Synsophony- "Rabbit Hole" (Self-Released)

Readers, you may remember how I gushed about Synsophony's debut, Karmic Existence, some time ago. Today I'm pleased to share another release from these black drone madmen, Rabbit Hole. Like their first album, this digital release is one track of expansive confusion, chaos, and anxiety. While it's not necessarily something I recommend before your morning coffee, it's a great experience for those of us who like to test our boundaries.

Unlike the lingering horror of Karmic Existence, Rabbit Hole starts at a peak of sorts, slowly crumbling as the listener descends slowly. The obvious nod to Lewis Carroll in the title conjures, again, thoughts of the onset of a psychedelic experience of some sort, but far darker than anything you'd find depicted in a story for families. With only thirteen minutes to do its damage, Rabbit Hole is far more of a meandering journey through and past uncomfortable sounds than it is a death sentence. One can occasionally hear chatter in the distance, as if observers to one's descent are nearby, yet are nowhere to be seen through the oppressive haze created by Synsophony. No peaceful closure is presented, yet one feels slightly more resolution here, despite the lack of beauty given.

Rabbit Hole is currently available as a pay what you like download from Synsophony's bandcamp page, but will see release as a cassette from Acephale Winter Productions later in 2014, along with a bonus remix.

Fury 161- "Purify" mp3 single. Free Download.

Greetings readers. I feel it's safe to assume that most of you aren't familiar with Fury 161, the aggressive death industrial act featuring Corvus of BM&B favorite Project: Void. Fury 161 has chosen today to debut their single, "Purify," a track of crawling industrialized mayhem. Static percussion and depraved vocals clash with glitchy madness surrounding. Not a single instrument is working to create solace in this track, instead the whole thing sounds like a great dying machine trying to envelop as much of its surroundings as possible before it shuts down for the last time. This group has just signed up for an official Facebook page and have announced an upcoming full-length album entitled "Armageddon's Maw" which will be released by Bugs Crawling Out of People. While the world at large may be frightened by such chaos, we devoted few can enjoy this free download while we await the release of Fury 161's debut album.

New Music: King Carnage, Gukurahundi, Ancst

King Carnage- Ounce of Mercy, Pound of Flesh CD (Badgod Music)
Today I'm in a bit of a mood for some absolutely hideous death metal, and there are few better releases I've been checking out for review than King Carnage. This album, like pretty much every Badgod release, is downright filthy. Do you want to be strung up and tortured by your death metal? This is the album for you. The guitars are tuned so low they carve the very earth beneath them. The drumming is tight enough to be clearly well played but loose enough to add to the overall murky atmosphere. The vocals are in that lower realm between a primitive grunt and an ominous whisper often inhabited by bands like Beherit. Grab this album from the label's bandcamp (link above) while you still have the opportunity. It comes with a sticker and a poster in a limited edition of 250.

Gukurahundi- An Apparition in Nocturnal Splendor CD (Manicidic)
These guys sent me an email a couple of months back and I was so preoccupied with my studies that I didn't even shoot them a response back. Big mistake on my part (and kinda inconsiderate, sorry dudes). This album is noticeably cleaner than the aforementioned King Carnage CD, but it's no less punishing in its own way. Blistering melodic riffs circle around insanely paced drums while the vocalist throws seems to fill just about every space not occupied by the other instruments. The band does have enough empty space and change of pace to keep things fresh, so this isn't so much a criticism as it is an observation. Solos aren't as common as a general driving assault, but these guys definitely take the time to show off their chops and the vocalist is more than competent enough. The occasional groove-based breakdown may steer away some purists but I still recommend a listen. This album is currently available in an edition of 100 digipak CDs.

Ancst- The Humane Condition CS (Dark Omen Records)
This album's a brief two song cassette, but they make every second count. With two tracks averaging six minutes each, Ancst has created one of those tapes that just begs to be flipped and replayed countless times (each side has the same program, conveniently enough). Ancst's brand of black metalisn't necessarily reinventing a genre, but it's one of the most memorable and compelling things I've heard in this niche in quite some time. The band can switch from grind-influenced black metal that tears the ears like shrapnel to glacial sludge in a heartbeat, and it feels completely natural. There are even a few moments of pure bliss just to showcase the band's diversity and clear musicianship, which is what makes this band stand out from the pack. While fans of groups like BM&B favorites Terzij de Horde will enjoy this, there's also a good chance that fans of the more nebulous and ugly side of black metal will also dig Ancst's urgent fury. This tape was available in 100 copies, with the first 15 on an orange tape with patch while the remaining 85 are on purple tapes without a patch, but the orange is already sold out. Grab a purple copy while they last.

Host: A Brief Profile

Now that my college semester is over, I have the time to focus on things that help me relax. Luckily for all of us, listening to new music and sharing it with the masses is pretty much my favorite thing to do. To get things started in a proper fashion, here's a brief profile of ritual noise artist, Host along with a download link or two for your enjoyment and enrichment. This artist directly contacted me a few months ago and my scatterbrained nature during my semester prevented me from giving a proper review, although I'd enjoyed the album he initially sent. Apparently my constant delays due to school and personal life worked out nicely for my readers, as he's since released an experimental track of sorts and has another album coming out in the very near future.

Host's first release with which I am acquainted, "Implant," is a journey of some sort, perhaps into and through the singularity. The futuristic beauty and horror that play with each other sound like the perfect soundtrack for a sci-fi film of technological advances gone wrong. Disconcerting drones buzz alongside chirping, somewhat tonal electronic textures with minimal to no percussion yet the music definitely does have its own structure. I'm always into a bit of melody or tonality making its way into noise and ambient structures, and Host does a great job of integrating accessible sounds into noisy soundscapes, creating a fantastic atmosphere. This album had my full attention and appreciation within the first minute, and I imagine it'll do the same for most of my readers who have appreciated my noise-related posts in the past. If you're still hesitant to hop on the noise/electronic train, this might actually be a pretty good starting point due to the genre-straddling nature of this release. Grab this one as a free download from Host's bandcamp page to start your journey into one of our many possible futures.

Following the crumbling beauty of "Implant" is Host's current experiment, "Evolution." This song is going to be hard to explain, as everybody has their own wholly unique experience. "Evolution" uses samples from Host's upcoming release, "Null Pointer," and combines them with random number generation, live financial, meteorological, and social data in order to manipulate the sound and alter the experience for every listener. I will admit to only perusing this potentially endless experiment once so far, although I do plan on visiting with it again. My personal experience is that of an endless series of pistons, churning ever onward with mechanical precision. It's dark, relentless, and I love it. Experience it for yourself and be sure to bookmark the page for your own future excursions. This might be the future of music, so don't be surprised if other artists start doing things like this soon.

After immersing myself in "Evolution" for about ten minutes, I feel prepared to present and review Host's impending release, "Null Pointer." Following the apparent trend of growing in size, intensity, and scope, this album's three tracks each pass the ten-minute mark and shed much of the electronic tonality in favor of cavernous low-frequency drones. Even the tiniest of sounds echoes into a seemingly infinite void. True to the album's title, it seems that everything converges somewhere immeasurably distant, with everything fading into a dull hum that never fully reaches a resolution. The mechanical churning I described in "Evolution" surfaces here as intermittent static, swelling to fill empty space left as each previous noise falls farther from audible levels. This album is more experiential than musical, which is not to say that it can't be listened to for the sake of listening, but the massive amount of detail and texture here make this ideal material for a session with headphones in a darkened room. As the last crackle of static fades into oblivion, we are left with nothing but ever-lengthening echoes for the final minute or two, giving a rare moment of peaceful closure that leads to a contemplative silence that I find most appropriate after such an experience.

It should go without saying that Host is an artist to watch in months to come, as this project has already released a handful of solid releases and seems prepared to continue putting out new noise at a considerable pace. "Null Pointer" will be released on the 27th of May, which gives us just under three weeks to prepare. As the music continues to change form and approach with each release, I can only imagine that whatever comes next will be equally engaging and rewarding to dedicated noise fans and casual listeners of drone alike.

Terzij de Horde- "A Rage of Rapture Against the Dying of the Light" CD (Self-Released)

Terzij de Horde look like such sweet, mellow guys in their portrait inside this CD. They look more likely to help stoke up a fire in the winter and put on some tea than to create chaotic and conflicted black metal. Of course you know that stirring up chaos is exactly this group's goal, and they certainly succeed at it.With each of these four songs, Terzij de Horde creates something that is bold and unique yet completely familiar, as if this music comes from such a deep place that all of us could hold it in our collective experiences.

Musically these guys lash out like a hydra, with elements of hardcore, crust, and sludge latching onto their relentless black metal assault. Stillness is not an element one will find here, but ferocity is pouring out of every sound. Opener "Prometheans" is noticeably shorter than the other tracks on this album, yet it sets the pace properly, starting at a crawl that builds up to a bloodthirsty hybrid of textured riffs and breakneck drumming. Vocalist Joost sounds like he has long since given up anything human and replaced it with the entirety of nature's wrath towards humanity's destruction. These guys are also clearly well-read, as evidenced by the list of "inspirations" for this album (all are novels rather than musical works) and the fact that they took their own moniker from a line from a famous Dutch poet. It's pleasant to see that their literary hobbies make for great lyrics. In black metal I rarely pay attention to the lyrical content of a band, yet these guys made it actually a pleasure to read along as I listened. This album as a whole is good for repeat listens due to its relatively short length, and I can only imagine how vicious these guys would be in the live setting.

Terzij de Horde is currently writing a new album that will surely shred our collective faces off. In the meantime, grab a shirt and CD directly from the band (or download it for free if you're a bit poor today). If you're lucky enough to live anywhere near them, they'll be playing with Ash Borer and Fell Voices in Amsterdam just a couple weeks. Don't miss these guys, they're destined for some serious attention in the near future.

Heavy Breath- "Muddy Life" (Self-Released/Battle Stag Records)

This may be one of the posts that deviates most from my regular regimen of lo-fidelity recordings filled with indiscernible instrumentation and muddled vocals, yet it's one I'm happy to share with my readers. I actually heard about Connecticut hardcore weirdos Heavy Breath through a bizarre string of comments on twitter, of all places. Someone had referred to them as the "craft beer of hardcore" or something of that nature, and it piqued my curiosity as a fan of both extreme music and delicious beers. Indeed, as someone who has listened to hardcore for years (big surprise, I know), I've become extremely picky in regards to all things punk-ish, yet there is something refreshingly intoxicating about these three songs. It's currently 3:30 in the afternoon, I'm drinking a beer already, and I'm grooving hard to this album. You should do the same.

Here's the deal: Heavy Breath are one of those bands that can't be easily pigeonholed. I hear bits and pieces of many bands I love,with everything from the experimental leanings of Refused to the urgency and climactic builds of pageninetynine to the addictive vocals that remind me of newer heavyweights Ladder Devils. This is just such a good fun time that I can't really give it a name. Heavy Breath seem just as content locking into the deconstructed groove about three minutes into closing track "I'm a Motherfucking Weak Man" as they are throwing out complex, primal punk assaults. There's also a massive degree of classic rock and roll swagger that makes me think back to the days of truly dangerous rock, when bands like The Stooges were giving parents nightmares.While there are only three tracks presented here, they slam pretty hard and each has enough memorable sections to make them familiar by the second listen. I've enjoyed this album easily half a dozen times in the past week, since it's brief length makes it the sort of album I play twice at a time. It doesn't feel stale or derivative; it feels like a bunch of guys getting together and making music that they really enjoy and love.

While some of my more extreme readers may not find much here, fans of rock, hardcore, punk, and pretty much anything Alternative Tentacles-y will really dig this. This album is available for download at the price you see fit, so the biggest risk you have to take is a small amount of space on your hard-drive. Rumor has it Battle Stag Records will be releasing this on vinyl at a currently unannounced point in the future, so keep your eyes open. I recommend listening on high volume with a hoppy or bitter beer. Dig it.

Ramlord- "Crippled Minds, Sundered Wisdom" LP (Hypaethral Records)

Some of you may remember Ramlord as that band I once used the word "crushing" to describe too many times. Some of you may also remember that I think "crushing" is an awesome thing that doesn't happen enough in the reviews I write. Specializing in lo-fi black metal often leaves me with a lack of solid headbanging, skull-crushing tunes. Luckily Ramlord exist so that I may write about their boozy, chaotic blackened crust madness and get my daily recommended dose of crushing. To say that this new album is a positive expansion on the material presented on their split with Cara Neir is an understatement, and I'm pretty stoked on it.

I often feel the need to write from the perspective of an educated, intelligent, well-spoken individual, but with music this raw, I feel that flowery speech would detract from just how ferocious this is. Listening to this takes me back to the days when I hung out at basement shows and drank as much cheap beer and whiskey as I could before burrito cravings set in. The difference here is that Ramlord don't seem intent on creating fun for their listeners so much as they are hellbent on imparting bleak fury. I'm nodding my head along while I listen to the album, but I'm also kinda stuck on the fact that I'm going to die one day. All the lyrics seem to lead me back to the impermanence of mortality and the futility of believing in something beyond this world. It makes me just want to dig into the music all the more, clinging to every hideous moment because this music itself is bursting with life, almost in defiance of death. The frantic pace of the music, the harshness and humanity of the vocals, the energy creates a sort of pessimistic beauty. Another thing that really works for this is Ramlord's complete lack of commitment to any one niche within the greater genres of crust, metal, or whatever else you'd call their music. Thirty-second facemelters like "Enslaved" exist in some sort of twisted harmony with the eight-minute closing nightmare of "Extinction of Clairvoyance (Part Two)," which is a continuation of the aforementioned split with Cara Neir. This whole album gives me way too much to digest, but I can say with complete sincerity that I'm okay with a bit of sonic uneasiness. I've always been into discomfort and struggle in music, so the massive quantity of chaotic and cathartic experience here gives me something hearty to sink my teeth into.

So this slab of viciousness has already been available for digital download for about a month, but I'm a total slacker. The benefit of me not posting this until now is that if you're super cool and preorder the record (for a measly fifteen bucks), you've only got to wait about a month for it to ship out. So what are you waiting for? You could have this album for free, or you can be one of only 100 awesome individuals to own this depressing mess on vinyl. I'm part of the second group; will you join me?

Sloth Herder- "Abandon Pop Sensibility" (Self-Released)

Sloth Herder are a blackened grind outfit from Maryland and Pennsylvania, whose name is as amusing as their music is heavy. You may notice I don't post much grind or many variations on it. I'm not sure why that is, but these days I'm just not finding too many fast-paced bands that really impress me. That said, Sloth Herder have my full attention with this ferocious release.

This album is aggressive in a wild way. Most bands with an introductory track will use it to lure the listener into a false sense of safety or just to build up. Sloth Herder's intro track bludgeons with style, just as much as any of the other tracks on this meaty album.  It's slightly slower, but equally heavy to the rest of the album in its own way. As soon as the first "proper" track kicks in, the album sets a breakneck pace with plenty of solid sections for the required amount of headbanging on an album like this. I'm also really glad to actually hear the bassist in the mix, as that's a piece of the puzzle that often gets blended into the rest of the music in a lot of metal albums. I can distinguish each instrument, and I can feel the tension, as if Sloth Herder are collectively holding each other back from jumping into the audience and attacking. It's nice to see bands building intensity without just letting loose one hundred percent of the time, and Sloth Herder seem to have a stellar balance. The music's always fast and heavy, but there's just enough restraint to keep it interesting. Excess for excess's sake does no good for anybody, and it's apparent that Sloth Herder got the memo. The balance of sounds on this album works perfectly and even satisfies my ears, despite my general apathy towards grind and similar genres. Good work gents.

I'm not currently aware of a link for physical purchase, but you can pay the amount you see fit on their bandcamp page. Download this rager today and impress all your friends.

Then and Now: An Interview with a death cinematic

This post was originally intended to be part of my summary of the year 2012, but the more I think about it, the less that would have made sense to me. It's oddly appropriate that my first interview here is with prolific drone artist a death cinematic, as this project has been important to me ever since I began delving into the deeper reaches of the music community. Forgive me if this post gets a bit personal, but the context is quite important for me.

In 2007, I was just learning about extreme music and had started a musical project with a trusted friend. He recorded all the music and I screamed at the top of my lungs about nature and depression. I remember the music fondly, but the contacts my bandmate made on our collective behalf are particularly memorable. One of the earliest musicians he discovered and contacted was a death cinematic, which was a brand new project at the time. One day I showed up to record a song and my friend handed me a copy of Epochs Shifting Out of Time. The album quickly became mandatory listening and was in heavy rotation for much of 2007 and 2008. I was going through a period of anxiety, self-discovery, and overall turmoil. The bleak yet soothing soundscapes provided me with a sense of familiarity and comfort.

Fast forward to late 2012. Shortly after I established Black Metal and Brews, I found myself in touch with the artist behind a death cinematic for the first time. While I still had the album in my possession, I'd been heavily removed from current output from most artists, and was surprised that the project had grown into something larger and more proficient. As I hadn't heard any of the albums recorded since Epochs Shifting Out of Time, we decided it would be ideal for me to review a death cinematic's latest offering, The New World and compare it alongside Epochs, which I'll pair with an interview with the artist himself. Thanks for reading this rambling introduction, and I hope you enjoy this massive post as much as I've enjoyed creating it.

In addition to having the opportunity to interview a death cinematic/simple box construction today, I’m going to review both a death cinematic’s earliest offering and most recent. Released in 2007, Epochs Shifting Out of Time (which is available for free download), is a hazy, distorted journey through a world that is undergoing the violent yet beautiful process of coming into existence. The song titles touch upon everything from the shifting of tectonic plates to certain species’ experiences as the planet grows and changes. In many ways, the music’s subtle sense of turbulence lends itself perfectly to the turmoil of a world in its infancy. This is all too fitting for an early release from a project whose latest release is an album appropriately titled The New World. While the initial release from a death cinematic is certainly not a work I’d describe as amateur, it’s interesting to see how the art and musical direction has evolved while remaining entirely recognizable as the same artistic mind.

Almost as a direct continuation of Epochs, The New World starts with crackling and frantic guitar that fades in and out of the listener’s awareness, resembling some sort of transmission being broadcast into space. While there’s still a degree of droning ambiance here, the guitars are strummed and create distinctive notes rather than textures and moods. It’s somewhat akin to Earth’s more recent output, with a shimmering beauty that cuts through the overall darkness of the music’s direction. Accompanying The New World is a collection of photographs in a small bound book entitled "A Prelude to The New World." As the title suggests, the photographs contained within detail a bleak, hazy landscape. It's no stretch to say that the marriage of sound and vision here is a documentation of a death cinematic reaching the artistic ambitions made apparent on his earliest of works. While the title and photograph accompanying the first CD from a death cinematic are certainly in the same vein, it's fantastic to see a fully fleshed version of this unique vision.

I had the opportunity to interview a death cinematic himself both about these two albums and his overall artistic process. The interview follows for your information and enjoyment:

Black Metal And Brews: 
a death cinematic has always created very visual music, beginning with the evocative song titles on the very first release, and now including the extensive photography collection included with The New World. How did the hybridization of the two come to mind for you?

A Death Cinematic: 
I guess there was never a question of separation. The two were always entwined for me, so it really became a question of bringing them together in a meaningful and aesthetic way as the projects grew. The visual aspect has always been very important to me and simple box and a death cinematic is an ongoing work in progress. I now consider any artwork, whether it is writing, photography, music, or drawing to be a part and a continuation of this.

BMAB: 
Is there a unifying theme to your albums as a death cinematic? Is there a message you’re hoping to convey with a death cinematic’s artistic output?

ADC: 
I think there is a unifying theme. To me it is a journey and each release is the next logical step along that journey. It all goes together. I am not as concerned with conveying a specific message with a death cinematic as I am in building a context for a listener to construct their own message. The work I do has specific meanings for me but I am not concerned that a listener or viewer know what those are for me. I want it to mean something to them on their own personal terms. If I was to say that this album is specifically about x, y, and z and nothing else, it constricts and pigeon holes the work, limiting the experience for the listener. At this time I want to make fertile ground for a willing participant to grow their own meaning.

BMAB: 
How has your personal growth as a person and musician changed a death cinematic’s direction? Has it changed the direction?

ADC: 
I am not so sure the direction is changed but I think my personal growth has furthered and moved a death cinematic farther. I work on becoming a better musician/ noise maker and artist and with that this project grows and gets better. At times it feels like there is no movement at all or that it is glacial at best. Those times are the worst, I imagine, for any artist. The times of misperceived stagnation. As I grow and progress with these projects, I get better at editing the work. I also get more efficient with my decisions as how to get to a theme and what materials to use.

BMAB: 
You collaborated with Matt Finney on your most recent release. How did that come about?

ADC: 
That was his idea and offering and it was a long time in the making. He suggested we do something back in 2010. He sent me a track of him reading the new world and I recorded the music and sound to it. It was meant to be a download only single but as I was working on that track the concept for the whole album crystallized for me. It just came in a flash and was so complete that I even had the basic concept for the packaging. I then asked him if I could make this album around our track. He was into it and very gracious and patient. It took me a long while to realize the release in its final 150 hand made copies.

BMAB: 
What inspired you to establish simple box construction rather than signing off your releases to some other label who can do all the physical production of the album for you? What drives you to craft and oversee every aspect of a death cinematic’s artistic image?

ADC: 
I have been a visual artist or interested in being one for as long as I can remember. simple box originally was going to be a small press for handbound books and limited edition print runs. When I started to get into making music, I looked into finding labels but as I was developing the concepts for the releases, it became clear to me that I should be doing this on my own. So simple box construction was revived and started to be this label of sorts. 

The drive to do everything for a death cinematic is that even though I want the audience to build their own meanings and experiences, I want them to do it in a specified context. That context [is something] I have to construct and be as meticulous as possible about building. It could also be the early signs of madness and OCD, to try to control every aspect and build every copy as if it was a singular piece of art. At times it sure feels that way. I enjoy making the work and it becomes a vehicle to express myself in various mediums at once. Plus, doing it this way I have to answer only to myself and the failure or success of any release is my responsibility.

However, there have been and will continue to be a death cinematic releases on other labels. A lot of the labels that I have worked with allowed me to design and fabricate the packaging for the the releases. On some of the splits, the other artist designed them and the label had them made. It all comes down to what everyone is comfortable with. I found that most of the time everyone is pretty accommodating and respectful of each other's concerns. The new full-length on cassette is being released on tycho magnetic anomalies. They're a great little cassette label who asked me to do a tape release for them. They were very accommodating to my aesthetic concerns and gave me control over the design and fabrication of the whole edition. This was great because I had specific ideas for the album and could work on cassette packaging which I have not done before. So it feels like this album is made on terms that are very agreeable to me. As I talk to other labels who are interested in my work I always ask them to allow me the control of over the design and fabrication of the edition. Even though I have some projects slated on other labels this year, for the most part I still plan on the majority of the albums to be self-released.

Free Music Friday: Mara- "The Ugliness Within" (Self-Released)

This week's Free Music Friday marks another first for this blog: a posthumous release. That's right, Mara may have called it quits, but has decided to put out one final album to round up some tracks that hadn't yet been put out for the world.  Most of these tracks are reworkings or new mixes of songs from Mara's older albums, but they do flow rather nicely in the format presented here.

While I was not familiar with Mara while it was an active project, I'm intrigued by the blend of sounds presented in this bleak collection of doom-laden black ambiance. While some of the dissonant soundscapes presented on this collection tread familiar territory for USBM of the past decade, the music doesn't feel tired or contrived. Instead, there's almost a hint of mid-period Godflesh fused in with the isolationist black metal sound Mara creates, which lends a small air of beauty, melody, and a stronger sense of rhythm than many groups of this nature. I know the combination might sound bizarre, but it creates a funereal beauty that pairs nicely with the bleak imagery Mara conveys with their titles and album art. Songs like "Industrial Ruins" especially carve a safe haven in the midst of the self-loathing and misery that the rest of this album crafts, and absolutely serve as milestones on this depressing journey.

If you're looking for some good, mid-paced music with a dense and bleak atmosphere, check this out. The band submitted it to me and I was glad to discover this, even if it is after their/his time as a functional unit. I look forward to finding more groups like this in the future, and possibly hearing whatever noise may come next from this tormented individual.

Free Music Friday: Abhean- "Recollections"

We're starting off 2013's Free Music Friday with a release from a younger label than I typically cover. I had the pleasure of obtaining a copy of Abhean's cassette from Cloister Recordings a month or two ago, but hadn't yet written a proper review due to holiday madness, school, and the like. Now that things are slightly mellower here, I'm able to properly convey the beauty and brilliance of this recording.

This album focuses heavily on nature and natural themes, both in song title and atmosphere. It's very rare that I get the feeling of actually being out in the woods from music, but this release does it quite successfully. "Dreams of Rain" especially captivates and draws me in, with its steady drumbeat setting the stage for the soothing and tranquil sounds of rainfall in a forest.While the whole album brings me serenity, there is an underlying darkness present throughout this recording. Just as being immersed by nature can be beautiful, there can be dangers that hide just outside of our vision. From start to finish, this is an actual journey more than just an attempt at conveying a feeling.  The closing track is a bonus recording from a live performance, and it's certainly the most intense and unsettling track here. Especially after the trance-like state the preceding tracks created for me, this song caught me off guard, but I enjoyed it thoroughly.

As always with Free Music Friday, there's a free download available from Abhean's bandcamp, however I must also recommend the cassette for purchase from Cloister Recordings. In addition to being a beautifully packaged cassette, this tape comes with an 11x17 poster. They're limited to 100 copies, so you should get on it quickly.

Free Music Friday: Nighttime in the Abyss- "Amongst the Dead"

This week's edition of the Free Music Friday feature touches upon an album that would've been an appropriate soundtrack to the overly hyped yet obviously unbelievable apocalypse we were supposed to experience today. Nighttime in the Abyss is a one-man project with the sole purpose of creating audio horror without simply turning all the switches up to eleven.

Rather than simply creating horrific walls of static or friendly drone dirges, Nighttime in the Abyss creates sonic templates designed to create anxiety and uncertainty with each shift in sound. This album in particular is a self-described "[o]dyssey into the world of the undead, as seen by the undead." While many poetic and evocative descriptions come to mind, this is a rather appropriate way of explaining the sounds contained in this album.  There's seldom an outright moment of overwhelming horror here, but there is a constant sense of dread and uneasiness. From the swirling voices and whispers of "After Life, Life is Pain," to the seemingly disintegrating guitar tones of "Spectral Imaginings," this album comes across as the soundtrack to one's fearful thoughts late at night, when all sources of comfort are as distant as the sunlight.

If you're into scaring yourself and imagining the horrible ambiance of the world's end, do yourself a favor and download this stellar release. Nighttime in the Abyss is gearing up to release another album in early 2013 on badGod music, so consider this free download an opportunity to prepare yourself for the next transmission from this promising artist.

Free Music Friday: Mion's Hill- "Festering Curses" Cassette

This week in Free Music Friday, we examine a throwback slab of classic black metal ferocity, courtesy of Norway's own Mion's Hill. When some people talk about "old school" black metal, it's more of a reference to the sounds of Transilvanian Hunger-era Darkthrone or the majesty of Emperor's In the Nightside Eclipse. While those albums and groups are absolutely part of my personal collection and have been long-standing favorites, the true origins of black metal are often forgotten by journalists and newer fans of the genre. Mion's Hill's debut demo brings us back to the days of Celtic Frost and Bathory, when thrash was king of the metal world and death and black metal were just beginning to separate from the greater masses of the heavy metal world.

In no way would I label this tape a thrash album, mind you, but the influence is quite apparent. Instead, this is some of the fastest, most vicious black metal I've heard in a while. The production isn't slick, but it isn't muddy either. This is the perfect documentation of a raw and aggressive band that's hellbent on tearing the listener to pieces. The vocals are howled with an evil intent somewhere between a yell and a scream and the music backing them is driving and punishing. Riffs vary from Sabbath-inspired doom to the blistering madness of some of the rawer second-wave black metal groups. If you've ever worn a vest covered in patches or spent time dissecting the musical roots that led to the current state of metal, this album is absolutely written for you. There are echoes of most classic forms of metal at various points in this demo. Rather than sounding like some of these sloppy retro-obsessive bands that just rip off the classics without carving their own style, Mion's Hill have created something unique and timeless here. It's rare that I hear a new band worshiping the old school groups that captures my attention, but they've done it. Each song is perfectly crafted for headbanging, drinking beer, and circle pits.

If you're into these descriptions, check out the Mion's Hill bandcamp for your free download. If you're dedicated to the music, buy a tape and help fund more madness from them. I also noticed they've finally got t-shirts available, so if you're really into it, grab a shirt and tape by sending them an email.

Free Music Friday: Satan's Basement/The Baptism Split Cassette

Today's review is an interesting one for me. I'll admit that even a month ago, I was unaware that either of these groups existed. Furthermore, baptisms and Satan are inherently at odds with each other, so I was a bit amused by the unintentional contrast of the names of the bands, which intrigued me. While these names might imply bedroom black metal wizardry of some sort, the music here is definitely cut from a different strain of the metal world. Satan's Basement spends a lot of time proclaiming love for Bolt Thrower and Cavity on facebook, and the influences show here, especially Cavity. The Baptism I've got a hard time pinpointing or naming, but we'll get to that as the review goes on. Regardless of genre, this is definitely a piece of music that belongs on a metal blog, and this is definitely a metal blog.

Starting things off is Satan's Basement, contributing five full tracks and four interludes to their portion of this split. Opening track "Debilitation Through Insolence" appropriately starts things off at a snail's pace with bellowed vocals and dense guitars.  I will admit that I have no idea what is happening with the programmed drums in the faster passages of this first track, but the riffs and the vocals are ominous enough to overcome my confusion, and I'm listening through computer speakers (since my tape hasn't arrived yet), so take that mild criticism with a grain of salt. While some tracks feature more traditional metal riffs, there is a generally thick feeling throughout this side of the split that showcases Satan's Basement's commitment to heavier sounds, displayed quite well on the punky "Jethro Racing Music." Cutting up the slabs of sludgy goodness are well-executed transitional tracks that help craft an atmosphere of anxiety and chaos that pairs well with the phenomenal artwork that accompanies this tape. I'll touch on the artwork more in a bit, but for now it's time to visit with The Baptism.

The Baptism follow up with five tracks of pure hatred. The shrieking feedback and relentless drumming paired with ominous and depraved vocals reminds me of some twisted hybrid of Today is the Day and mid-period Behemoth, back when they weren't sure if they were black or death metal. As both these projects are one-man bands, it's really fantastic to find two groups who sound so different yet clearly have so much in common. Their second track, "Exit," has me thoroughly impressed. It's a dense and confusing affair, but I can't help but nod my head along and tap my feet, which I imagine is the blogger's equivalent of "rocking out," as it were. The only thing I can say I'm let down by with The Baptism's side of the split is that I'd rather see another original piece instead of their cover of Ozzy Osbourne's "Mr. Crowley" that closes out this album. It's not poorly executed in any way, I'd just rather hear more tunes from this promising new group. Regardless, they manage to not butcher a well-known song, as many metal bands tend to do, so I still approve of their choice to cover this tune.

Finally, I must say that the artwork here is beyond remarkable. You may have noticed that I shared a different album cover for each artist. That's because these guys went out of their way to make sure that the split has the best damn art possible. Both artists run their own labels and each label has its own unique set of art. The mural pictured above is the masterpiece which both individual covers are cut from, and is displayed on the official facebook page for this split album, where you can also find the album available for the free download that you've been waiting for. If you feel like making the official commitment and getting this badass album art along with your music, you can purchase it from either Hildsvfar Records or Excess and Moral Decay Recordings. Since each label only has eleven copies of this split, I don't believe it's featured in either store. Just send them an email and you'll be able to receive a copy of this excellent split tape.

Free Music Friday: Florida Noise Ordinance Fest 2012 Sampler

This week's Free Music Friday is a tribute to an event I wanted to attend but will be missing due to car troubles. Featuring a lengthy list of artists both new and familiar to me, this compilation is much more than simply a noise-related release. Despite its name, there's a bit of everything noisy here, and not just of the noise genre. From the opening aural nightmare created by BMAB favorites Crowhurst to the strange cut and paste anti-club music of DJ Fucked UP to the swirling static textures of Nature Abhors Normality that closes out the release, this is a chaotic compilation to say the least.

Since I'm not going to list every single artist with a description, I'll give the simple explanation that almost every song here appeals to me in some way, yet very few of these artists sound like each other. If you aren't into one, you may be into another. While I've never been to Miami or Daytona, if this is an accurate depiction of their current musical climate, I can honestly say I'd love to head out that way for a show, as they've got an intense and productive little community.

If you're in Southeast Florida and find yourself wanting a truly cathartic (and ear-punishing) alternative to the Black Friday insanity that plagues our society, make your way out to this music festival and find your new favorite bands. Buy some merch, have a great time, and be sure to give Jay from Crowhurst and Mike from GRIT high-fives for me, since I can't be there to do it myself. If you're not already stoked on this compilation, just visit the bandcamp page and download it for whatever price you see fit. Throw them a couple bucks if you can or just enjoy a sampler of some excellent bands.

Free Music Friday: The Weir- "Everything Blaowder Than Everything Else"

Today's installment of Free Music Friday is another release I found from a friend. I know pretty much nothing about this band, and I'm not sure I need to know much. It's obvious to me that they've probably got a decent sense of humor, what with the absurd demo title and the picture of a duck for its cover.

The music is aggressive and chunky, but it doesn't strike me as dull or overdone. It's definitely in the sludgy hardcore category, yet doesn't get caught up in any of the typical trappings of the genre. Instead, The Weir maintains a pretty intense pace, trudging ever onward into some sort of catharsis through heaviness. The three tracks presented here chalk up to only a little over 16 minutes, providing a great introduction to a mysterious and bludgeoning new group. If my memory is correct, these guys have members of the mighty WAKE involved. If that isn't a little extra incentive, just visit their bandcamp and let the music speak for itself. I'm pretty interested in seeing where they go from here. This is a promising assault, and I look forward to more.

Free Music Friday: "Four Fanatic Years" mp3 compilation

Today's Free Music Friday comes courtesy of a blog that has helped me greatly in learning about subcategories of noise and extreme sound experimentation. The Static Fanatic shares noise of all varieties and has been a regular read of mine for the past few months. To celebrate four years of blogging and supporting the noise community, The Static Fanatic called upon a few of their friends to contribute tracks for a free noise compilation. Four artists contributed one track each, approximately four minutes in length, leaving us with a perfect glimpse into the many directions noise can travel.

Opening track, "le quartier des spectacles en ruines" by GRKZGL sounds like the inner workings of a great machine, designed to smash or otherwise destroy other machines. There are lots of winding noises and static layered upon each other, with just enough empty space in between to create a tension and sense of anticipation. It's the first I've heard from this artist, but it's definitely a promising introduction. chefkirk follows with "the roger h smith track," which is named after the man behind chefkirk. It's a hybrid of organic sounds and clipping high frequencies, that blend together to create what is apparently a representation of Roger H Smith. I like the shifts in tone presented here, although some of the denser and higher frequencies may be overwhelming to those who haven't yet delved into noise. I've heard a few tracks from chefkirk before, and I definitely recommend checking out more from him, as it's a compelling and unique collage of sounds. Justin Marc Lloyd's track. "touch, teach and hug each other," is much friendlier than the previous two, providing a soothing and chirping soundscape to contrast the harsher frequencies presented earlier in the compilation. I've never heard from him before, but this minimalist noise paired with light melodies in the background works really well for me. It may be the best introduction on this compilation for folks used to friendlier sounds. Closing out this brief but wonderful compilation is Carl Kruger's track, "glacial decay (edit)," which features some excellent background noise paired with the hum of dozens of separate tracks of glitchy electronics. I haven't yet developed the proper vocabulary for explaining noise, as I don't know how to create it myself, but this song is incredibly busy, yet it doesn't have the overwhelming intensity of the GRKZGL track. Instead, I feel as though this song is a glimpse into the future, perhaps when all life ceases to be and machines are left to fend for themselves. Another excellent tune and a perfect way to wrap up this compilation.

In case you missed the link above, click here for the download and be sure to pay The Static Fanatic a visit. You may just find your morbid curiosity gives way to actual enjoyment. Be sure to visit each of the artists' sites as well, as each of them seems to be quite prolific and may have your new favorite album just waiting at the click of a button. Thanks for reading and enjoy the static.

Free Music Friday: Wizard Smoke- "The Speed of Smoke"

It's time for another weekend, which means another new album for you to study and enjoy. Today's free album comes courtesy of Atlanta-based sludgelords Wizard Smoke. If the name seems a bit ridiculous to you, then you probably shouldn't read on. While their name conjures up images of Gandalf enjoying his pipeweeds, their music is sure to bash in your skull at a slow and steady pace.

Opening this massive album is the intimidating "Dead Wood," a mid-paced jam with distant shrieks cutting through the thick and heavy layers of guitars and drums. All the harsh vocals on this album sound as though they're being screamed from across a vast chasm, or perhaps from an evil wizard calling out from another dimension. I'm a sucker for that distant reverb-heavy sound, and Wizard Smoke seem to be on the same page. Despite their love for a good groove, these guys aren't afraid to get a bit spacey and psychedelic, which is an excellent addition. There are so many solid guitar leads throughout the album, adding layers of light and contrast to the bleak cosmic doom that makes up the majority of this band's songwriting. It's the little accents that really bring out the strengths of a band like Wizard Smoke. Solid repetition can be enjoyable, but the subtle variations that may go unnoticed keep a steady groove from becoming a monotonous task. I find myself nodding my head along through the entire 45 minutes of this mammoth of an album, which is pretty awesome. My personal favorite track on the album is the psychedelic dirge, "Weakling," which features heavily processed vocals that sound alien in origin over a solid, aggressive groove, which eventually boils over and dissolves into the haunting intro for the nearly eleven minute epic, "Growing." If you want to get down to some great sludge, find it here.

Each song on this album has a sold mix of old and new ideas. Some of the riffs feel like they were pulled from the same bluesy swamps from which Black Sabbath crafted their first album, and some moments here feel like they'd be more at home sharing a stage with the ferocity of a band like Thou. It's really wonderful to have a band cover the entire progression of a genre in one album like this. I feel like I've listened to five equally relevant blues, metal, and rock albums in the time it took me to listen to this one piece of metal fury. If you're into any sort of slow and heavy music, you should give this album a listen. After all, the band themselves have it up for free download on their website. If you're like me and think you may want a physical copy of this beast after your repeated visits with this smoky stompy album, the band appear to have some copies of the cassette left in their online store for only five bucks. Doom on, and I'll see you next Friday for another freebie.

Free Music Friday: Powerviolence USA compilation

This one's been waiting to be posted for a good little while. Physical copies of this tape are no longer available, however you can purchase it for the price you see fit on the bandcamp page. First off, this thrasher has eighteen bands in less than half an hour. How can you ignore the opportunity to find a few new favorite bands in such a short period of time? I know I discovered a few new favorites of my own from this little gem.  With a name like USA Powerviolence, these are obviously short, aggressive songs, but there's more variety within this genre than an outsider may imagine. From slow and chunky with hoarse yells to blastbeats and high pitched shrieks, this collection does a good job of showcasing the diverse and intense community of underground American powerviolence, grind, and hardcore bands.

While every single band on this cassette is ferocious and ready to tear the listener's head off, there were a few that definitely stood out for me. The violent 39 seconds of noise from Necklacing are worth serious mention. It's some of the most chaotic and memorable grind I've heard in quite a while. Everything about this song sounds absolutely desperate in the best way possible. Also, the group immediately after, Gorilla Pussy, were shockingly good. I was expecting to be disappointed by a band with such a name, but this is a perfect example of grind and punk done right. They keep things fresh by changing the pace and atmosphere frequently rather than locking into one groove and sticking with it. I also have to give a nod to a pre-existing favorite (and the reason I bought this cassette initially), False Light for being as impressive as always. If you aren't already familiar with them, get on it now. Finally, I couldn't help but make mention of PxBxS. These guys are a name I'd never even heard before but their contribution to this compilation blew me away. It opens with a chilling sample that gives way to some of the most peculiar and wonderful hardcore I've heard in quite a while. Rather than simply going for the throat with speed, the two tracks from PxBxS had me on my toes and paying full attention. I'm keeping an eye out for future releases from these guys without a doubt.

As always, give it a listen and do your part to support the artists that you feel deserve it. I've got a couple new packages here at home so expect more reviews of excellent new music soon.

Free Music Friday: Crowhurst's "No Life to Live"

This is the first installment of a new "series" I plan on running each week. I'm not sure if future occurrences will feature full-length reviews or if they'll be a collection of some of my weekly bandcamp discoveries/legally shared files. We'll see, depending on how creative I am. This week I am sharing an album that can be obtained for free or purchased either on cassette or a 4xLP set. This album, "No Life to Live," is currently available for the price of your choosing on Crowhurst's bandcamp page, and is worth the two hours of your life it will consume.

First, I must say that this is not a metal release in any sense of the word. This is a display of extreme sound manipulation, an experiment in atmosphere. Opening track "I Saw the Sky" gradually leads the listener on a descent into darkness and anxiety. Following the name, I can't help but envision the sky being obscured by black clouds as the world slowly crumbles beneath. About three minutes in, the rumbling wall of terror gives way to haunting bells, an eerie aftermath to the song's prior chaos. Rather than being a repetition of the aural nightmare presented before it, "Pleading for the White Light" showcases a blurry sort of beauty and melody, reminding me of foggy mornings on the rocky Pacific coastline. Although the song builds to a dissonant hum, it's still an experience I find soothing.

The dichotomy of sounds instantly presented challenges and excites me as a listener. It's enjoyable to have an album take on many faces rather than present eight to twelve tracks of sameness. If I'm kept on my toes, it's more likely that each song will leave an impression, and that's exactly how this album works. According to commentary from Crowhurst's main figure, Jay Gambit, this record is meant to be an epic collage of songs, in the vein of masterpieces such as Swans' "Soundtracks for the Blind" or Today is the Day's "Sadness Will Prevail." While it's quite different from both of those albums in style, this album feels like it comes from a similar sort of place. All three albums have intense, introspective, and painful moments. All three albums are more patchwork than seamless pieces meant to flow together. In this regard, Crowhurst has certainly put together a beast worthy of its influences.

While the album is generally a collection of noise and drone works, there is enough variety to keep me entertained and interested. Some of the strongest points on this album are the longer songs, where Crowhurst is really able to let an atmosphere stretch out and consume the listener. Songs like "How to Burn a Book" and the title track may be intimidating in length at the first glance, but have proven to be some of my favorite moments on this album. Other highlights are the glitchy fuzz of "Coma Vision," the abrasive and unexpected ritualistic jam of "Run For Your Life," and the brief yet stunning crackling radiance of "The Sun is Like a Bacteria." While I'd normally try to link one or two songs that represent this release as a whole, it just isn't possible. Each song is equally song on its own or as a part of the complete album experience.

If you're interested in purchasing this/contributing to its release, please visit the ordering page to select either the 4xLP or cassette package and help this amazing album see the light of day. Also, it was recently announced that all orders of this album will come with a copy of Crowhurst's split tape with Rosy Palms for no extra cost, so that's just one more great reason to consider purchasing this after giving it a listen or two.