Text and Photos by Alan Hunter
Although Northwest summer days are long, the cold rain and darkness fell upon Seattle early last Friday. Blasphemous Organ, Addaura, King Dude, and (A) Story of Rats brought their doom and gloom to the University District’s Rat & Raven.
Unfortunately I missed [what I can imagine was] a killer, rumbling guitar-synth collaboration from Demian Johnston (Undertow, Hemingway, Great Falls, etc.) and Timm Mason (Mood Organ, Midday Veil, etc.), as Blasphemous Organ. Hopefully this will happen again soon. Following Blasphemous Organ, my dudes and dudette in Addaura destroyed the bar and everyone’s eardrums with their epic, crushing, atmospheric black metal. I’ve been a close “collaborator” with Addaura for a long time, have seen them countless times, and I always enjoy it. Candles lit, King Dude (aka TJ Cowgill of Book of Black Earth, Cross, etc.) slowed things down a bit with his awesomely ominous blend of lo-fi American blues and doomy folk, summoning the dark lord himself. I was stoked to finally see King Dude – his tunes have been on repeat at home – and he certainly did not disappoint. To finish off this epically sinister evening (A) Story of Rats – shrouded in thick candlelit fog – punished entranced viewers with their deathly soundscapes. This was the best (A)SoR set I have seen – featuring the always talented Garek Druss and his synth-wizardry, Andrew Crawshaw’s incredible drum assault, and the deep sonic alchemy of a guest string bassist. This was a truly badass display of Seattle’s real dark, heavy talent. I cannot wait to experience it all again.
FULL PHOTO ESSAY AFTER THE JUMP…
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
As you can read here and here, I quickly became quite a fanboy of Liverpudlian Sludge freaks IRON WITCH. They definetely have more than enough potential to become a big name in the downtempo metal game. So of course we at CVLT Nation had to ask them a few questions about their music, their hometown and future plans!
IRON WITCH might still be unknown to some people, so could you give us a short who’s who?
IRON WITCH is a Rock’n'Roll band that consists of five members, Rick Owen (Bass), Dan Fane (Guitar), Chris Fane (Words), Sam Rushton (Guitar) and Will Adams (Drums). We started out back in 2010, in all honesty, out of sheer boredom. There wasn’t much going on in Liverpool at the time other than the Punk scene, which is cool and all, but everyone playing fast all the time gets boring. So, as Crowbar put it, we decided to ‘tune low and play slow’ haha.
How does it feel to be compared to Eyehategod all of the time? Can you still enjoy hearing that?
It’s pretty much just become a standard response now that we’ve become used to, and it doesn’t bother us too much anymore, and from what we’ve seen it doesn’t seem to bother people either. We’re not stupid, we know we have traits of Eyehategod, we play music in a style that was created by them, so it was always bound to happen. The way we see it though, when we started this band we never set out to do anything new, we just wanted to play stuff we liked and stuff we wanted to hear, and its not like we’re the only band out there to have adopted the sound of another. How many bands out there sound like Pantera, Weedeater or Electric Wizard? At the end of the day, we still write our own music and our own riffs and people seem to dig it so cool with it. READ MORE…
Death is almost upon us because Fifteen Dead / Chronocide are about to release a split in July via Le Crepuscule Du Soir Productions. This is the kind destructive music that will fucking behead motherfuckers for sure. Fifteen Dead / Chronocide make total sense doing a split, because they know how to wake the dead before killing them again. CVLT Nation is way fucking past hyped that we are streaming two tracks from this unreal record below!…peep the promo video after the jump!
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.
When I think about the 80′s record labels that changed the way we listen to music, SST Records is at the top of my list! I really believe that without this label, Indie Rock, Sludge, Grunge and Avant Garde music wouldn’t exist the way they do now. I could list all of the rad bands that they released, but it might make your head spin. The people that ran SST Records were open-minded and this is reflected in every level of their business. I was lucky enough to be around at what I consider the first peak for SST Records. I got to see the the TOUR at UCLA in 1985 that featured SWA, Saccharine Trust, Meat Puppets, The Minutemen and Hüsker Dü – a night that I will never forget. This is why today CVLT Nation would like to share with you the same show in full from The Stone in San Francisco, CA, after the jump!
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!