Wednesday, April 9, 2014
Begrimed, soupy bestial death metal from New Zealand. I've been a fan of these Kiwi's since I bought their EP Hammers of Intransigence back in 2011 and have been impatiently waiting for a full-length release ever since, but instead another EP is released to sate my lust for destrvktion…
Also, thanks to New Zealand for Meth Drinker, Ulcerate, Witchrist, Diocletian, and Vassafor.
Heresiarch Bandcamp (Buy Wælwulf $666 NZD)
Thursday, April 3, 2014
Birkir Fjalar Viðarsson, my main man and the main man behind the impressively updated and super righteous blog Halifax Collect, which I've been invited to collaborate and write for currently and in the past. After all these years, the basterd has finally succumb to my nagging and has imparted us here on SHOM with a post of his own… BK has been a real pal to me; getting me into sold-out shows in Toronto, getting me on board with The Reykjavík Grapevine people, giving me a place to stay in Iceland, countless reach-arounds and introducing me to some really radical human beings that have humbled me down to ground level.
• • •
Words by Birkir Fjalar Viðarsson
It was around two years ago, me and Chris of Severed Heads Open Minds met for the first time… On a stormy day in Iceland, one of the first things we spoke of was Jumalhämärä, as I asked him if he knew the band… He didn't. Most people don't. I then went into an aimless and poorly articulated description of the album's opening track "Ecstasy In Blood - A Ballad." I tried to explain that the song's arrangement didn't make any sense, how the blast beat was a foundation for at least two guitars and a bass, all of whom play the same riff essentially but not aligned and synchronized. Which means, they all harbor the same notes but "start" (for a lack of a better term) at different junctions in the bar of riff they are playing, overlapping each other, yet never negating one another.
It's hard to explain, but this cacophony of chaos, this wall of sound is absolutely beautiful. We're not talking odd time signatures and technicality, but a cascading stream of melancholic aggression. And when the "second part" kicks in and all riffs are played in sensible unison, the power of it all is exhilarating. The song ends in a cathartic mess of yells, yelps and screaming, like in an apocalyptic ritual and there's no stopping this song. Like falling into a never ending abyss. Humongous floor toms plod along in the back like a giant's heart beat. Stunning.
Chris - "Who do they sound like?"
Me - "No one."
Is the following song similar? Not at all. What the hell is going on here? The Neurosis like opening would have you believe you are in a familiar territory (more on that here) but the slide guitar is an omen to be taken seriously: This song will also not behave. But it takes a while for it to go off the beaten track, thus "Storm Is Coming" is probably the song that will not scare anyone away, for the rest of the album is no fast food for the non-adventurous.
The impossibly perfect "Haul" kicks in with its "march onwards" snare drum and twangy guitar. Yes twangy! Something one isn't used to associate with black metal (not that these Fins can be lazily written off as black metal-anything). I had no idea what to expect when I heard this one the first time but when the noise-punk like drumming kicks in topped off with the black metal screaming and those irresistible twangy guitars I was incredible excited. This leads into a semblance of a chorus with howling and yelling men and a haunting single strong guitar melody that hasn't left my thoughts since I heard this album in the winter of 2010. This is magic time. You'll be on the edge of your seat awaiting an explosion, that never happens. Oh the tease! Leave them hanging, I say. Leave the audience salivating for more.
But again, the gears shift in "596" and even more melancholia and wistfulness takes the stage, like being slowly walked to one's death. The tone here befits a funeral. Keyboards, accordion, and a lead that is obviously improvised, so much so that the player performing it is testing frets as he goes, clumsily, but the effect is as charming as it is imperfect. This sounds like a terrible idea but it is not. It is incredibly refreshing and arresting. Somehow this resonates with me strongly in an age of fix-jobs and perfection. These sort of moments are strewn all over Resignaatio. Another, more composed than earlier, choir enters the fray. I imagine a forsaken flock of men, abandoned in deep mines, awaiting death - longing for it. So yeah, this is music that stimulates the mind. Such a rare thing in metal these days.
The title track conjures more menace and when picked a part, all its movements would fit a more conventional black metal song but in the hands of Jumalhämärä, and this deep into the album, one anticipates something wild, untamed and unhinged around the corner… And that eventually happens in the album's closer "Of Enlightenment and Righteousness: Part II."
This review is nearing a track-by-track analysis. I’ll forgo that. When an album reaches heights and harmony while sounding utterly untamed, archaic, primal, tribal, loud, crashing, frantic and downright insane, you know something special happened.You know, every madman has moments of calm, serenity and beauty. That's Resignaatio for you. It's unique experience that will grow with you and haunt you for a long, long time.
… You're welcome.
• • •
I've had a hell of a time trying to find this album for myself, but I've finally stumbled on a download link for you guys, so listen up.
Wednesday, April 2, 2014
Ever since Sun Worship got in touch with me to review their EP Surpass Eclipse I have been a huge fan, watching their every move, which consisted of a split with German country-mates UNRU, whom I'm also completely and unequivocally a fan of, obtain all their shit!
I digress, Sun Worship are one of my favorite bands circling this big blue ball we're stuck upon. What the fuck is there not to love? They play an incredibly poised blend of ambient black metal with notes of other musical subtleties that could range from shoegaze, drone, noise, to a post-rock atmosphere. They are independent and fuel their own music in a DIY way and they put their albums on bandcamp for a "name your price" option so you can pay what you can afford.
Elder Giants is a giant itself, and one of the best this year. Climb out from under that rock and buy it.
Elder Giants on Bandcamp (name your price)
Here is the review for Surpass Eclipse
Tuesday, April 1, 2014
Of fucking course I've been jamming out the new Teitanblood record more than I should be. I've been waiting on this since the Purging Tongues EP and I'm not about to let up, even though it is seriously hindering my podcast time man. It's a tough call, perhaps learn something useful from the dudes of "Stuff You Should Know" or beat my skull into neanderthal mush with the charming sonic assault of Death. I normally select the latter, dummy. It's filthier than a meth den on Christmas and about as loving as a barbed dildo. Big ups to Teitanblood, these dudes know how to create a bestial death metal album, everything is in place.
Posting a link would bring upon unwanted attention to SHOM, but if you would like to hear the album leave your email in the comments or email me.
Or shell out the decent price over here.
Wednesday, March 19, 2014
I'm really fucking into the production on this Vaguess album, super raw and primitive in its approach to garage punk. The drums sound primordial, the guitars drowned out under a wave of fuzzy surf riffs, and the vocals are as varied and gruff as everything else on this beauty! Expect to hear some sweet synth dudes.
Give it a chance
Monday, March 17, 2014
Fast and catchy punk with doses of crust, surf, hardcore and a little something of its own. These San Franciscan punks haven't reinvented the wheel, but they do still hone in on a sound that is fresh and full of the snobby grit I like in my punk. Imagine a mix of Funerot, Hot Snakes, Hoax and earlier Ceremony. Nobody is really talking about these guys which is a shame, if you have the means, spread the good word.
Culture Kids S/T
Sunday, March 16, 2014
Last night I went to sleep listening to The Body's newest release 'I Shall Die Here', which is probably tantamount to watching a snuff film before going to bed. It fucks you up. It fucks your dreams up, and it ruins your sleep as well as the entire day thereafter.
I'm really digging the sounds on this new album though, which the band has said was meant to be wholly experimental. Thought it's not like The Body's catalogue isn't already entirely experimental in nature anyway. 'I Shall Die Here' is still heavy, terrifying, ominous and warped. Instead of The Assembly of Light Choir we've come to know and love throughout The Body discography, the band recruits The Haxan Cloak to contribute on 'I Shall Die Here', resulting in something more industrial, ambient and nearly cinematic in sound. I don't know why, but it fucking works man. I hope The Body and Death Grips collaborate on the next album. Friggin' rights.
Listen to this, the strongest track on the album… Yes, in my opinion.
I Shall Die Here.
Wednesday, March 12, 2014
Black metal and punk at its most raw have always dipped into qualities that are synonymous with one another; filthy productions, ramen noodle like budget recordings and a certain predilection for hating shit fiercely.
Cape of Bats have been busy these passed few years popping out short releases of relentlessly ugly black metal and punk, which they kindly give us for free or a "name your price" option. Power to them. Some of the riffs on these albums are too good, take the first song 'Stygian Depths" for example, 0:27 in is like a punkier Morbid Insulter (If you haven't yet picked up "Anti-Christ Blasphemies click the goddamn link) riff played a little slower, it's kind of charming in a B-horror movie kinda way.
Cape of Bats