None or Unknown
Exhorder have returned to thrash once more. The newest band lineup features founding members Vinnie LaBella (guitar) and Kyle Thomas (vocals) along with Jason Viebrooks (HEATHEN) on bass, Marzi Montazeri (ex-SUPERJOINT RITUAL, PHILIP H. ANSELMO & THE ILLEGALS) on guitar and Sasha Horn (FORBIDDEN) on drums. If you have ever enjoyed albums by bands like Pantera or Byzantine and somehow don't know Exhorder, you ought to go do some catch up homework. While you are at it check out Kyle's time in Alabama Thunderpussy as well, cuz that was also awesome. The band will perform Slaughter In The Vatican, and sophomore album, The Law, in their entirety on Friday, February 9 and Saturday, February 10, respectively, at the St. Vitus Bar in Brooklyn, New York. Additionally they play a sure to be off the walls homecoming show in New Orleans at Southport Hall on February 12. Exhorder have signed a worldwide management deal with All Independent Service Alliance (AISA) .
Featured StreamsMore MR Interviews
Neurosis are arguably the band the most heavier leaning and cerebral artsy types can all agree on as outright kings in their field. The long running band of psychedelic tribal warriors were birthed from the Pain Of Mind political days but evolved over the years into nearly a force of nature themselves. We even gave their Honor Found In Decay record a five star review. Yep, there might as well be a fifth season called Neurosis. The band of deeply rooted punk metal elite champions will trek north to make an appearance at Heavy Montreal this year amidst a line-up including NOFX, Faith No More, Slipknot, Mr. Iggy Pop, Testament and Korn.
Find out more BELOW.Add to My Radar
Tribulation‘s The Children Of A Night is not a tribute to the Survivor song of the same name, but rather a sort of pure manifestation of the famous quote from Dracula. What sweet music they make, indeed! Gone are much of the death metal trappings of earlier records, with a gloriously bold leap (and perhaps a flappng of wings) into a blackened abyss of atmospheric and dark rock with harsh vocals. Imagine a much more shadowy Ghost drenched in blood and wine but with snarled vocals akin to black metal in approach. Some fans have criticized the direction, but I think it’s by far one of the most interesting records I’ve heard this year.
Like the Brian Herbert and Kevin J. Anderson House Atreides prequel to Frank Herbert’s Dune novel, perhaps it is a bit more streamlined than earlier works but it is still quite powerful. Actually, in the case of Tribulation I feel like they’ve really surpassed their other stuff here. Old school thrash heads may shit on Sepultura’s masterful Roots, but it’s by far the most original record of the Brazilian metal band’s (with perhaps A-Lex being a close second). My point is that Roots is thus the one that is most talked about and debated. Originality counts more for most people and Tribulation have found a real sweet spot here of mixed styles. Plus in the “Strange Gateways Beckon” video the singer makes evil faces that remind me of Sebastian Bach meets Emperor Palpatine from Star Wars, so that’s cool.
Read more BELOW.
I’ve been a fan of Steve Austin‘s and his ongoing revolving cast of audio anarchists Today Is The Day‘s output for a long time (Willpower is my current favorite…TITD albums always change place vying for number one in my heart, much like Clutch and Melvins records). Steve told me once years ago during an interview that once he got hooked on The Jesus Lizard he was just drawn to need uglier and more raw sounds. Their new clip for “Heathen” (from recent Southern Lord life punisher Animal Mother) certainly finds a foothold in the steaming guts of misanthropy. It might be their best since “Six Dementia Satyr”, which was a long time ago. “Heathen” is a disturbing distilled animated vision of boiling grief, alienation and anger. Set to the untamed crunch of TITD’s grim march, the clip features weaponry, self-harm, madness and crosses while Steve screams “No God/One shot” in his trademark bloody and hissing shouts. In a particularly moving scene sure to give existential nightmares we see isolated figures made of burning flame atop mounds of accumulated refuse as crosses seem to beckon with empty promise. It’s a scene of images that will be glued to my thoughts for some time to come, I wager.
Bloody Disgusting has the video premiere HERE. Highly recommended experience from a classic noise/grind band.
The video for said anthem comes courtesy of Novel Concept TV, whose architects share an equally mad vision of the world as the band, bringing the song to visual fruition through an intense, animated self/outward mutilation spree.
Issues Austin of the “Heathen” video’s inception, “I was on tour last fall and stayed at my long time friend, Neil Barrett’s house. While I was there he showed some of the video work he had been doing and my mind was blown. Neil and Marco Morales are super creative dudes and Neil has been intoTITD since the band began. Together, they make some really psychedelic mind expanding films; it’s really cool to finally get to work on something together.”
The video’s creators themselves offer, “We’ve been in the dungeon at the Austin Enterprise compound for several weeks with no food, water or sleep creating this visual nightmare. We’re just happy it’s over. Steve Austin is a genius and a madman. We hope you enjoy the fruits of our suffering.”
In additional rad fucking news , after a brutal highway accident in late November, which destroyed their van, merch, equipment and seriously injured some of the members, TODAY IS THE DAY returns to the road in two weeks. Currently comprised of bassist Trevor Thomas, drummer Douglas Andrae, and founding guitarist/previously mentioned vocalist, Steve Austin, the band’s new trek will hit nearly thirty North American cities in a “clockwise massacre”, beginning in Portland, Maine on April 24th and finishing on May 24th in Rochester, New York, with direct support being supplied by Lazer/Wulf. More US tour dates and European shows coinciding with the band’s set at Temples Festival in Bristol, England in May will be declared soon.
Tour Dates BELOWAdd to My Radar
I was reflecting in an email I sent today to a pr friend Nikki Law from Century Media who handles Karyn Crisis’ Gospel Of The Witches about a cool time I went to L.A. when Crisis was on the West Coast in the band’s later days. I got to see them rehearse in a space they shared with a killer band called Eyes Of Fire, which featured Matt Fisher as the driving force. Recalling that , it made me think on how more people need to give love to the band Mindrot, a musical volcano which Fisher was also in prior to Eyes Of Fire. People give post-humous love to Type O Negative and, to some degree, the very underatted Woods of Ypres, but Mindrot deserve way more accolades than Mindrot gets. Fans of Neurosis, Twitching Tongues or Katatonia should all be rallying for a Mindrot reunion.
Still to this day no one really sounds like Mindrot.
Adrian Leroux, who along with Matt Fisher founded the band in 1989, was super cool to answer my questions and look back on Mindrot’s active and punishing years of creative gloom and glory. Read it BELOW.
Noise mongers KEN Mode, a particularly mischievous bunch of merry madmen, have a new single “Blessed”. I’m thinking #blessed has a lot of crossover potential as a life affirming hashtag as well. Perhaps the guys are on to something.
Recorded with Steve Albini (NIRVANA, THE PIXIES, THE JESUS LIZARD and more) and mastered by Bob Weston at Chicago Mastering Service, Success features art by the band’s longtime artist Randy Ortiz, and feature guest performances by Eugene Robinson (OXBOW) and members of FULL OF HELL. ‘Success’ will be available across multiple CD and LP formats. Pre-orders are available at the Season of Mist E-Shop.
Regarding the new track, front-man Jesse Matthewson comments:
The artwork and track list for ‘Success’ can be found below.
See the art BELOW as well as a slew of North American tour dates with the awesome Fight Amp.Add to My Radar
Steve Austin of noise/metal instigators Today Is The Day has been creatively on fire again of late, from the thrilling burden of the intensely mournful extreme record Animal Mother to his performance on LAE’s Break The Clasp post-rock experimental record of haunting whispers and psych dream fragments. TITD have two new music videos soon and are finally back following a near deadly van wreck.
Add to My Radar
Colorado’s Wayfarer craft moody and dark stories via unconventional atmospheric metal with more winding paths than a Tolkien tale. Their Prosthetic debut Children Of The Iron Age is an at times an expressive yet somber meditation and elsewhere an expulsion of screaming nerves beneath vast skies. Like Agalloch or Iceland’s Sólstafir before them, Wayfarer’s baleful yet contrarily heartening melodic dirges (often reaching over ten minutes per song) are sure to quicken your wanderlust and slaken your thirsty despair over a drout of epic thinking person’s metal. Recommended track: “The Elemental.”Add to My Radar
Missing is a new “super group” of sorts of underground metal stalwarts who would probably hate that term. It’s not like they will be headlining Live Aid 9 anytime soon, but the guys in the group have a serious pedigree of bands between them (Batillus, Abigail Williams, Lord Mantis, Nachtmystium, Corrections House, etc.). In the aftermath of the Lord Mantis upheaval, I got an invite from my friend Jeff Wilson of black metal standouts Wolvhammer to check out this new band Missing he started with Charlie Fell and Ken Sorceron to basically pick up and evolve where Lord Mantis’ Death Mask left off. But there is more…JefWhitehead , Fade Kainer AND Sanford Parker are on board as well? Holy crow, metal fans.
Check out the birth of the project BELOW (and thanks Jeff).Add to My Radar
DHG/Dødheimsgard‘s A Umbra Omega is a must hear experimental mind fuck that beckons with pure freedom to establish new high water marks for extreme music. Much like (I’ll get shit for writing this) the “critics be damned” attitude displayed by Liturgy on transcendental collage The Ark Work, DHG don’t let genre constraints shackle them but do care about form , and have a lot more old school cred vs art school smarts, if that makes a difference to you. Regardless, it’s the unshackling of spirit here amidst tectonic time signature shifts, howled madman vocals from returning original co-founding member Aldrahn. Piano and saxaphone burst and funeral bloom out of the shadows of blackened, despair filled avant garde structure. The umbra is certainly breached and the record looms like the Tower card in the tarot, foreboding change via a perhaps painful but perhaps needed rebirth.
There is no stagnation here.
This is a hard record to review. It is really an experience and the bulk of tracks except for opener “The Love Divine” stretch near fifteen minutes or more. Each song has tendrils snaking back to traditional Norwegian black metal but the scope here is insane. Where, for example, a more mainstream but mentally sophisticated black metal band like Watain have pushed the philosophy of their vision far, DHG have gone even farther than a band like Enslaved in expanding what it means to be limitless. There is still a molten core of deep soul upheavel and the empty void at the heart of these tracks, but along the way you will encounter near every emotion possible on the human spectrum. Mastodon may get praise for being progressive and trying different things (their new song for Game Of Thrones sounds like a mellow Katatonia number on a big budget), but DHG are REALLY experimenting on a whole other level.
Brilliant passages abound. At the mellow 7 minute semi-ambient mark of “Aphelion Void” you could almost be inside a Mogwai tune, while “God Protocol Axiom” blasts furiously down the well tracked black metal path to hell before spilling into the River Styx via an emergency brake pulling industrial guitar crunch and the carnivale shouted lines “the devil hides in fractal patterns, beyond the singularity where everything you lost is waiting”. It sets a tone for madcap vertigo and a high bar. The drums tumble and get insanely busy before an almost Cure guitar line, watery and seminal, seduces the ear and carries us through melancholic death rock to disharmonic piano and strings that balk like howling furies, resisting any coherency. It’s like a drunken Bosch orgy on the burning pages of jazz, blackmetal and rock’s most outre fringes.
“Architect Of Darkness” opens with a riff akin to some of the Agonia label’s roster, a dissonant march that will please many fans of the shadows. The vocals all throughout are much more akin to strangled cries or a barking mounteback or the histrionics of Nivek Ogre or Arcturus than, say, “Freezing Moon” Mayhem’s frog vocal or a more shrieking black metal vocal. Vicotnik’s musical compositions are really out there and few bands, save Emptiness or Ephel Duath (r.i.p.) have dared to push themselves this far in recent (or any) years. You might be exhausted by the end of this record but your brain cherry will most certainly be not only popped but downright burst like one of the face hugger eggs in Alien. You’ll be shaking and left sweaty and breathing on the shores of wherever you drift to once the fog clears in the aftermath of the brutally unravelling quarrel of “Blue Moon Duel”. A great succesor to Supervillain Outcast.
We are very stoked over here on the upcoming March 17th self released and crowd funded “debut” from Alkaloid The Malkuth Grimoire. It’s just a massive musical statement out the gate for this underground group, a band featuring alumni from Obscura, Necrophagist, God Dethroned and Dark Funeral (to name a few). Album closer “Funeral For A Continent” is 12+ minutes of extreme progressive metal at its absolute finest, just a fearless array of musicianship, dynamics (“Orgonism” is moody like mellower Daylight Dies) and varied but generally extreme vocal styles.
There are liquid leads, tempos that shift like sands beneath your feet and passages of both utmost heavy as well as delicate balance. These dudes make it look easy and, like Allegaeon’s recent Elements Of The Infinite, seem quite concerned with scientific themes like the Dyson Sphere as well as traditional metal concerns like…”Cthulhu”, of course. But the production on this record is really superior to Elements as well as many other recent tech and prog records.
Pre-order and check the cover art out HERE.
Christian Martin Weiss – photo credit –Add to My Radar
Review by Joan Singh
As most loyal fans of Crisis will find—Gospel of the Witches is a departure from the core metal/death sound of their 90’s heyday. But that’s to be expected. Away from the East Coast metal scene after the Crisis break-up, Karyn traveled to California to learn more about her experiences with the incorporeal, having had countless episodes of what could best be described as “encounters with the supernatural” during her childhood and onward.
In between self-discovery and music-making with a brief stint in husband Davide Tiso’s band Ephel Duath, we find a new Karyn, grounded in her abilities to communicate with her own spirit guide and with humanity through the medium of music. Ever the creative soul, she’s crafted and pursued leatherworks, paintings, and mediumship and come back full circle to music.
Gospel of the Witches’ debut album, Salem’s Wounds, is Karyn’s latest mesmerizing project with husband Davide Tiso of Ephel Duath and Bob Vigna from Immolation on guitar, Ross Dolan, also from Immolation, on bass and backing vocals, and Charlie Schmid from Vaura on drums. Each member brings a range of experience to the table.
To me, the first significant song is the opening track, aptly-titled “Omphalos”, which becomes just that – an object of power, positioned to propel the listener on a journey of arcane reflexivity. Karyn’s “I am no one, I am nothing, I am nowhere,” juxtaposed with “I am everything, I am everywhere, I am everyone,” starts with clean vocals and quickly metamorphoses into a growled delivery layered atop Ross Dolan’s own deathly vocals. It sets both the tone and expectations high with a powerful intro to the album. Its subtle ascending vocal tempo creates an escalating mood, a musical ascension of sorts. Short, simple and leading; it directs the listener right into the second song, “The Alchemist”, in which the theme of being an acolyte learning the ways of the occult arises from both the composition of Karyn’s music and lyrical content that points heavily towards mysticism and transmutation – “I am no longer the dust and lifeless, waiting to be swept away…” and “…I hear those words, kept unsaid, and I walk in the world of the living and the dead.” A little more than halfway through the song, we hear a bit of the old Crisis as Karyn alternates styles with bits of clean and heavier vocals with Dolan backing the choruses.
For more see BELOW.
New Plague from Long Island play a style we’ve heard a lot the last few years, the sort of hyper kinetic gnarly hardcore with occasional Entombed nod that made Trap Them scene demi-gods and with the dissonance and sharp, spasmic edges Converge have had forever. Newer bands like Full of Hell, Hierophant, Blackened and others kind of fit this mold as well… but honestly its a style in the underground so savage and alive that in my opinion it doesn’t hurt to have more bands doing this to counterbalance trendier mall-core bullshit. New Plague might not bring much new to the table but they certainly kick the table over in style on their new EP and add to the general plague of this newer movement. Brutal, blistering and fast but with plenty of interesting knuckle ripping guitar punching feedback drenched breaks as well. This shit will get your adrenaline pumping and leave you breathless if you have any love for hardcore at all. I’ll take this style over dumb ass downtuned breakdowns the whole song with pop barely in tune even with auto tune emo vocal clean choruses any freakin’ day.
“Blood Offer” kicks off with pure abandon and hoarse cries, the band really sounding commited to their songs. It rages with a ferocity akin to Baptists if a bit less well executed. That said, this is by no means a let down and I only said that because let’s face it…it’s pretty hard to top Nick Yacyshyn these days, the new poster boy for underground hardcore percussive ferocity. That noted, these dudes come pretty damn close with this S/T beast. “Angles” is my favorite track, a number that slows the tempos to really let you feel the meat peelig off your own bones. When I think of Long Island I associate it with Mind Over Matter, V.O.D. or Glassjaw more than this style but I gotta say these dudes are a great addition to the heavy scene. “Hounds Of Sleep” could basically be a Blissfucker B-side but again, how many thrash bands are there our there? It doesn’t make it bad to love a style. I’m giving this 4 stars because I gave mega band All That Remains 3.5 on their latest and even though this is way less technical and produced, the energy still hit me harder.
Dødheimsgard, Norway’s premier experimental extremists, are back this year in a much welcome return. Bands like Shining and Blut Aus Nord, Aborym or even Ihsahn have pushed the boundaries of what extreme metal with black metal seeds can be but DHG have a particularly unhinged and evocative brand of musical mastery within their grip.
DHG recently announced details of their fifth album, titled ‘A Umbra Omega’, set for release on March 16th on Peaceville Records, have posted a new track online. The near 15 minute “Aphelion Void” is a thrill ride of crazy vocals beholden to no limits, dissonant and haunting passages, startling instrumental turns and an overall rebellious attitude sure to please the discerning metal fan. Check out this bad motherfucker of a new song HERE.
This is the band’s first release since 2007′ still buzz worthy Supervillain Outcast.
Click HERE for artwork for A Umbra Omega.Add to My Radar