THE MOTH is a fairly new band from Hamburg, Germany, and especially considering the fact that this group didn’t form until late 2012 it’s really astonishing how good their upcoming debut record They Fall is. The three-piece plays a witty version of Stoner Rock that sounds very distinct without stepping too much into musical territories that would be disconcerting for fans of the genre.
Riff-wise THE MOTH owes quite something to the big names of the current Stoner Rock scene, Kylesa and Mastodon most of all. They incorporate a lot of rad tappings and almost progressive riff wizardry in their music, rather than just playing sludgy power chords. This fact eventually gives their music an uplifting and at times quite psychedelic feeling.
However there’s one big difference to the aforementioned bands: THE MOTH choose to totally renounce the use of guitar effects – due to this THE MOTH’s music sounds very puristic and direct, I even dare to say “clean”, but of course there’s this fuzzy element throughout the whole record. The production is also quite “unheavy”, so that They Fall has a very untypical sound all in all, which might seem strange at first but is very interesting indeed. I have to admit that a bit more variation of the guitar tone wouldn’t have done the record no harm. You surely do not have to use a shitload of different effects in every single freaking riff, but a few accents here and there would broaden the sound spectrum without diluting the overall pure feeling.
There are few bands that can still instil fear and unease with their music by creating an air of discomfort tinged with agony exuding from the creators’ souls. Portland’s The Body are one such band that do so, and they do it with an unnerving pride.
Despite being a mere two piece of guitars/vocals and drums, the sludge-ridden and noise rock-imbued cacophony that they create is unholy and unforgiving, and a sound that an army of lesser bands couldn’t even hope to accomplish.
Kayo Dot celebrate one decade of activity with their new album, Hubardo, a monstrous one and a half hour-long ordeal of beautiful and mesmerizing avant garde blackened doom. The album is a triumph for the band and a towering achievement in their ten year history for three reasons mainly. First of all it embodies perfectly, all in one place, everything that Kayo Dot is and has ever been. In recent times, the band had ventured into more goth-tinged and abstract post-rock composition leaving much of its metal roots behind. Hubardo maintains the trend but also brings back the crushing heaviness of albums like Choirs of the Eye and Dowsing Anemone with Copper Tongue, while even taking things even further on the heavy side of things, packing the album with an extra load of weird, twisted and mind-blowing heaviness and sonic evil we had not witnessed in their music ever before. Elements of Deathspell Omega, Gorguts, Beherit, and even Portal can be heard throughout the work, and all this horrific load of heaviness is once again beautifully wrapped in Kayo Dot’s notorious avant-jazz and free-form composition musical cocoon.
Southwest Terror Fest 2013 is in less than a month, and the lineup is all fucking killer and no fucking filler! Four days of epic bands is what is going to whip through the Arizona desert like a massive sandstorm of awesomeness. Bands like…well, there will be so many good bands there’s no point in me naming my favorites…just check out the lineup below and stay tuned for some rad features on CVLT Nation and maybe a giveaway if you’re lucky? More info and RSVP here!
For those of you who may be unacquainted with the raw, blackened doom driven behemoth that is Crypt Lurker, then you are missing out on one of the most innovative debuts to grace the year 2013. Blending painstakingly slow doom progressions with tortured frequencies and scathing vocal prowess, this is a band that will destroy speakers, minds, and expectations.
The opening moments of the album build from a dull roar into a full blown funeral-esque driven melody that lulls the listener into a false sense of security just before dropping the hammer to unleash a torrent of inexplicable noise. However, beneath that torrent is an intellectually structured disparaging narrative, clashing old and new influences alike to create a stark reflection of man’s bestial nature. Of course this may often be missed by the fact that your skull is split into several pieces by the mind-crushing depth that carries over into the totality of the album itself. Creating a heavy-as-fuck vibe that draws you into an atmosphere that visually resembles the last wave of mankind ushering in their final march.
I feel like I’m knee-deep in radioactive wet cement, wallowing through the wasteland created by ANION with their pummeling vocals and destructive riffs! I’m listening to their first full length LP, Without Solace, which is due to release September 17th on No List Records. This Vancouver band will no doubt gain many fans with this release, recorded and produced with legendary producer Matt Bayles (Botch, Mastodon, Isis). The sludgy hardcore on Without Solace will blast out of your speakers and wreak havoc on your house, leaving only smoldering remains behind! CVLT Nation is honored to be streaming Without Solace in full today, so hit play below and make sure to pick up your pre-order of the LP HERE!
Armed with only a demo, Virginia act American released three songs on their Bandcamp from their upcoming split with another Virginia act, Crone. While short, American absolutely demolishes through three tracks, putting together a sound that can only be described as “wholly unique”.
“Tomb Legions” starts with a fuzzy introduction, slamming guitars with sludgy overtones. American then kicks it into gear with blast beats, the vocals raw and intense. Elements of hardcore, sludge, and thrash all come to the surface; the track is full of bleakness and despair. Towards the end, they bring in noise, giving off a depressing atmosphere. “Crown of Thorns” is a pure hardcore track with mixed blast beats and, with the start/stop mentality, American punches through, ripping the listener to shreds. The band breaks away from normal conventions of hardcore, incorporating different sounds into their music. All these genres put together work wonderfully, creating some unique type of monster in the realm of extreme music.
Coming from Los Angeles, Pendulous are a brand new doom act making their debut with their Mirrored Confessions EP. Pendulous play the style of doom that I enjoy a lot. Slow, mournful, depressing without ever forgetting to deliver the right amount of heaviness into their music by simply mixing some contemporary doom elements with some classic ones. Although Mirrored Confessions features 4 tracks in its alignment, only two of them are really songs. Besides that, we have an Intro and an Outro.
It starts with “Disheveled,” an intro that is served as a very introspective monologue, it instantly brings to my mind “Weathering The Blight,” the intro track from Loss taken from the magnificent album Despond. If you hear both track, you will probably find some resemblances. It has that same cold and gloomy atmosphere where we imagine someone alone in a very dark room looking to its own reflection in a old mirror that stands before him, as we hear his thoughts loudly echoing through the room.
by Oliver Sheppard
Pinkish Black’s sophomore LP, Razed to the Ground, is set for release on September 17. The Fort Worth band’s first and self-titled LP (which was reviewed for CVLT Nation last year, here) was on Denton’s Handmade Birds label; the new album sees them on the larger and more metal-centric Century Media imprint.
Pinkish Black’s sound, however, has thankfully not changed: Razed to the Ground is an opus of doomy, sludgy, crushingly dark music that incorporates elements of doom metal, Projekt Records-style ethereal wave, gothic rock, and other dark music elements. And also as with the first LP, one once again is reminded of 80s Cop-era Swans, early Godflesh (and especially the proto-Godflesh band, Fall of Because), and even stuff like Killing Joke’s “S036″ or Mass’s much-overlooked “Cabbage” release from the 80s. It’s a unique, churning sound that doesn’t fit neatly into any pre-defined categories. There is even a kind of creeping “space drone” twist to the sound this time around that serves as an intriguing development in the band’s evolution. The effect is often eerily psychedelic.