CVLT Nation is hyped to release Sonic Cathedrals Vol. LXII Curated by haarp today! Keith painted a vivid audio portrait of the sounds that have inspired him. This mixtape is a perfect example of why this series is so important to everyone involved in this webzine. Check out the stream below and download after the jump!
I’d like to thank CVLT NATION for asking me to compile a mixtape for their site. It was very fun to put together and eye opening in what I chose to include and why. I hope you enjoy these songs and find something new here. If you do, please dig into that band and explore.
Every track in this mix has inspired me in some way or another and shaped me into the musician I am today. From blazing speed to tripped out and weird to classic to pummeling, these songs are the soundtrack of my life.
-Keith Sierra Jr.
Stream Sonic Cathedrals Vol. LXII Curated by haarp
Last year, San Francisco’s Bosse-de-Nage released one of my favorite albums of 2012. The follow up to their self-titled debut, simply called “ii” was a compelling mix of black metal, post rock and indie rock. Drawing heavily from the 90s post rock outfit Slint as well as black metal, Bosse-de-Nage have crafted a sound that is unique entirely to them. Much like Roads to Judah by San Francisco’s Deafheaven, it’s been demonstrated that the black metal sound can be injected with other influences like shoegaze and post rock. Sometimes these influences are at the forefront and the black metal elements are merely an afterthought. When pulled off, like both Bosse-de-Nage and Deafheaven do, the results are astounding. Now with their album iii, Bosse-de-Nage plunge even further into post and indie rock, slowly evolving from black metal with tremendous results. It makes me think that some of the best black metal being made today isn’t really black metal at all. Read the rest of the review after the jump!
Photos & text by Adam Murray
Long day here. Caught 14 bands on 6 stages throughout town, one being way outside of town, although I couldn’t help but get that ol’ Schindler feeling – I coulda got more, just a few more. Hoax, No Statik, Winter, A Place To Bury Strangers. Ah well, can’t get em all. Next year I’m bringing a second photographer.
Started at the day show at Beerland for Stick Together (straight edge HC), Power Trip (straight forward metal, bit of throwback thrash, but not too throwback), Midnight and Toxic Holocaust, the last two of which I’ve seen/covered quite a bit in the past and will continue to in the future. It was fun, Beerland is a sweaty lil’ shoebox of a bar, heavy metal sauna on full blast. Once Midnight was warmed up, it was easily 120 degrees in there at roughly 400 percent humidity.
Quick hotel break to change shirt, charge stuff, call my lady, drink a beer and then run back down to Mohawk for crustfathers Deviated Instinct, then over to Red 7 (two stages) for lots of punk and metal. Things were getting a little interesting here – Terrorism, a one man mega-raw black metal type of deal went on. Only vocals were live, the rest tracked. Terrorism’s angry schtick (he was mad about Absu cancelling) included breaking vases of baby powder on the ground in front of the stage, and then a cinderblock, a lot violent gesturing, although (somewhat disappointingly) no actual self-mutilation ever occurred. There was some instrument mutilation as one annoyed audience member through a hunk of cinderblock back at the guy, only to miss and put it through the kick drum head instead – harsh.
On the outside stage was Avon Ladies, very satisfying punk rock, good band check em out. Their mosh pit was lively to say the least. One clever jester decided to discharge a fire extinguisher. Didn’t discourage any moshers (or the band) despite the peppery, chokey, blindy feeling one experiences from breathing that shit. Someone else threw a full can of garbage. I enjoyed the festive spirits in this room. Back inside, Morbosidad were loboto-raping with their Satanic Mexican blood metal. A bible was burned but I missed the shot (I was buying a bootlegged Bolt Thrower shirt). After that, Ares Kingdom laid down a top notch, heady shreddy set. Outside, Jersey hardcore guys Tear It Up were, well, tearing it up. Huge energy off the stage with these guys – a veritable stage dive long jump contest. Back inside once more for Black Witchery’s raw, skull-hammering black metal, and then it was curtains.
INSANE PHOTO GALLERY AFTER THE JUMP!!!
“12 minutes of harsh, stomping, punk-tinged US Black Metal”, so says the blurb provided by PRGNT Records, the label responsible for unleashing this maniacal piece of work from California’s House of Apparition. It’s only 12 minutes long so there’s not a whole lot going on here – it’s simply noisy, clangy black metal, which is indeed rife with a punk flair in its execution.
This is the second demo release from House of Apparition, but the first released by PRGNT. The most important aspect of this demo is its confrontational don’t-give-a-flying-fuck attitude. The nihilistic capacity of these 12 minutes is constantly in your face, giving way to a corrosive, uneasy listening experience.
The vocals are totally indiscernible, sometimes melding seamlessly with the harsh, dissonant guitars, leaving you pondering where exactly that noise is coming from. One song ends and another quickly begins, never giving in with it sonic molestation. It’s vile, wretched noise from start to finish. Enter if you dare.
The demo cassette is out on PRGNT Records
We received a really cool message from one of our creative comrades, Seattle photographer Alan Hunter, the other day. He just completed a new photozine entitled Under A Grey Sky that focuses on Seattle black metal band ADDAURA. What strikes me at first about this zine is how awesome and otherworldly Alan’s style of photography is. You can totally feel the passion that both he and the band has for what they are doing. Click HERE to pick up this stellar piece of art and peep some photos from “Under A Grey Sky” after the jump! Read what Alan has to say about this project below…
“under a greying sky” is a zine focusing on one of the northwest’s (and in my opinion america’s) most talented independent metal acts, addaura. for the last couple years i have been documenting addaura on stage, at home, in the studio, and on the road, juxtaposing those moments with emotive images from my surroundings, travels, and life.
The theme of Thrasher Magazine’s Terror From Japan video is aggro aggro aggro skate or motherfucking die!!! Thrasher knows how to match music perfectly with the style of skating they’re featuring. The video clocks in at just over 11 minutes, and it’s an ultra gnarly blast to watch. The ramp being skated is fucking sketchy, but the skaters never give up! In a twisted way, there is something really inspiring about Terror From Japan. Don’t just take my word for it – press play and let the thrashing being!
Story source YOU’RE NOT HUMAN
Photographer Peter Beste is someone who is able to put the energy of metal into his pictures. At the most recent Copenhell, he took photos of the bands and the fans that bring to life how fucking awesome the tribal spirit of metal is! I will never get bored of looking at flicks that capture the true spirit of youth culture. To me, photography and rebellion go hand in hand. Not only on a political level, but also on a social level. So peep this head banging photo essay after the jump!
Chaos, that’s the first word that comes to mind when I think of a Reproach show. Few bands know how to set a place on fire like these Belgians can. No matter where, what stage, the number of attendees, Reproach always delivers. Since a couple of months they have a new album out as well, more reason to ask a few questions to the madman that is their vocalist; Stijn.
Ural Umbo is the answer to your mystical prayers. To me, U.U. invokes the essence of a goddess-like, earthen love-den, just after a mid-summer rainfall, where water lingers in the dense air, fireflies dancing their languid dances by candlelight; heat kissing the surface of one’s moist skin, dragonflies gently resting on dew-covered greenery. The sweet, mystical goddess nurtures and makes love to herself, giving fruit of golden nectar to those seeking her infinite wisdom. Nothing but wine, milk, and honey served only in silver. Her glistening skin feeding off of moonlight.
UK black metal act Hordes came into being after a depressingly cold, dark winter in 2011. Taking on the form of a duo initially, Dale Morris (guitar) and Jim Carroll (guitar) soon needed to complete the entity that is Hordes in order to create the punishing and extremely frostbitten EP released by Broken Limbs Recordings in May of this year. Gathering Chris Badham on bass (formerly of Your Life Is A Grave, he also mixed/mastered/produced/engineered/recorded the EP) and Darren Adcock on drums (I Am Colossus), Hordes then looked to Duncan Wilkins (Fukpig, Selfless, Mistress, Anaal Nathrakh) to give them a vocal sound that wouldn’t be out of place in early 90s Norway. And so, the Hordes EP was born.
Four tracks of disparate misery emanate from Hordes EP. There is a distinct aura of decay and the claustrophobic nature of modern life rolls out in shrieks of complete despair. Hordes EP is COLD. The atmosphere is akin to that of the second wave scene of Norway in the early 90s and an inhuman rawness pulses throughout this recording. The introductory and instrumental “All The White Crosses Stood in Rows” initiates Hordes EP with a gentle gloom, paving the way for the desolation found within. “The Darkest Conjuration” thrives on a drum beat that seems so otherworldly and strange that it’s difficult to believe that a mortal could produce such a sound; it has a distinct computerised feel to it, as if the drums are completely programmed. But no, this is the work of a real person and the iciness of the recording is tangibly frosty. Wilkins vocals are superbly harsh; shrieks and deep guttural growls play in the darkness creating an uneasy harmony with the wild guitar progressions beneath.
Continuing the bitter journey into the minds of Hordes, “Betrayer” flickers with a dangerous melody, somewhat comparable to that of Wolves In The Throne Room and Altar of Plagues in terms of marrying sweetly majestic riffs with the extremity of those hellish vocals. Closing with the monolithic intensity of “Sadism in the Name of God Part II), Hordes EP ends on a suitably grim note. Quieter moments of wretched agony permeate the relentless attack heard on the previous tracks, Hordes taking a step back but not losing any of their command or hostility in the move to a more downbeat style. Devastating vocal lines speak of a higher power and the forceful nature of those frantic drum blasts and crashing cymbals ravage the uncomfortably close and confined environment Hordes have created. An air of doom falls over the final minutes, a funereal pace taking precedence before the relentless black metal attack pushes through the shadows conceived by this British group.
Hordes will consume you with aggression and piercing cold. You will savour every second.