a UFO that will have you flying all the way into the hidden parts of your brain. Vluba conjures up a different type of heavy music, where it’s not about raging guitars or crashing drums, but about solar systems colliding, and the sound of the space vacuum. Now I know the rhythms a tree hears as they age beyond any known number!
Kill kill kill, seek and destroy…SKVLT’s new demo is one huge blackened crust burger! This Massachusetts wild bunch of noise-making animals have knocked out a five-song demo that attacks you in 3D. Charred fucking damn, SKVLT’s music eats away at your flesh like hungry maggots, leaving behind a wonderful stench of pungent riffs. The production on this demo is perfect, because it’s lo-fi, primitive and raw! I’m so motherfucking hyped about this band, it’s hard to tell you how mass murder they really are. These humans know how to combine elements of the various dark genres, and bake them together so that they melt all over each other to create their own rad rancid sound of brutality. SKVLT are also able to nail little messages of homicidal melody to the outer skin of their tunes, so that you will see some sunlight in their dark world. This band is on some ultra heavy noir shit, but they also have these 80′s hardcore ‘I don’t give a fuck’ ghosts living in their songs. SKVLT uses chaotic distortion and raging feedback as an assault weapon that will break into your bones and kick start your demise. Vocally, this band brings that rad pain, and the singer chews up all of the music that the band plays for him. As songwriters, this band is not out to make friends, they are on a mission to dismantle sound as we know it, and they are doing a great job! Check out their tune “Skvlt Pt. 1″ and you will be able to hear for yourself how this band is able to turn their instruments into power tools of madness. The drums and guitar on “Dysphagia” start the song with an almost catchy intro, before morphing into mammoth pillars of volcanic hate. I realized something while listening to this band – they inspire me to the point that now I know for sure there will be a Blackened Everything Vol. 6, and I will do everything in my power to make it more primitive then ever before! This killer SKVLT demo was released by PRGNT Records – make sure to support the REAL! Peep their tour dates for January and some ballastic live footage after the jump!
I despise warmongers, I despise dream killers, I despise the killers of the poor, and for these reasons I have always been into music that takes a stand against the true ills of our global society! Poland’s Calm The Fire are one of those bands, and their soon-to-be-released album There is No Cure, via No Sanctuary, is full of the kind of hate that gets my blood going! They kick out 11 charred hardcore/crust songs, with the fury of 1000 protestors in black balaclavas. Calm The Fire is a fast-moving angry weather system that wants to destroy every unrightous thing in its path. You feel and hear how their surroundings have helped shape the way they see their existance on this planet. Calm The Fire manifests the the kind of hardcore that’s dripping with the blood of metal, and it seems like their music has been burned in the flames of hell. Something about this band’s sound gets me ultra hyped – maybe it’s that their riffs have the force to break all of the racist assholes’ jaws worldwide. Calm The Fire’s drumming is in attack mode from the very first song on the album; these are the kind of beats that smash in the heads of all of the police that want to do us harm. Their songwriting is off the chain – they know how to build songs that make you stand to attention with furious melody raining down on your skull. Their singer gives his vocal cords a gnarly workout on every fucking tune, plus his lyrical content is on point. When “Born In Pain” starts blasting through your speakers, you will hear how hot hell really is, because you would have just heard 1:30 of pure fire! Calm The Fire does not just fuel your fire of dissent, they also hit awesome notes of empathy and emotion. As an album, There is No Cure, holds up a mirror to the wretched face of the humanity. After listening to Calm The Fire on repeat, I know we can all find the answers within our rage if we direct it at the real enemy!
This record came just at the right time: autumn. The days are getting short, dark and cold. Depression sneaks into your mind oh so easily these days. Lost loves, hopeless lifes and a bitter future are never as capable to invade your soul as at this time of the year.READ MORE...
Fuck labels, fuck putting music into little boxes to make it easier for people to understand. Call me weird, but I really fucking dig it when bands break free of the labeling bondage! Finland’s Oranssi Pazuzu is one of those bands that truly defy genres to create their own sound that has so many different radical layers to it that they are almost never-ending! On their latest album, Kosmonument, out now via Spinefarm, they have envisoned a huge universe of dark exciting music that changes shape by the second, shapeshifting from song to song. I was amazed by Oranssi Pazuzu’s first record, I respected them for being brave and open-minded in the way that wrote songs, and with Kosmonument they surpassed my expectations. These humans are willing to take their creative spirits to places that leave them open and emotionally naked, but that’s what makes Oranssi Pazuzu so fucking special! Also, I respect the way that this band is able to combine all of their influences together in a way that flows like the running water of an enchanted stream. Every song on this album is like its own planet, and the band’s creative energy force is the sun that all of the songs rotate around. The opening track, “Sienipilvi,” is a blackened space doom audio UFO that will have your braincells flying off to an alternative galaxy. You will hear sounds in this song that will etch themselves into your memory, and bass lines that seem to be hovering above you on the wings of a raven, while the vocals in this tune soar into another world. “Uusi olento nousee” is an extremely dark place, where the chilly drumming has the power to shatter huge glaciers, but before it’s all over they will have you traveling into a cave of nothingness. There are so many gnarly riffs hidden in Kosmonument that with each play, your ears will hear new nuggets of of black gold! I could write for days about how awesome this record is, but in reality, the only fucking way you will know the greatness of Oranssi Pazuzu is by encountering Kosmonument on your own terms.
Pyramids frontman R. Loren has already proved that he plays well with others. Last year he started two new highly collaborative bands, White Moth and Sailors With Wax Wings, and he started a record label called Handmade Birds. Pyramids has already done an excellent collaboration with Nadja, and now they’ve hooked up with forward thinking musician Jenks Miller aka Horseback for the album A Throne Without A King. Both artists operate on a completely different level than their peers and are unique and exciting forces in the music world, and this collaboration is as golden as the album art.
The physical version of this release with be an LP plus 7″ with art and design by Aaron Turner. Horseback and Pyramids each have their standalone tracks that will be featured on the 7,” with the the LP containing the four part title track that features members of both bands. The Horseback song is similar to the material on his split with Volitgeurs, but like every Horseback release, it’s an evolution from the last one. Forbidden Planet was the last Horseback full length and featured layers of droning, scuzzy guitar and harsh vocals. The new Horseback song “Thee Cult Of Henry Flynt” takes the same tremolo picked guitar from Forbidden Planet and backs it up with programmed drums. The melodies are far more discernible, with Miller’s scathing voice crackling in like it’s coming from a dying CB radio. The song is incredibly high energy and really sets itself apart from the rest of the Horseback material. Read the rest of the review and view a sample of the album art after the jump.
Triple black wow…Æsahættr is an amazing band that released a super radical cassette via Mediatree last year. Hot damn, cold water is running through my veins as I listen to this killer release. I know they call it black metal, but to me this is black magic because this band creates true magic. Æsahættr’s music will sweep your dark thoughts away & hide them in a cave to chew on your bones. The vocals on this cassette are living demons, swirling around in a black hole spitting out pure bloodlust. These shrill screams of beautiful agony will have you under their spell. Musically, Æsahættr constructs songs that take the form of endless sonic diseases that someday will infect the whole world so that humanity as we know it will exist no more. While chaos & mayhem can be found in the songs that this band manifests, it’s the rivers of slow-moving sorrow that wash over you before allowing you to fly away and greet emotions that you did not know existed in your noir heart. I’m so into the way the Æsahættr builds on layers of tension to actually create serenity. On their epic 18 minute song, “Teleutaia Makhaira,” they will enchant you with old world textures before condemning you to a blackened ocean grave. I have seen the majesty of the nordic wilderness & thought to myself, what battles happened on this hallowed ground? While listening to Æsahættr, I can visualize those exact thoughts again. Maybe I was not just taking in audio blasphemy, maybe I was time traveling?
I admit it; I’m a fiend for blackened crust. I can’t explain why, but when I hear that gnarly metallic stench I feel like my skin becomes iron. Here is a fact that I realized when I was a teenager: some of the sickest d-beat in the world comes from Sweden, it’s just one of those things. Martyrdöd has been releasing some of the illest black metal-infested crust since 2003, but it’s their 2009 album Sekt that I keep on repeat. Unholy hell, this record has these primal ghosts that jump out of the track that make want to fight in ancient Iron age battles. Martyrdöd figured out a way to to produce meth in the form of sound, because these songs are an addictive drug & I know crazy amounts of energy when I hear it. This band’s music has an extremely wild quality to that makes you feel like you are about to lose your fucking mind in best way possible. The guitar riffs & solos on this album seem like they are being played by warlocks who just smoked a pound of nitro! I know it’s a part of the corporate & government plan to keep blackened crust away from the ears of the masses, because if they did get a dose of the real shit they might ready to fight the real fight! Martyrdöd’s musicianship & songwriting on this album is so fucking awesome, it’s like they are on a mission to destroy the world as we know it. Check this out, it’s the monolithic structures of torment & living nightmares that this band builds with their songs that makes you realize these dudes are nothing to fuck with. When you hear “En Demon & Gloria Runt Iris” blasting through your speakers, if you don’t get the feeling that you want to punch a cop, maybe you should go join that army & sign your life away to this corrupt regime! Martyrdöd’s singer belts every word from the bottom of his gut. If vocals could set political prisoners free, this dude has the vocals that can make it happen. It’s the the weird, unexpected sounds on Sekt that will really have you going DAMN this band is so rad. After the jump peep some dramatic live footage !
What happens when two bands with strange names come together to create an awesome neo-folk 7″? The end result is the split between FATHER MURPHY and HOW MUCH WOOD WOULD A WOODCHUCK CHUCK IF A WOODCHUCK COULD CHUCK WOOD? out now via AVANT! Records. The FATHER MURPHY song “Jesus” is a haunting, slow-dripping tune that swirls your inner demons into a hypnotic state. The receptive female vocals have an occult chant-like quality that sounds like storm clouds floating above our heads as the spirits of the past glide around us. The sparse musical arrangement is powerful; the organ and the thunderous sound effects give “Jesus” an almost apocalyptic vibe about it. The one instrument in this song that sets the tone for all of the ghostly melody that surrounds it is the drums that seem to be in time with my heartbeat!
HOW MUCH WOOD WOULD A WOODCHUCK CHUCK IF A WOODCHUCK COULD CHUCK WOOD?’s song “Humpty Dumpty” is a somber tune, full of melody that suspends your thoughts in a sea of blackness. The guitar work on this song is fucking pure magic and it is as solid as granite. This band’s vocals are straight mesmerizing, the singer’s deep baritone voice is rad and captivating all at the same time. This song is awash in reverb, which creates an aura of fog rolling over the hills as the sun is about to rise. It’s the emotion you will hear in this tune that will make it one song that you will not be able to get out of your head! There is one problem with this split – not enough music! I have to keep hitting repeat…I want more!
HOW MUCH WOOD WOULD A WOODCHUCK CHUCK IF A WOODCHUCK COULD CHUCK WOOD? – Humpty Dumpty by AVANT!
Let Yourself Be Huge is the third full length album from instrumental composer Ben Sharp, better known under the moniker Cloudkicker. Since its creation in 2008, Cloudkicker has been a unique presence within metal. While solo artists aren’t uncommon in metal, Cloudkicker was different in that they didn’t belong to any sort of particular scene or spawn from a ‘real’ band. His recordings are exceptionally clean, and very early on he stood out from other solo and technical metal bands with his unique sense of melody and flare for cinematic and melancholy tones. Cloudkicker’s first album The Discovery was released as a free download, a format that he still favors this day. Sharp’s mission was to get his music out to as many people as possible and didn’t feel it was necessary to charge for his music. Only last year with the release of Beacons did he offer a physical product for his albums having has LPs and CDs manufactured for the release. All the profits from the physical sales and donations from Beacons were put directly back in to new musical equipment for the recording of Let Yourself Be Huge.
Cloudkicker is truly a progressive band. His first few releases were highly technical Meshuggah-worship. The drums were programmed impeccably with a level of detail that was hard not to appreciate. As heavy as the early recordings were, Sharp never lost track of good songwriting and his sense of melody. In the years to follow, he released a slew of EPs as his style began to develop and change as he came into his own. His writing got tighter and the recordings started to sound more natural and less clinical. His second full length Beacons from 2010 was an accomplishment in instrumental metal. No longer syncopated tech metal, but also not a meandering post-rock album, Beacons was an album unto itself.
Cloudkicker- The Word Water
Cloudkicker- You And Yours
Rest of the review after the jump!