Get ready for some sonic terror, because CVLT Nation is unleashing Sonic Cathedrals Vol. CIV today, curated by Corrupt Moral Altar! This mix is sure to bring some angst into your day today in the best way possible! Now hit play below and download for your listening pain!
Stream Sonic Cathedrals CIV Curated by Corrupt Moral Altar
Ah, “supergroups.” How hit and miss they can be. What’s that old saying? Too many cooks spoil the broth. It can certainly be the case when a team of esteemed musicians from different avenues congregate on the one square for a new band. Often the hype and hyperbole around the project is ultimately its undoing, but refreshingly, this hasn’t quite happened with Palms, the new band from former Isis members Aaron Harris, Jeff Caxide and Clifford Meyer, joined by Deftones’ Chino Moreno on vocals.
In many ways, Palms sounds just as you would imagine. Moreno’s voice-as-an-instrument presence is an otherworldly facet, crafting an ethereal atmosphere, maintaining his ghostly melodic croon throughout the album. Meanwhile, the instrumentation borrows from Isis’ final two albums Wavering Radiant and In The Absence of Truth, specifically those records’ more lighter shades.
Review Source Equivoke
I’m still working back through my (and others’) 2012 list so those posts will get more regular between newer records, but for now another new and quick one. Florida’s Shit Luck just released a pretty damn enjoyable eight minutes with this demo and I think some people here will enjoy it. I definitely am despite this subgenre becoming a little watterlogged.
Creatively this is a couple of big steps up from their 2012 release Expired which, upon checking it out, showed promise but did not hint at the fairly intriguing mash-up that we find in the five songs here. Just on a base level this is louder, grittier, far more aggressive and full sounding, tighter with a more interesting approach to the whole YAITW blackened crust style.
They’re not breaking conventions but this four piece do push something refreshing to various degrees and I’m interested in where they’re going to take it. You can expect lots of feedback between tracks and raspy hoarse vocals, though here the vocalist is slightly outside the mold while spitting themes of alienation, apathy, bitterness. The down-tuned ashen riffs whirling onward through thick, muffled distortion creating a pretty bleak atmosphere. On the other end the drumming is competent, pretty tight snare and keeps shit together well but the kicks are pretty weak.
There’s a certain fascination in visiting cemeteries that you don’t encounter elsewhere. Morbidity, an unnatural peace, a sense of time stood still, of memories quietly turning to dust beneath your feet… the mood of a graveyard can be hard to describe. Perhaps it’s the closeness of architectural beauty to a very human sense of decay; maybe it’s that intangible quality in the air we call ‘atmosphere’. For whatever reason, cemeteries remain oddly-compelling places for exploration. Here are 8 of the best for doing just that:
Karaite Cemetery (Crimea)
Hidden in wooded Iosofatova Valley near the old Tartar capital of Bakhchysaray, the Karaite Cemetery is as spooky as they come. Beneath slender Oak trees, thousands of broken tombstones lie at mournful angles, covered in a near-indecipherable Hebrew script. The ground is uneven, the graves shrouded in moss and lichen and – on a quiet day – a disquieting silence seems to settle over everything, giving the place an other-worldly atmosphere. For the best part of a millennium, the Karaites brought their dead here; to a sacred grove known as ‘Balta Tuymez’, a place that still seems to tingle with magic. Standing there in the shadow of the plateau as the sun goes down, it’d take a brave visitor not to feel just the faintest shiver.
(Images: Serhii Piddubchak)
Agoraphobic Nosebleed just collaborated on some sick tees and hats with Japanese store OSOMALO, with the artwork by Yuzuru Namiki. Namiki has also done illustration for bands like KYLESA and CORROSION OF CONFORMITY, and his “gore-pop” style works perfectly with Agoraphobic Nosebleed’s aggressive sound! This is an official band merch collaboration, done in typical high-quality Japanese style, and the products are available only on OSOMALO’s site, but they do ship internationally. While you’re there, you can also check out some of the other sick merch available, like tees from Pallbearer, Ba-Ku, St Vitus, SUNN O))) and more!
FULL OF HELL are one of the hardest work and most creative young bands in the underground and the new album Rudiments Of Mutilation is the shit! They have just released a new visual directed by Lukas Hodge for the song “The Lord Is My Light.” Check it out now on CVLT Nation but also peep their US tour dates – they are on tour with Seven Sisters Of Sleep right now and will be in Europe next month!
Take Over And Destroy, or TOAD as they like to be known, are a black and roll/sludge/doom/symphonic entity from the wilds of Phoenix, Arizona. This sextet infuse their sound with a multitude of influences and as such have set out to create an epic take on the genres that they so deftly inhabit whilst traversing the plains of horror. Endless Night is their debut full length and follows their EP from 2011 – Rotten Tide – a couple of splits and a whole lotta interest in their shenanigans.
With incredible artwork by the creative mind behind Pallbearer’s Sorrow and Extinction – Sean R. Williams (Animetalphysical) – Endless Night revels in the mystery of the arcane (just check out the full gatefold artwork below) whilst imbuing the proceedings with a sultry groove and more hooks than you can shake a stick at.
The balance between the many different sounds on Endless Night is handled with great style and aplomb and it’s to TOAD’s credit that they don’t let one genre dominate another. The influences are there to be heard yet the band throw them together in such a way as to create a unique sound and a fun as heck record to boot. From the symphonic elements of Emperor to latter day Darkthrone, to shades of Entombed, Endless Night is a rollicking and fast paced record that is steeped in horrific knowledge and a lot of attitude and arrogant swagger.
Check out the full review after the jump, plus a little something extra in the way of an exclusive preview of “Boundaries of Flesh.”
It’s bands like Belgium’s Link that prove that the music of today still has passion without being the usual trite that tries to emulate a popular trend or genre. There’s no ego or facade, just an enormous heavy-duty sound. Music like this doesn’t date, you put it on and admire the ruthlessness and immense power of it, even down to the look of the album with it’s dark isolated imagery. This is grim and mournful, but all done with a scathing sense of resistance.
From the relentless hardcore sound of the opening track ‘No turning back,’ you are stopped in your tracks by the breakdowns on the Link Euro Tour CD. When played real loud the drums have this quadraphonic shattering sound which blasts out of each individual speaker. It then goes straight back into the fist pumping sound that vents all that anger. To draw musical comparisons, bands like From Ashes Rise or Alpinist would certainly come to mind, but of course Link are no imitators and certainly stand their own ground with their sound.
Toronto’s BriefcaseFest calls itself a celebration of extreme music in Ontario, with a bill loaded with some of the province’s most intriguing heavy acts, with some friends from Quebec and even further afield calling in for a visit. The diversity across the two nights is quite staggering too, from math to black metal and doom to noise. Sometimes a bill as mixed as this can feel a little forced, but not here, as despite the disparate themes and styles on display, BriefcaseFest flows just right.
Kicking off on a Friday night in The Silver Dollar Room, noise mongrels Catamites are playing their first show for the lucky few that have made the trek in early. The duo offers up a caustic serving of noise rock with grinding guitars and utterly frantic drumming complemented by maniacal shrill vocals.
Meanwhile, Blastronaut deliver a similar sort of meandering chaos but from a different approach. Their mathy post hardcore is a little like Britain’s Alright The Captain filtered through a few hardcore records, with their largely instrumental pieces complemented by the occasional gang vocal.
Pretty Mouth totally up the intensity though with a breed of experimental grinding dissonance that grows and grows in barbarity throughout the set, as the crowd in the venue begins to grow with it. Special note must be made of the employment of an eight string guitar that adds thick, devastating layers to the assault.
Moving on, Akroid return us to plains similar to those explored by Blastronaut, with their angular post hardcore tinged with erratic melody that’s short and sweet. Next, things take another turn for Ayahuasca, in the best possible sense. Their psychedelic-imbued sludgy rock is a real grower with its unabashed melodies and sleek lead guitar work.