Cara Neir- "Portals to a Better, Dead World" LP (Broken Limbs Recordings/Halo of Flies)

It's with great joy that I get to write this review. I started drafting this review in May and have been waiting to unveil it for you guys to enjoy. Cara Neir have long been favorites here at Black Metal & Brews, so having the opportunity to share this album with my readers after a bit of a wait is pretty exciting. In every way possible, this album is an expansion of their previous works. The most notable changes are more growth than an alteration of formula. This material feels bigger and more punishing than anything I've heard from Cara Neir before, with average song lengths continuing to increase and some of the heaviest riffs and vocals they've unleashed to date, but all of these descriptors are essentially meaningless to the uninitiated, so let's get a bit more serious here.

The first thing that needs to be touched on here is Cara Neir's genre, or perhaps the lack thereof. Citing bands as dissimilar as Ulver, Neurosis, and Ceremony is typically a surefire way to have a cluttered nightmare of an album on your hands. Instead, Cara Neir have always been able to send their songs out to the universe with a relentlessly focused vision. Listening to a Cara Neir song is like a musical game of Twister, with one hand on grindcore, another on black metal, and another somehow on the better elements of post-rock, all without lowering itself to terms like "blackgaze" or anything with the phrase "post-" in it. Knowing Cara Neir is a shapeshifting beast doesn't really help a listener know what to expect, but it does allow one to enter with an open mind. Multi-instrumentalist mastermind Garry Brents might be the single musician most frequently featured here on BM&B due to his role in mastering albums by so many other bands I love, so it's really no surprise that the production on this album lends a crushing intensity and edge to the music. The guitars dash around vocalist Chris Francis' straight-up demonic shouts, which have only grown hoarser and more painfully human with each release. To say that this album is a head first assault would be wrong though, as the band masterfully alter pace, shift gears, and pretty much manipulate sound and feeling in any way necessary to craft the most painstaking and tragic sounding songs possible. Longing, loss, and the urgency of our finite lives all come to mind, although I have not yet seen lyrics for these songs. Still, there's a pained beauty to everything here and the song names only add to the atmosphere. There are surprises aplenty throughout the album, but I'd rather encourage you to check it out for yourself than ruin the fun. With a year full of black metal inspired hybrids already featured on this blog, Cara Neir has just released an album that keeps them clearly at the head of the pack.

The album is available in two separate bundled packages from Broken Limbs Recordings (either with a shirt, or Cara Neir's split cassette with crusty madmen Ramlord) or simply by itself from either BLR or Halo of Flies. One hundred copies will be pressed on smoky green vinyl and four hundred will be pressed on traditional black vinyl. Pre-orders are already selling quickly and this album will ship out on October 31st. Order yours now, because I don't think these will last long enough to purchase after the shipping date. Listen to the preview below and then hop on this one.

New from Glorious North Productions: Nordland & Vesterian CDs

Glorious North Productions is a UK-based label dedicated to releasing black metal from a select few artists, hand-picked for their commitment to high quality output. While a new label to me, their two newest releases have done their part to impress me and convince me that this label knows what it's doing. Visit Glorious North's website to snag each of these CDs after reading my review.

Vesterian- "Anthems for the Coming War Age"
Vesterian's galloping war-themed assault comes in with much more beauty than I would have expected from an album with such a title. While vocals are croaked out in the grimmest of fashions, the music is well balanced, with rapid-fire guitar leads balancing out the more aggressive black metal passages, making for a more melodic and listenable release than one might expect. On songs like the impressive and daunting "Unknown Spells Cast from Nibiru's Watch Towers" Vesterian delivers everything that made me curious about black metal in the first place: fantasy themed song titles with meandering song structures that are full of melody and intrigue but also defiantly keep a step or two ahead of the listener's expectations. While this release doesn't quite strike me as evil or vicious, the imagery and album title are perfect accompaniments to this maniacal music. If this is what war sounds like, I'm not quite ready to give up my own peaceful ways, but I'm intrigued and impressed by the great art it inspires.

Nordland- "The True Cult of the Earth"
While Vesterian seems intent on focusing on the subject and feeling of the battlefield, Nordland's similarly confrontational black metal focuses on reclaiming the earth for those who truly work with it in the traditional heathen fashion. The music plays a bit more with paces, working just as well at a crawl as at punky faster speeds. While albums with themes of reclamation of the land and regional identity tend to make me a bit anxious about tentative judgment of "outsiders" from a racial or social perspective, Nordland seems more focused on raising up those who would truly tend to the timeless lands they love so well, visiting mythical themes that evoke majestic imagery. If the Bathory influence isn't implied in the name of this project, it certainly is present in the music in the best way possible. I feel I could march along under Nordland's guidance for ages. This is truly uplifting and gorgeous music that makes me wish more folks working in the pagan/heathen-centric genres of black metal would hit the formula this well.

Late Summer/Fall releases from Gilead Media

Well folks, it should come as no surprise that with a massive batch of new releases from Gilead Media making their way to light, it's time for me to review them and share them with you. Aside from being one of the few labels I regularly feature with bands who are "well known," they're also one of the most consistently daring labels I've encountered, taking chances on unconventional artists only to watch them excel time after time. With this in mind, it's little surprise that these new releases are both daring and enriching for me as a listener.

For the sake of organization, I'll share them in order of catalog number. Relic 46 is Hexer's debut LP, and while this is a fresh face to me, I instantly see why this band belongs alongside such heavyweights as Thou, False, and Ash Borer. While the band's logo and album cover initially had me guessing this might be a thrash release, I'm delighted that things instantly open up with some of the most fuzz-drenched, riffy black metal (albeit with some thrash influence thrown in for good measure) I've heard in a while. While I love an intricate journey, sometimes a headbanging good time is all that's needed, and Hexer delivers in full force. That's not to say that this is a simplistic mosh-fest though, as the pace and structure changes on a dime, with the band hurtling ahead at full-speed into new territory at every chance. Even when the band slows things down to a marching pace, I can practically envision buildings crumbling and explosions surrounding the band as they methodically churn out their apocalyptic black madness. While many bands these days seem intent on hiding behind distortion and density of sound, Hexer has adopted the aesthetic subtly, using it as a jagged accent to their music instead of a mask to compensate for lack of musicianship like so many other groups have been known to do. If you're into facemelting grimness, this one will be up for sale soon enough, so keep an eye on Gilead's webstore.

Next up is Relic 50, the second release from Colin Marston's project Indricothere, which is appropriately titled "II." In all honesty, I have not enjoyed everything Marston related, so with slight anxiety but as much of an open mind as I can have, I approached this album. From the opening drum assault, I was surprised. While the music is as technically sound as one would expect from a member of projects like Krallice, Behold...The Arctopus, and Gorguts, this is more listenable than I had anticipated. Alternating between valiant, aggressive, and majestic, Indricothere practically pummels the beauty out of potentially hideous structures with it's machine-gun drumming and relentless guitars chiseling away at the listener. Once the assault has created enough open space, the guitars are free to explore the space, taking the listener on a journey that seems to weave in and out of some unknown dimension. Indeed, on songs like "VII" or the drifting ambiance of "XI," I find myself actually feeling relaxed amid the sheer expansive nature of sound. It's hard to explain, but for some reason this release is so fast, so chaotic, that the only response it leaves me with is to simply relax and let it take me along whatever route it sees fit. If you're looking for some solid instrumental wizardry and have an interdimensional journey in mind, you should preorder a copy of "II" and get ready to travel into the deepest recesses of your own brain.

While the order of these items was dictated by catalog number, it's only fitting that this post closes out with the "biggest" feeling release of the three, the new album from Northless, "World Keeps Sinking," which is a split release between Gilead Media and Halo of Flies. While I tend not to like hardcore and sludge hybrids, I can tell that Northless are on top of their game for the genre. Riffs swell up in an absolutely crushing fashion, which I love, but at times the song structures are a bit uninteresting to me. That's not to say that this is in any way a dull or "bad" release, but sometimes things feel a bit cleaner than my tastes generally lean. I'm also a bit less than sold on the vocalist's style, but again, I realize this is a matter of taste rather than quality. Where this album does excel is in its instrumental passages and its capacity to shape the songs in unpredictable directions at times. I'm always into a good surprise, and this album does deliver enough of those to keep me interested. Fans of slightly more chaotic hardcore or more polished sludge releases will definitely gravitate towards this, and this album is a clear indicator as to Northless' current popularity. Perhaps with a few more listens, even this curmudgeon will be won over.

The new LPs from Indricothere and Northless are available at a discounted price when purchased together, and Hexer's LP will be available for purchase when Gilead has copies on hand. Pairing these new releases with some excellent new distro updates (including Blut Aus Nord LPs that I'm swooning over) means we're all about to be a few dollars lighter in the pocket. Get these soon, as I anticipate each of them will be successful enough to sell out rather quickly.

Teratism- "La Bas" 12" MLP (Negativity Records)

(image from Nuclear War Now! Productions)

Today's review takes us to a band that made an early impression on me when I first began seriously delving into the USBM community. A friend lent me a compilation CD entitled Destroyers From The Western Skies, which included greats such as Xasthur, Krieg, and Cobalt, as well as a track from Teratism, which certainly caught my attention as one of the album's standouts. Here I sit, years later, spinning their newest release, La Bas, feeling just as impressed and thrilled as I did when I first heard them. The occult attack is as strong as ever, and these four tracks are some of the most aggressive new black metal I've heard.

The album opens thick and ugly with "Gospel of the Heliophobe" with distorted choirs giving way to bestial madness of the most intense variety. For those who feel I often feature bands that aren't raw or evil enough, here you go. This is probably one of the filthiest black metal albums of the year, yet it doesn't sacrifice the dark majesty of the genre. Vocals are blown out and churning in all the right ways, and the guitars keep it bleak and ferocious without succumbing to simplified or dull riffs. This album's assault rarely relents, and it only seems to do so to add to the horror of the atmosphere. Many bands surround themselves with occult imagery or namedrop Satan any chance they can get, but few are actually convincing. Teratism are vicious and merciless in both music and lyrics, which is refreshing in a genre so full of showboating with minimal effort to back it up. This album closes up with a ritualistic and melancholy cover of "Come to the Sabbat" by Black Widow, a group who are new to me but are clearly worth my attention, as Teratism has dedicated this album to them. Due to its short length and consistent quality, this album certainly begs for repeated spins and has already worked its way into regular rotation in my home.

The album is currently available from Negativity Records's webstore, and comes loaded with extras to top off this demonic masterpiece. The record comes on black and white "splatter" vinyl and is accompanied by a 12-page booklet with lyrics and illustrations as well as a poster with some of the most awesome art I've seen in a while, courtesy of the legendary Mark Riddick. This is well worth the price of admission, and collectors should take note.  As I said, if you feel things have been a bit soft on here lately, don't pass on this one.

Paramnesia- "Ce Que Dit La Bouche D'Ombre" CD-r (Self-Released)

Here's another post about a band that caught me off guard. I make a lot of these, because apparently most of the bands that are really shaking things up are interested in contacting me but aren't being discussed by my friends. So, meet Paramnesia, an engaging and incredible French black metal group. I received an email from a member of the band politely requesting that I listen to his music, and I'm thrilled I paid attention.

While there's a slight language barrier in our communications, I believe this album was written and recorded in a three day period. These two tracks are each fully formed journeys through territory that bring to mind tracks from equally crushing groups like Deathspell Omega or The Great Old Ones, both of whom also happen to be from France. It's definitely safe to say that French (and French Canadian) bands have frequently been among my favorites, so I'm pleased to see that Paramnesia are carrying the torch. While elements of shoegaze and doom weigh heavily in this music, atmospheric black metal is the primary focus here, and Paramnesia seldom stray into territory that would disappoint purists. Guitars weave textures and melodies more than riffs, while the drums and vocals accent the overall bleakness of the music without any one musician forcing the others out of the spotlight. The coordination here is really something to notice, especially if this album was churned out in such a rapid fashion.

Copies of this brilliant release are available from Paramnesia's bandcamp page, and feature stellar artwork from Business For Satan. Grab this while you can and prepare for the next offering, which the band has indicated will draw influences from groups like Paysage d'Hiver and Leviathan.

Dunnock- "A Forest of Shattered Promise" CS (Acephale Winter Productions)

A couple months ago I received an email from a new record label named Acephale Winter Productions. I've started receiving more emails from labels and bands and have been a lot pickier than I used to be, but these guys instantly had my attention when I learned they were from my beloved bay area of California. I was especially pleased when I realized that their first release, a tape from new black metal artist Dunnock, was actually quite good. As I often do when a band strikes my fancy, I ordered a physical copy so that I could really get the full experience, and it's quite pleasing to say the least.

The album opens with the sound of pouring rain. It's appropriate transitional music for entering such a reflective and isolated space. The light piano and shimmering sounds that lead into the album are slightly misleading, but provide a helpful moment of comfort as the second track approaches with a cold, remorseless assault. There is a huge sense of detachment here, as cleaner backing passages complement the denser and more blackened foreground in what feels like a struggle of duality. Many bands attempt to switch between harsh and beautiful sections, yet few successfully combine the two into a properly integrated sound. I really appreciate the rawness and filthiness of the guitar and vocals as it blends with lighter ambient tones. The clear textural nods to the denser side of shoegaze are apparent, but the music never falls into the stagnant sea of "blackgaze" territory. Eerie samples fill the few quiet moments with an even greater sense of dread, leading the music's thickness to become some sort of furious buzzing barrier that protects the listener from the real dangers that await in the silence, as documented in the chilling "She Was Cold." Overall, this album fits into one of my favorite little pockets of black metal, where the music is equally soothing and unsettling at the same time. Depending on my personal state of mind when listening to this, I find the experience can change vastly, which is an enjoyable characteristic for me. While I singled out one particular song as a recommendation, this album is best listened to as one complete journey for the full experience.

This album can be purchased through the Acephale Winter bandcamp page, which is where I found the lovely images I've used for this review. I do own a copy, but their photography trumps mine easily. If you're not sure you're ready for a full-on purchase just yet, feel free to download it and mull it over for a while. I promise this one will grow on you once you give it proper focus and attention. Additionally, the label plans on releasing a cassette from Tolkien-inspired dark ambient project Ringbearer within the next week, so keep an eye out as things continue to develop.

Lustre- "Night Spirit" LP (Fallen Empire/Eisenwald)

Fans of atmospheric and ambient black metal probably don't need any introduction to this band or album, but since not all of my readers fall into that category, welcome to a review of Lustre's landmark album, "Night Spirit," which is finally seeing release on vinyl thanks to Fallen Empire and Eisenwald. For the uninitiated, Lustre is a one-man atmospheric black metal project from Sweden. His songs transcend the dreary and often forgettable meandering that tends to typify the ambient reaches of black metal by reaching levels of beauty and serenity not often provided by the genre as a whole.

"Night Spirit" is composed of two tracks that are unified, not quite as one seamless song, but in sound and direction they lead the listener on an unmistakable journey. In many ways, this song is hard to describe with words. Every time I listen to this album (which is usually multiple times a week) I feel like I go on a sort of journey into myself. The density of the guitars and keys paired with the stripped percussion and sparse vocals drives me into a very calm and familiar place. This album feels, more than anything else, safe and timeless. There are a couple percussive key lines that I'm sure some people might poke at as a bit cheesy, but I truly feel it's as effective as any melodic lead I've heard on any other instrument. Each of these tracks crosses the twenty-minute mark and each is equally hypnotic in its effect. The album flows from a low to a peak and back down again. This triangular journey works very nicely, as things get coldest and most intense towards the end of the first song but work their way into an incredibly secure and warm sensation by the end of the second. Much like the album's name, it's something of a musical quest from nightfall to dawn, and it's just as beautiful as watching the shifting of the skies. I really can't recommend this album highly enough; it's easily one of my favorite records of 2013 so far.

Snag a copy of this while you're still able. I'm still surprised this didn't sell out immediately upon its release, so you should feel fortunate if you haven't already grabbed it. Obtain this beauty and find your own source of inner calm at maximum volume.

Inter Arma- "Destroyer" CD (Gilead Media)

Inter Arma have been one of those bands that existed on my periphery for a year or two without actually making their way to my ears. Call it bad luck or perhaps just having too many great options at my disposal to ever really catch up on every band I'd like to hear, but I just never got around to listening to Inter Arma until just recently. I'm instantly regretting having overlooked these guys last year, because it looks like they'll be making their way into my regular vocabulary with this release.

It's really hard to give a name to the kind of metal Inter Arma plays aside from just victorious and sprawling. The vocalist alternates between being a phlegmy Lindberg-like maniac with a perfect rasp and a bellow that sounds like some ancient warrior calling across a battlefield. "Destroyer" seems to work as both title and description of their musical approach, with the aggressive moments seeming victorious and valiant while psychedelic and spiraling guitars seem to slowly bore into one's skull during mellower moments. The instruments play in and through each other in ways that call to mind some of Mastodon's earlier and more intense albums and there is a constant sense of forward movement as Inter Arma slays everything that gets in its way. I'm not often into music that's this streamlined and well-polished for some reason, but there's such sincerity to this music that I can absolutely get behind this. At times I can't stop nodding my head, even though the opening track is nearly ten minutes long. This is one of the few bands I've featured here that could give some heavyweights a run for their money. This isn't just something that should appeal to the underground--the headlining acts of the metal world should be eyeballing these guys as potential tour mates. Inter Arma has the appeal and the talent, it's just time for somebody to take notice.

With a recent signing to Relapse Records, it seems that this band is on their way to bigger things, so it's only logical to revisit some of this band's earlier works before they become huge. Aside from getting bragging rights for knowing them first, you'll also be treated to an incredible EP that's well worth the cost. Grab it from Gilead Media and hope that you're still in the first 500 orders so that you can get a sweet patch and button.

Amiensus- "Restoration" (Self-Released)

Today we're going to examine the first full-length album from Minnesotan symphonic black metal group Amiensus. "Restoration" is currently only available as a digital download, but it's already got my attention in a serious way. If you're into well-produced, intricate black metal with equal parts majesty and malice, you're reading the right review. Somehow this group of musicians, many of whom are full-time students, managed to wrangle in Ken Sorceron from Abigail Williams to mix and master this beast. I'm guessing it's because he noticed just how great these guys are at writing compelling and melodic tunes.

Like the recently reviewed Autolatry, I feel there's a unique sense of technicality and precision to Amiensus's brand of music. Rather than simply falling into one set of sounds, there are elements from many styles within the greater "extreme metal" umbrella that are so well integrated that the song have an organic yet impossible to describe feeling. I could list bullet points of many reputable artists whom I'm sure Amiensus listens to and enjoys, but it still wouldn't quite do the final product justice. Many of the songs' choruses tend to be mid-paced with layered clean vocals and complementary guitar and keyboard lines following beneath, but that's about the only constant here. While the keys pretty much stay in the "symphonic black metal" territory, it works well enough to prevent me from criticizing it in any way. The songs range from contemplative to balls-out aggressive, which is good. I find that albums like this can tend to buckle under their own weight, yet I don't find myself feeling impatient halfway through. Instead, the band place little surprises throughout that keep me rather content, like the pensive and dark "I Am." Also, it's a small thing, but I'm giving these guys big points for enunciation. I can understand almost every lyric here, and that's pretty awesome. While I don't feel this album has reinvented metal (nor do I really expect any band to do that anyway), I can definitely say it's got enough variety and character to convince me that Amiensus is worth watching.

"Restoration" can be found on Amiensus' bandcamp page for a measly five bucks. They're also currently recording a full-length as well as a split EP with the highly talented Oak Pantheon, which should be monstrous if this album is any indication. Keep an eye on these guys, I expect them to get some serious attention in the near future.

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.

Echtra- "Sky Burial" CD & Total Negation- "Zur späten Stunde | Zeiträume" CD (Temple of Torturous)

By this point, many of my readers may have noticed that I love finding new things. They may not be things that are new to others, but I enjoy a new experience here and there. When Swedish label Temple of Torturous emailed me two separate new releases of theirs, from two groups I'd never even heard of before, I was quite intrigued. While some may view unknown or unfamiliar bands and sounds as an issue, I took this as an invitation to find something new and exciting. I'm happy to state that I was quite right, as both of these unique albums have impressed me thoroughly in their own ways.

Echtra is the guitarist/vocalist of black metal heavyweights Fauna, among a handful of other groups with which I'm not yet familiar. His work here seems slightly more meditative and personal, with this album, "Sky Burial,"  focusing on the need of each individual to make peace with his or her own mortality. The practice of sky burial is a Tibetan tradition wherein the recently deceased is left in a specific location that has been designated for the decomposition and disposal of human remains. The body is left to the elements, where it is often consumed by predatory birds. As the soul has left the body, there is no need to honor its former home according to this tradition. In a similar fashion, Echtra creates a fluid representation of chaos and peace with this album. There is a focused sort of deconstruction that occurs here, with sparse vocals occasionally dotting a deserted landscape of textured guitars and dense keys. As each of the two tracks are simply halves of a greater single performance, they blend together into one massive, cathartic piece of music. I find myself listening to this album as I fall asleep at night, yet when I listen during the day, I find it invigorating. Something about this is familiar and comforting, much like the understanding of death itself, yet it is never dull or tiresome. The Temple of Torturous release of this album includes a DVD of the only live performance of "Sky Burial," which dates back to 2008. While I haven't yet seen the live performance, I can say that it will be worth watching if it captures even a fraction of the beauty and intensity presented on this album.

Switching things over to Total Negation, we're presented with two EPs packaged as one full-length album. While many bands release separate albums that are essentially the same, these two EPs are easily distinguished from one another, so I'll review them separately. The first four tracks belong to the "Zur späten Stunde" EP, which explores the intense moments the mind often experiences right before body and mind drift into sleep. Opening track "Einkehr" sets the stage appropriately with clean yet dissonant leads creating psychedelic atmospheres over fuzzy and dense chords and howled vocals. The darkness here isn't suffocating, but there is an eerie uncertainty that forces the music onward, deeper down the proverbial rabbit hole of one's own mind. The overall feeling here is dark and uncomfortable, but with a faint glow around the edges. Moving on to "Zeiträume," a sequel of sorts, Total Negation explores the textures and sensations of dreams themselves. For first listens, I try not to read the press information lest I be swayed. Despite this, I instantly picked up on some instruments that are unconventional for black metal. Sure enough, both melodica and vibraphone are featured prominently here, showcasing both creativity and skill with composition. This doesn't sound or feel like a half-hearted attempt to "transcend" black metal, nor does this feel like an amateur musician playing with an idea. "Zeiträume" is a creative and engaging testament to the potential within sole member Wiedergaenger's grasp. Crunchy guitars and foreign instruments play in unison at times, adding depth to the heaviness of the more metal moments, while at other times the two sets of instruments seem to dance around each other, both at odds and working in a peculiar sort of harmony. While there's a confusing element to these four tunes, I would say that I prefer the vision displayed here. These four songs are unique and beautiful in a most remarkable way. A solid example is presented on closing track "Traum," which leaves things off on a perfect note. This release will be packaged as a sole compact disc, but the music here should be more than sufficient reason to consider purchase.

Both of these albums will be released from Temple of Torturous on March 31st. The label has recently announced that distribution in the United States will be done through Unholy Anarchy, but I'm not entirely sure when the album will be sold through the distributor. In the meantime, save your pennies and get ready for these two incredible albums.

Curseworship- "Curseworship" (Self-released)

Today's submission comes from the dry, desolate wastes of Salt Lake City, Utah. I've always been of the opinion that any city that is primarily ruled by religion or conservative values is inherently good for making ugly music as a form of rebellion, and Curseworship seem eager to prove me right. This trio has released a three-song album that would terrify the piss out of any clergyman unfortunate enough to witness it. If the band's name or the three inverted crosses gracing the album's artwork don't make it apparent, these guys have definitely chosen to side with the darkness.

Leading the way into Curseworship's madness is the appropriately named "Summoning."After a brief feedback introduction, the stage is set for some straight up ugly, crawling death metal with some static noise elements thrown in just to make things even more unsettling. The cave man stomp here is thick and well-executed rather than simply aping Obituary as many similar bands tend to do and the rhythm is tight and driving. When the band decides to pick up the speed about halfway through, it's somehow surprising yet the transition feels organic rather than forced. The second track starts off with yet another surprise, a light and melodic introduction that turns into a distorted mess of a song that lingers slightly longer than its predecessor. Closing this beastly album out is the sixteen-minute long horror of "Goat of a Thousand Young (Raising From Hell)." This album is full of surprises, but nothing surprised me more than this track. The eerie power electronics that wormed their way throughout the previous two tracks have finally taken over by the time this monstrosity unfolds, leaving a huge slab of dense noise as Curseworship's final offering to the listener. Rather than finding this a bit uninspired or simple, this is a hair-raising way to end the album and I approve.

While currently only available as a "pay what you like" download from Curseworship's bandcamp page, this album is tentatively scheduled to be released on cassette through Crucial Blast sometime this spring, so keep an eye out. I know I'll be first in line.

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?

Northumbria- "Northumbria" (TQA Records) + "All Days Begin As Nights" (Unreleased)

In case the title of this post didn't make it apparent, today we're examining two albums by one group which are related in such a fashion that it's nearly impossible to post about one without making mention of the other. Northumbria are a self-described "ambient metal" duo from Canada, although genres seldom describe the music properly, especially with such a compelling sonic palette as that which Northumbria uses to craft their heavy drones. While part of me wants to call Northumbria's music soothing, I feel that such a term implies a shoegaze-influenced sensibility, which definitely wouldn't quite cut it. To put it plainly, I'm not quite sure what to call Northumbria other than highly enjoyable and well-crafted music that has roots in everything from the self-proclaimed term ambient metal to the farther reaches of drone, yet refuses to sit firmly in any one subcategory.

Northumbria's eponymous full-length album was released some time last year by TQA Records, and it's a great place to start. These five tunes clock in at just over 50 minutes and lead me to a very mellow, introspective place. While the guitars are dense and distorted, I feel as though these songs are more meditative than destructive. A layer of fuzz and static serves as a canvas upon which Northumbria paints textures with soaring notes and occasional jagged assaults that last just long enough to create a tension which they swiftly relieve. Some folks might take issue with the lack of percussion, but I feel that music like this doesn't need to be chained down by anything other than pure melody and expression. In a way, the closest sonic kin I can find for this album would be the works of another favorite of mine, a death cinematic, an artist who also goes without percussion yet retains a heightened sense of clarity.

Examining Northumbria's currently unreleased EP, All Days Begin As Night, I find that familiarity with the prior release is almost mandatory, as three of the four songs here are altered versions of songs from their self-titled release. This album begins with the title track, which at just shy of eight minutes in length is the shortest composition from Northumbria. This tune follows a similar path to those presented on their first album, with an ethereal drone that manages to straddle the line between haunting and calming without ever straying too far into either territory. The sounds grow in size to fill whatever space the listener inhabits and the composition as a whole evokes thoughts of the shifting beauty of aurora borealis. Following this is Theologian's cascading re-envisioning of "Lux Lunae," now titled "The Sanguine Moon." This was by far the most dissonant track in its original incarnation, but true to Theologian's fashion, it's somehow both mellower here and far more frightening, like the unsettling backing track to a dimly lit horror scene.  This might be my top pick on this album, although to discredit the other two remixes would be unwise. Famine's brief yet intense rendition of "Threnody" is probably the busiest tune here, as the incorporation of light drum programming turns this into a glitchy electronic piece that might not sound out of place beside Ulver's "Metamorphosis." Closing things out is a stellar, almost uplifting reworking of "Black Sea of Trees" by Witxes, which serves as a relatively soothing end to a highly adventurous EP.

You might notice that there isn't information available on this unreleased EP, such as a release date or a label. This is because Northumbria are currently searching for a label who is willing to release this album on vinyl. If you're a label, this could be an opportunity for you to deal with a band who are already making an impact. If you're a listener eager to hear this, share a link to this review with anybody you know who might have label connections. Let's help this album get the release it deserves.

Blackdeath- "Jesus Wept" 12" EP (Wohrt Records)

Russian horde Blackdeath are a group with a relatively lengthy history and discography, but I'll admit this is the first album of theirs I've purchased. With well-received releases on many labels, this 12" EP is their first release via Floridian label Wohrt Records, and it's a worthy introduction to Blackdeath's vicious brand of black metal.

"Jesus Wept" is a ferocious slab of mid-paced black metal that conveys the bleakest of atmospheres. The music has a nebulous, almost warped quality to it that sets this record apart from many other black metal groups. While the record is meant to be played at 45RPM, it still has a dark and deep quality to it that initially made me double check to make sure my turntable was playing at the right speed. While some folks may find the depth a bit peculiar for black metal, which has long been known for treble-heavy headache-inducing sounds, it works nicely to instill a sense of unease in the listener and makes the band sound even less human. The vocals are howled in a maniacal fashion that seems to be exclusive to Russian groups for some reason and the riffs are pummeling. The drums keep things in place, but the real highlight is the demonic guitar. Each of the two original tracks on the a-side is bursting with quality riffs that will destroy any feeble listeners  Interestingly enough, following a third original track,the record's b-side features a solid Burzum cover. To be honest, I didn't listen to Burzum very much when I first got into black metal, and I haven't given more than a few listens to any of his albums, but this well-executed cover definitely shows that Burzum's influence is greater than I might have realized and that I should really give it another chance. Just listen to this flawless rendition of "Jesus' Tod" and you'll understand.

Copies of this fierce black metal assault are still available for purchase from the label and come with a variety of bonuses, as pictured above. The record comes with a poster, a patch, and stickers, which further adds to the value of an already strong offering from a band with a lengthy catalog of high quality releases.

Blood of the Moon- "MMXII" CS (Wohrt Records)

Tampa-based Wohrt Records has been a source of surprise and inspiration to me for the past couple of years in which I've resided here. Wohrt frequently releases music by bands I've never heard of who manage to completely annihilate most of the competition. Blood of the Moon are a self-described Heathen Horde from New Zealand, and this short yet brutal demo is no exception to the tradition of quality that Wohrt has established. In a genre where original names are running short, the band's name alone manages to evoke an ominous image, and the music presented within absolutely fits the bill.

This cassette holds three tracks, one of which is an introduction. The introductory track alone captivates me as a listener, with some of the coldest riffs I've heard in a while setting the pace for the brief onslaught to come. The first full track, "Conquered and Forgotten," (perhaps a nod to the mighty Judas Iscariot?) is the aural equivalent of pure punishment. This song is a perfect sonic representation of both the ultimate chaos of war as well as the torture often received by prisoners of war. Many black metal bands play with imagery of war, torture, and the like, but few bands can actually capture the haunting essence of the battlefield and the horror of man killing man, but Blood of the Moon have successfully created a sense of fear, terror, and hatred that takes my mind to darker places than my own eyes have seen. The closer, "Desecrate Upon Thee" carves itself into the listener's ear with equal brutality and skill. I've been nodding along the whole time while writing this review, and on all prior listens. I know of few bands from New Zealand, but all of them are worthy forces. I feel that Blood of the Moon is in good company then, as they've already earned my respect with this brief offering of hatred and venom.

Wohrt has initially released this in a batch of 100 cassettes, with the first twenty containing a back patch and the remaining 80 containing standard sized patches, all of which are beautifully crafted. Much of the stock remains at the time of this publication and I urge my readers to obtain this cassette while Blood of the Moon is still a young force. I imagine that in years to come this release will grow in value and become a valuable collector's item.

Blood Stone Sacrifice- "Cult of the Serpent Sun" (Self-Released)

When reviewing an album like Cult of the Serpent Sun, I tend to start asking myself questions before I listen to it. My first (incorrect) assumption was that this album was going to be some sort of At the Gates worship in the vein of almost every metalcore release between 2001 and 2005. I'm relieved that the similarity is in title alone and not in some sort of sonic theft, although I'm curious if this is meant to be a concept album or if it's just got an ominous title and artwork that hold together a collection of independent songs. I've long been a fan of the imagery and history of plague doctors, so seeing them featured predominantly here has my mind abuzz with possibility.

With my anticipation set on high just from the art (and potential concept) alone, I give the music a listen. What Blood Stone Sacrifice present here is well-executed, fiendishly-paced black metal. Knowing that this album is essentially the brainchild of two people makes sense. Every riff and every section of every song on this album is good and I can nod my head along, but I personally would like to see a little more variation here. Outside of this recording, Blood Stone Sacrifice has a full live lineup, including a real drummer as opposed to the programmed drums featured on this recording, and I wonder how that impacts their sound. All the components of solid enjoyable black metal are present, I'd just like to see the execution taken a step or two farther. I'm especially intrigued by the closing track on this album, "Vermin," as the opening riff instantly caught my attention. I want to hear what these guys can come up with next, because this sounds like a solid, honest recording from a band who is nearing a full sound. The guitar tone mimics the classic Darkthrone sound and the vocals are nice and filthy, so all that's left is a little more spice and I can see these guys really impressing me next time around.

If you want to get on the Blood Stone Sacrifice train while they're hot, check this album out on their bandcamp for only $2.50 or you can contact the band through their facebook page to place an order for a physical copy.

Music Review: Slægt- 2012 Demo (Rosensort)

I obtained Slægt's demo as a happy accident of sorts in late 2012, but am just now really getting the chance to study and enjoy it. I'd heard the band before and had enjoyed what I'd heard, but initially wrote it off in the sea of bands I was encountering and enjoying around the time this blog really started to pick up for me. When this demo showed up in the mail, I listened to it once, enjoyed it, and forgot about it. Shame on me. About a week ago, I made it a project to review every tape and record I own so that I might be able to really categorize and identify which albums I needed to review soonest. This one immediately stood out. It's been the soundtrack to a few homework sessions in the past week, and I couldn't be more thrilled.

Slægt is a one-man Danish black metal group which tears each song to shreds with an urgency I haven't heard in ages. The vocals are either filtered or heavily distorted in some way, but they still manage to break through whatever barrier is between them and the listeners. The drumming is steady and aggressive. While it maintains a solid pace, I feel like the music is constantly speeding up just because of the intensity of the whole experience. The riffs manage to retain a heavily melodic texture while pummeling the listener at the same time. I'm always impressed when bands retain a strong sense of melody while tearing my eardrums out, and Slægt have demonstrated an extraordinary skill with this sonic set. The demo is relatively short, with just four tracks, but I can flip this tape over multiple times on end and enjoy it from start to finish without issue. In fact, many of my favorite albums are short but memorable. This demo absolutely fits into that category.

While I'm not sure how to obtain this demo anymore, I'd keep an eye on discogs for copies of it. The original demo was limited to 25 and came with green album artwork, but it's selling for pretty hefty prices. The white copies (like the one I've got) were limited to 100, so you might find a better price and opportunity if you're hunting for one of those. Regardless, Slægt is a group that should be on your radar. I expect big things from them in 2013.

Music Review: Fister- "Violence" 10" (Gogmagogical Records)

Fister's album "Violence" was originally released on cassette sometime last year, but has been recently reissued on vinyl by Gogmagogical Records. Much like the tape, (which was recently featured in a guest post from my friend Jon), the packaging and overall presentation for this record are top notch, but I'll get to that in a little bit. I remember hearing Fister's name once or twice throughout 2012, but somehow they slipped through the cracks as I devoured as many bands as I possibly could while starting this blog. I'm glad they came back onto my radar, because everything about this is just overwhelmingly awesome.

The album seems to follow the theme of humanity's self-imposed end, as evidenced by prophetic and apocalyptic song titles and atmosphere. Opening movement (it's one giant song, after all) "Forced Extinction" dives right in with a pummeling and ominous riff that sits somewhere directly between death-laden doom and crusty aggression. I'm a sucker for a heavy and memorable riff, and this album is exploding with them. The album's title also feels so appropriate for this release, as most of this record creates the feeling of being bludgeoned. The vocals are pure filth here, so any folks who prefer the cleaner bluesier sludge should probably look elsewhere, but it fits the oppressive nature of this music perfectly in my opinion. The album is practically dripping with feedback and other eerie effects, even in sparser passages, which gives the constant pulse of drums a bit more space in the mix and allows for perfect climaxes when the guitars come back in after short breaks here and there. Listening to this album, I get the sensation of digging through the crumbling remnants of the world we know today in an attempt to find the perfect hiding place, only to be torn from the earth like everybody else. If your idea of a great metal album includes slow, agonizing music that creates the sensation of being torn to pieces by some sort of great tormentor, you really need this in your life.

If the music alone isn't enough of a strong selling point, Gogmagogical has released this album in five separate packages, each limited to one hundred copies. Each album cover (and similarly colored record) represents one of the five moments and themes established on this album. The band (or perhaps the label) found a different artist to contribute for each design, and all five did fantastic work. I eventually decided upon the fifth color scheme/album cover for myself, created by artist Josh Rowan, which is entitled "Megabolide." I'm quite fond of blue vinyl and the impending asteroid presented on the cover artwork was too great to not obtain, but each of the other selections was equally tempting in its own way. I also happened to notice on the inner ring of my record that there was a thin carving that says "you've run too far" on the A-side and "you belong to us now" on the B-side. While this isn't a major packaging detail, I love when musicians and labels put as much passion into their presentation as I put into enjoying it. Perhaps the other four versions of this record have different inscriptions, I guess one of you will have to buy a different version of this album and let me know. As a final note, since I don't get to do reviews of smaller products, Fister has some super sweet beer koozies for sale that look mighty tempting to me. Hop on these before they sell out and share pictures of your loot with me. Cheers!

Year End Extravaganza: Top Albums of 2012 According to Matt Solis (Cormorant)

I met Matt Solis from stellar prog-metal crew Cormorant about seven years ago when he was playing guitar for Northern California gore fiends Shitstorm and I was doing absolutely nothing with my life. He's always been a respected source of great new music in my life, and has always managed to share his interests with me in an eloquent and friendly way. As he's got a unique perspective on these things, I asked him to contribute some of his favorites of the year and he shared this massive list of wonderful albums. 

25. Of Monsters and Men: My Head is an Animal

I think this came out in their native Iceland in 2011, but fuck that, I got the American release. Eurofolk with just the right amount of pop sensibilities and amazing songwriting

24. Agalloch: Faustian Echoes

One long, badass song. Nice return to their black metal roots. I also dig the creepy “Faust” samples.

23. The Great Old Ones: Al Azif

This record snuck up on me at the very end of the year. Fucking awesome Lovecraftian black metal with tasteful post-rock influences. Hail Cthulhu!

22. Blut Aus Nord: 777 - Cosmosophy

Atmospheric as fuck, great guitar work, weird electronic stuff, an overall sense of foreboding…another solid Blut Aus Nord release!

21. Evoken: Atra Mors

Top notch funeral doom. Filthy as fuck. I sort of want to take a shower after I listen to this record.

20. Deathspell Omega: Drought(EP)

Another weird one from the kings of French black metal. I love the pronounced post rock influences on this EP, and the fast parts make me want to punch holes in the nearest wall.

19. Between the Buried and Me: The Parallax II: Future Sequence

Great follow up to their 2011 EP. If you don’t like BTBAM because they’re “too random,” I want to fight you.

18. Alcest: Les Voyages De L'Âme

Not quite as awesome as Souvenirs D'un Autre Monde, but still amazing in its own right. Thoughtful, powerful stuff. Black metal that your girlfriend might like. Might.

17. The Sword: Apocryphon

Bringers of mighty riffs and tasty jams. I got this one on orange vinyl and it sounds great. Probably my second favorite Sword record behind Age of Winters.

16. Cattle Decapitation: Monolith Of Inhumanity

The best part about this album is Travis Ryan’s seemingly impossible vocal performances, which are somehow more varied than ever before. Great release from death metal’s most underrated band.

15. Father John Misty: Fear Fun

Ex-Fleet Foxes drummer Josh Tillman reinvents himself as a hip swinging, drug taking, musical dick slinger. Some amazing songs on this one.

14. Deftones: Koi No Yokan

This one surprised the fuck out of me. I pretty much wrote Deftones off in my later adult years, so when I first heard this album my jaw hit the floor. Really, really good. Might even be on par with White Pony for me.

13. Svartidaudi: Flesh Cathedral

Icelandic black metal. Fuck yeah.

12. Neurosis: Honor Found In Decay

Great to see a strong release from Neurosis in 2012. I saw them perform most of this album live recently, and it seems like they have a renewed sense of vigor that’s translating into some really magical stuff.

11. Samothrace: Reverence to Stone

Two songs that will crush your balls into dust. Some of the heaviest shit I heard all year.

10. Worm Ouroboros: Come the Thaw

Beautiful, heartbreaking and heavy all at once. Renowned Bay Area band whore Aesop Dekker brings a lot of subtle dynamics to the drums on this record. I don’t recommend killing yourself in a bathtub, but if you have to, make sure you throw this on the stereo.

9. Converge: All We Love We Leave Behind

More furious than previous release Axe to Fall, yet complemented with some ball swingin’ grooves that produce some of Converge’s most memorable riffs, like that main one in “Sadness Comes Home.”

8. Witchcraft: Legend

Shit rocks. Fuck everyone who says they don’t like the production. The songs sound like classic Witchcraft with even better guitar work.

7. Hooded Menace: Effigies of Evil

Old school death metal with some funeral doom thrown in for good measure. Ye gods, the filthy riffs on this album.

6. Rush: Clockwork Angels

I will always love Rush unconditionally and immediately purchase anything they put out, but allegiance or no allegiance, there’s no denying this is a legitimately great album. The fact that a 40-year old band could write and record an album that’s on par with some of their greatest work is nothing short of astounding. HAIL RUSH.

5. Pallbearer: Sorrow and Extinction

Doom done exceedingly well. Awesome guitar work, chilling vocal deliveries, crushing riffs…it succeeds on all fronts. Great record.

4. Graveyard: Lights Out

Another great album from Graveyard that sounds like it was lifted from the 1974 vaults. This is music that makes me want to stop bathing and roll my own cigarettes.

3. Enslaved: RIITIIR

My favorite metal band releases another instant classic. Progressive, heavy, thoughtful and inspiring. Enslaved cannot be fucked with.

2. Astra: The Black Chord

I really liked The Weirding because it was Pink Floyd worship done right, and I really, REALLY like The Black Chord because it’s YES/King Crimson worship done right. I get high just thinking about this album.

1. Ahab: The Giant

One of the best doom albums ever. I love Ahab’s previous work, but there’s something different about this album…an overall atmosphere that I’ve rarely felt when listening to music. Sounds like being crushed at the bottom of the Mariana Trench by some horrible, undiscovered sea monster. LOVE.