It’s hardly an original observation, but genre labels can be something of a two-edged sword, especially when the band in question fall outside of such strict definitions. I came to The Anthropocene Extinction (Metal Blade) without having a heard a note of Cattle Decapitation’s music, but their reputation as a brutal Death/Grind band gave me strong expectations – expectations which utterly failed to capture the reality.
The grind influences which the band are largely known for are present here, but combined with a number of other reference points and styles in a way that transforms them quite beyond the ordinary. The base-line style throughout is a crunchy, Grind-touched Death Metal that’s as comfortable with punishing grooves and sinister melodies as it is with blasting, but they expand their palette further with quasi-“industrial” effects, atmospheric passages and creepily-effective clean vocal sections. The vocals are probably the key touch-stone for the genuine fluidity of the music on The Anthropocene Extinction, switching from cavernous DM growls, pig-squeals and high-end shrieks to near-operatic, oddly paralysed singing which is hard to describe positively on paper but fits with the music perfectly. This breadth of styles throws up some genuinely surprising reference-points, calling to mind Anaal Nathrakh or unsigned Bandcamp heroes Slugdge as often as Carcass.
Drawing on such a broad range of Metal influences runs the risk of collapsing into a formless mess, but Cattle Decapitation have the strength of song-writing and sense of individuality to hold it together. The album is structured well throughout, with a sense of progression that maintains interest across a collection of songs which could easily have outstayed its welcome. The production does them a number of favours too, giving a sense not only of power and genuine heaviness but also of professionalism and authority – this is a “serious” album, not some arm-flailing Grindcore tantrum.
The Anthropocene Extinction is not likely to break any boundaries or transform the way you think about music, but it is likely to be one of the standout albums of big production values, genre-blind Heavy Metal in 2015.
The West Midlands of England has yet another grimy, hooded secret. One as cacophonous and electrifying as Birmingham duo Khost, however, surely cannot be suppressed much longer. Second album Corrosive Shroud (Cold Spring) begins with the sample-driven Industrial swell that defines their sound: a sonic barrage, delivered at an oft-crushingly slow pace, yet fed by walls of the most pulverising low-end chords you’re ever likely to experience.
With the band’s trademark, sampled Eastern chants giving a melodic yet eerie edge, opener ‘Avici’ forces Moby’s Play-era sound into a blender with the clashing steel of Godflesh and the unbearable might of Sunn O))). The howling roars of ‘Revelations Vultures Jackals Wolves’ are initially dwarfed by this unfathomable weight; the horror of their hatred and pain, however, remains undimmed and unmasked, whilst metallic clangs and mashing beats create a cauldron of boiling intensity.
The squalling chaos of début album Copper Lock Hell (Cold Spring) is somewhat replaced here by a more cohesive structure, yet no power is lost, instead being augmented by that heightened Asian influence which lends a unique and emotive diversion. Resonant strikes, when delivered, provide a terrifying alarm call: the slow, steadily pounding sticks of ‘Black Rope Hell’, for example, enter a brief period of quiet in the most invasive fashion whilst filthy, throbbing feedback is suddenly unleashed from the silence, crumpling one’s body. This segues into the magnificent ‘A Shadow On The Wound’, like a sludgy Aevangelist, the salve of those haunting wails a hypnotic contrast, yet as complementary as salt with chocolate. Here is the inexplicable magnetism of Khost – the ability to weave seamlessly the most offensive, deafening, programmed fear with moments of ethereal beauty, creating an experience as captivating as it is nerve-shredding. It’s during those involuntary tics of anticipation, the body often compelled to assume the foetal position for comfort, that one realises how stirring the sound is; an outpouring of emotion and energy, a stretched depiction of a primal scream, essential whilst undoubtedly polarising opinion.
The almost-tribal ‘VMIH’, its surrounding noise less of a contribution than before, exhibits the importance of the participation of rhythm, be it artificially or manually produced. Showing the willingness to incorporate other styles, the last two tracks are remixes of the opening salvo: the former heavily beat-led and mesmeric; the latter a more unsettling encounter awash with deep bass notes, that native intonation falling into oscillating effects and roar-strewn narrative, completing the creation of three songs from one. It’s pure art, invention with a purpose, brutal and occasionally unfathomable yet all the more natural for it.
Brimming with moments of great meaning such as the mournful Shoegaze and pensive poetics infiltrating ‘Inversion’; the exploding violence and skewing electricity of ‘Red Spot’; and the pulsating waves and crashing horror of ‘Bystander’; this is a startling, spellbinding piece of work. Having given us Sabbath, Napalm Death, Godflesh, and Anaal Nathrakh, Birmingham – and Khost – has just provided Metal’s latest evolution.
Belgian label Tanquam Aegri Somnia is now officially a sub label of Kaotoxin Records, bringing more impressive, dark, intense and heavy artists to the world, such as Cult Of Erinyes, Merda Mundi, Yhdarl and Zifir.
To celebrate the deal, the label is teaming up with Merda Mundi to bring you a brand new free digital EP Ilwcas, featuring a song from VI (“Khaos”) and a previously unreleased Anaal Nathrakh cover version, which can be downloaded here. VI will be released on July 7, 2015 in North America and July 6, 2015 for the rest of the world.
Oakland eclectic doom rockers Secrets of the Skywill be supportingAnaal Nathrakh on their forthcoming North American tour with Incite as support. Their Metal Blade debut Pathway will be released May 19, 2015. Stream the music video for “Three Swords” below.
SECRETS OF THE SKY w/ Anaal Nathrakh, Incite: May 11: Starlite – Sacramento, CA May 12: Complex – Los Angeles, CA May 13: Backstage Bar – Las Vegas, NV May 14: Club X – Salt Lake City, UT May 15: Black Sheep – Colorado Springs, CO May 16: Riot Room – Kansas City, MO May 17: Live Wire Lounge – Chicago, IL May 18: Empire Concert Club – Akron, OH May 19: TBA – Rochester, NY (*SECRETS OF THE SKY only) May 20: Sammy’s Patio – Revere Beach, MA (*SECRETS OF THE SKY only) May 21: St. Vitus – Brooklyn, NY May 22: Championship’s – Trenton, NJ End Tour May 23: Goodfellas – McMechen, WV (w/ Brimstone Coven) May 24: TBA – Charlotte, NC May 25: TBA – Atlanta, GA May 27: TBA – Little Rock, AR May 29: TBA – Santa Fe, NM May 30: Tempe Tavern – Phoenix, AZ Jun 06: Golden Bull – Oakland, CA
w/ North: Jun 12: The Complex – Glendale, CA Jun 13: Caravan – San Jose, CA (w/ Cold Blue Mountain) Jun 14: 1078 Gallery – Chico, CA (w/ Cold Blue Mountain) Jun 15: The Wandering Goat – Eugene, OR (w/ Cold Blue Mountain) Jun 16: Rotture – Portland, OR (w/ Cold Blue Mountain) Jun 17: Black Lodge – Bremerton, WA Jun 18: The Pin – Spokane, WA Jun 19: The Railyard – Billings, MT Jun 20: Foot Foot Fest – Fort Collins, CO (w/ Reproacher) Jun 21: 7th Circle Collective – Denver, CO Secrets Of The Sky on Twitter
Anaal Nathrakh has confirmed a May North American tour with Incite and Secrets of the Sky as support. Dates are below.
May 11: Starlite – Sacramento, CA May 12: Complex – Los Angeles, CA May 13: Backstage Bar – Las Vegas, NV May 14: Club X – Salt Lake City, UT May 15: Black Sheep – Colorado Springs, CO May 16: Riot Room – Kansas City, MO May 17: Live Wire Lounge – Chicago, IL May 18: Empire Concert Club – Akron, OH May 19: Hard Luck Bar – Toronto, ON May 20: Foufounes Electriques – Montreal, QC May 21: St Vitus Bar – Brooklyn, NY May 22: Championship Bar – Trenton, NJ May 24: Maryland Deathfest – Baltimore, MD
Goatsnake will be unveiling details of their first full length in fifteen years entitled Black Age Blues, out June 2, 2015 via Southern Lord.
Black Age Blues is an instant classic, with each one of the nine songs an anthem, and each of the four members of Goatsnake in top form. Everything is magnified; Pete Stahl‘s vocals have never sounded so good, the rhythm section comprised of Greg Rogers on drums and Scott Renner on bass are the driving force on each track, and Greg Anderson‘s riffs are heavier than ever before.
Appearing on the album intro to “Another River To Cross” is acoustic guitar courtesy of David Pajo (Slint, Aerial M, Papa M), the track also containing previously released recordings from Goatsnake’s “The River.” Piano is played by Mathias Schneeberger and Petra Haden contributes violin and vocals. Another welcome addition to the album, across multiple tracks, are brilliant backing vocals by Dem Preacher‘s Daughters: Wendy Moten, Gale Mayes and Andrea Merrit.
Black Age Blues Track Listing: 01. Another River To Cross 02. Elevated Man 03. Coffee & Whiskey 04. Black Age Blues 05. House Of The Moon 06. Jimi’s Gone 07. Graves 08. Grandpa Jones 09. A Killing Blues
Mar 21: Gypsy Lounge – Austin, TX SXSW (Day show) Mar 21: Yellow Jackets Social Club – Austin, TX SXSW (Night Show) May 02: Pappy & Harriets – Joshua Tree/Pioneertown, CA May 24: Maryland Deathfest – Baltimore, MD (w/ Amorphis, Anaal Nathrakh, Inverloch, Neurosis, Winter, more) May 30: Temples Festival – Bristol (UK) Jun 01: De Kreun – Kortrijk (BE) Jun 02: Melkweg – Amsterdam, NL Jun 03: SO36 – Berlin, DE Jun 04: Freakvalley Festival – Siegen, DE Jun 07: AN Club – Athens, GR Jun 20: Crucialfest – Salt Lake City, UT
Here are the “Top 25″ albums I heard this year that didn’t quite make my Top 25. Maybe there’s something in this for you to check out?
As is always the way I’m discovering more great albums from this year now from everyone else’s lists, so, looking forward to checking out Code Orange, Indian, Krokodil, Hark all amongst others!
Bit of trad, bit Celtic, good riffs, strong vocals. Promising. Good band, good album. Another I wrote about. https://ghostcultmag.com/darkest-era-severance/ (Not necessarily the song I’d have chosen for a vid, but decent enough)
DELAIN – The Human Contradiction
Poppy, bit more symphonic than I was expecting. Went down a storm at Wembley with Within Temptation too.
DEVIN – Dark Matters
Aka Ziltoid 2. The heavier, more symphonic, more metally of the two parts of the double album. I like it, just a bit too much monkeying around at the expense of the songs, for me.
DRAGONFORCE – Maximum Overload
Not quite as good as ‘The Power Within’ but still proving they write better songs since changing vocalists. Some belters on here, tbf.
ENGEL – Raven Kings
Like In Flames, but heavier guitars and catchier choruses. I like this one (well, I like them all on here, or they wouldn’t be on here, but this surprised me). Wrote about it, too. https://ghostcultmag.com/engel-raven-kings/
Haven’t listened to it for a while, but appealed a lot at the start of the year, and a good combo of metal and hardcore that mixes it up a bit. https://ghostcultmag.com/i-am-heresy-thy-will/
JOB FOR A COWBOY – Sun Eater
Took me by surprise this one. Adding a large dose of Ulcerate to their sound, but all the better for it. Rather than rattle clattering through a load of sterile overly tight DM/core, they wrote some (very) heavy songs, too.
KING 810 – Memoirs Of A Murderer
The marmite album of 2014! Ha, I liked it. Big angsty anthems. Not perfect, but some quality tunes. Korn meets Slipknot fo’ sho’, but some different stuff going on too. Another one off the review list! https://ghostcultmag.com/king-810-memoirs-of-a-murderer/
Interesting album, this one. Don’t think I’ve quite given it all the time it deserves, but another I’ve liked this year that doesn’t just sit in a box. It starts from Death Metal but doesn’t stay there.
OBITUARY – Inked In Blood
Really good comeback album. Big grooves. Big riffs. Great tunes. Well done. Best Obi’s album since ‘Cause of Death’ , for me.
ORIGIN – Omnipresent
This is a relentless fucker, this one. Love the aggression, love the riffing, love the technicality, love how much it just wants to punch you in the ear drums.
SLEEP OF MONSTERS – Produces Reason
Babylon Whores are one of my “hidden treasures”, probably the most underrated band of all time, always loved Ike’s vocals, too. He doesn’t quite hit it with his new outfit, but some cool gothy, dark/death rock going on. Grabbed this one for review as soon as it appeared in the inbox. https://ghostcultmag.com/sleep-of-monsters-produces-reason/
SLUGDGE – Gastronomicon
Only heard this once so far, but really impressed me on first go, will be getting a fair few listens going forward. Interesting modern melodic death metal.
