Sunn O))) & Ulver – Terrestrials (EP)

Posted on March 4, 2014 by News Team

Few albums in the past few years could have generated the hype that has surrounded Terrestrials (Southern Lord). When a pairing with such pedigree as drone lords Sunn O))) and Norwegian experimental band Ulver come together to create a collaboration it’s hard not to expect an album of monolithic proportions. While this would often leave albums buckling under overbearing expectations, Terrestrials transcends the hype. This is not just the amalgamation of the two different ideas and artists but a story told through a melding of brilliant minds. Sunn O)))’s dark chasmic wall of noise is given new life by Ulver’s more poignant atmospheric flourishes that together lead the listener through a vast and dark soundscape.

Coming in at just three songs and thirty-six minutes long, there is no space for waste on this album, every lingering note is considered, every flutter from a trumpet or tremolo string section precisely placed. Each song explores different elements; ‘Let there be Light’ gently builds to devastating crescendo that runs down the spine, while ‘Western Horn’ opens out the low end with horns to enact ancient rites and resurfaces old gods. It is ‘Eternal Return’ though that is the real masterpiece in Terrestrials, scaling both the icy heights with shimmers that scatter over cavernous bass in a way that echoes rises and falls the Earth itself. The album unfolds slowly, lazy notes that enclose worlds of sound that can only be excavated through endless listening. This is not the simple mantra of catchy music laying out their wares on the first listen, but an investment that rewards the listener with every replay.

10/10

Sunn O))) on Facebook

Ulver on Facebook

Caitlin Smith

Suffering in Solitude – A Place Apart

Posted on February 24, 2014 by News Team

Post-black. Haunting, effective soundscapes littered with mellow, icicle-shattering chords. As with other branches of this oft histrionic genre however, there are myriad instrumental offerings which, for those of us who like to hear the plaintive, diseased roar of unadulterated anguish, can veer toward mundanity. This debut long-player from Californian tortured souls Suffering in Solitude is no different.

A Place Apart (Domestic Genocide Records), released as the last post sounded over 2013, has been four years in the making, and that there’s much beauty and violence within it is beyond dispute. The occasionally mournful ‘Inside Out’ evokes lonely winter streets, while the hissing, more uptempo crash of ‘Entrance’ isn’t without its pensive moments and emits the kind of swelling, aching melodies that pierce the soul. Each fresh encounter with this beguiling set does indeed reveal more that will inspire and elicit wistful memories in every listener, and where Christopher A‘s harrowing scream is employed, such as the sprawling, shimmering riff and blastbeat-infused ‘Exit (Time Lost)’, agony envelops the constantly fluctuating pace. The blend of the two styles can rarely have seen a more accurate depiction of its definition. The eponymous track sees the bitter yet plaintive ragings of Touché Amore lie with the stark harmonies of Tides From Nebula and the frost-bitten atmospherics of Darkthrone as the perfect ménage-a-trois. For all the furious howls however, there’s something missing: an intermittent lack of intensity throwing more shapes toward a schizophrenic breakdown than a paean to heart-breaking loss. As a result an element of pretension occasionally infects the set, with the nefarious rasping rattle oozing over the initial Britpop style jangling of closer ‘Placed Apart’ conveying more contrivance than true emotion.

Overall, however, this is a pleasing listen; a likely contender for raids by BBC trailer makers and Scandinavian dramas for its stirring, sometimes moving interludes. With six tracks stretched over less than half an hour, it doesn’t outstay its welcome either. For those of us who like to feel others’ pain as well as our own whilst indulging in a tune, there’s definite promise in the offing from these guys.

7/10

Suffering In Solitude on Facebook

Paul Quinn

Immortal Bird – Akrasia (EP)

Posted on February 21, 2014 by News Team

Distinctly disturbing and beautifully harsh are words that best describe Chicago’s blackened death metal upstarts Immortal Bird. Although their debut release Akrasia (Closed Casket Recordings) has a scant four songs on it, the songs take the listener on an icy veined adventure to the soul. Running the gamut from classic black metal tropes, to modern death metal writing skills, a touch of thrash and some other impressive musical avenues too.

Masterminded by vocalist/drummer Rae Amitay (Thrawsunblat), she co-wrote all of the songs on guitar too, showing off her versatility in stepping out from behind her drum throne. Many times with projects like these, you get the impression the music is a foil for a singular vision, but the tight recording and strong performances of guitarist Evan Berry (Wilderun, Replacire) and bassist John Picillo sound like a true band. The production team of Jeff Ziolo, Kurt Ballou mixing at Godcity Studios, and mastering by Brad Boatright definitely eschews the no-fi tactics of most of the genre. The first track ‘Spitting Teeth’ exemplifies this approach with an unsettling guitar riff which gives way to a maelstrom of beats and screams. There are some great riffs and exciting tempo changes in this track that might be lost with lesser production values.

‘Ashen Scabland’ is just a hellish track. It definitely has an ebb and flow to it, with some mellower parts blunting the caustic slam of the thunderous drums. Fittingly the lyrics are equally as rough as the track, perfectly melding thoughts of regret and rage as much as the music does. ‘Akractic Seminar’ might almost be classified as avant-garde- blackened thrash and doom. The song kind of sneaks up on you with a discomforting tone. You get lulled by some discordant guitar work and a slight bit of clean singing, before getting your ears and your ass stomped in again. ‘The Pseudoscientist’ not only brings back the lyrical intellect, but being the shortest track on Akrasia, it has a sick urgency to it. The harrowing scream of pain at the halfway mark will curdle the blood of the toughest kvlt brood. The first flight of Immortal Bird is a bleak, but pleasing one.

9/10

Immortal Bird on Facebook

Keith (Keefy) Chachkes

Beautiful Dreamer – An Interview with Alcest

Posted on February 19, 2014 by News Team

Like the visions of a mystical “fairyland” which visited him as a child, Stéphane Paut, a.k.a Neige, has always been a musician who let his imagination run riot. Driven by his own muse, Neige is not the type of musician who lets the expectations of his fan-base dictate the direction of his music. Catching up with Neige via Skype from his Paris home, the front man is a confident and driven, yet humble individual who embraces challenges and hopes that new record Shelter will be a watershed release for Alcest. “The concept of this album is very uplifting. It is about having a secret place to retreat to when we have difficulties in our lives. It is somewhere that can make us feel secure and stable. For me it was the sea. Now I live in Paris I see how stressed people are, always rushing around. It’s important to have that safe haven which reminds us of who we are.”

Neige may see Shelter as a comforting place where he is free to express himself creatively without restriction but just a cursory listen to the record will have many of the band’s fans being somewhat critical of the band’s new direction. Choosing to discard their metal influences is a bold and risky move but one Paut felt was necessary. “It was boring and very limiting for me.” Neige candidly admits. “I began writing metal when I was fourteen, half my life ago and I needed to explore other genres. Alcest will grow with me. It is the band of my life and it must continue to evolve as I do. Shelter has taken a shoegazing and dream pop influenced direction on this album but in the future things may again be very different. I hope our fans will remain open minded when it comes to our music. We have not decided to do mainstream music; it is just about keeping us satisfied. If that means changing the music style we play then so be it!”

Dreamy and ethereal though it may be, Shelter has been shaped by an uncompromising stance, which Neige remains intensely proud of. “We didn’t want to make a tribute record to the shoegazing scene. It still sounds like Alcest one hundred percent. The music I make is purely for myself. I do not make music to please the fans. When we play live I want people to enjoy the concert and we will play the old songs for them but going forward I don’t see metal shaping the future of this band.”

This unwillingness to be pigeon-holed, along with a ravenous desire to challenge his own abilities, has created an album full of light and wonder. Choosing to record Shelter with Sigur Ros producer Birgir Jon Birgirson in Iceland really shaped the way the album was conceived. “We wanted that dirty, grainy indie rock sound! Sigur Ros music has a lot of character and we wanted to switch from the cynical metal sound we had on the previous album. Iceland was magical, like being on the moon. It exceeded my expectations. A truly life changing experience. It fits perfectly with the concept of Shelter. We spent time in our own creative bubble undisturbed by outside influences.”

As he alluded to earlier, Shelter was greatly inspired by Neige’s love for the sea. Waxing lyrical upon his childhood visions and trips into a “fairyland” has been the chief inspiration for Alcest’s work. It appears that a fondness for nature is now what comforts the twenty-nine year old musician. “My parents used to bring me to the seaside until I was a teenager. My father and I would go sailing in his boat very often. I guess it left a pretty big mark on me as I missed it greatly. I make sure I go at least once a year to the beach with friends near where I grew up. It is these precious moments and the most simple but the most special times of our lives.”

Shorn of the harsh metallic aspects of their sound and adopting a direction favouring light and atmosphere, has clearly been a breath of fresh air. Shelter has also seen Neige realising another dream, that of working with one of his favourite musicians Neil Halstead of British shoegaze pioneers Slowdive. It was truly touching to hear Neige’s gushing appreciation of Halstead’s work. “We have tried to contact him for a long time. I was not sure it would happen because he never got back to us. Finally he replied to me on Facebook saying he loved the music and was interested in working with us! He is one of my favourite musicians and having him in the studio with us was a dream come true.”

“We had to have the lyrics in English for him to sing and I think his performance is fantastic. The lyrics are about dreaming and escaping reality. It allows you to forget yourself and become lost in music.”

The cinematic feel of Alcest’s music is certainly an aspect that sets the Frenchmen apart from their peers. Neige may now disown the “fathers of blackgaze” tag and has set his sights on new creative pastures, with scoring music for film being high near the top of that list. “This is a dream of mine to make a classic soundtrack. I have achieved my dreams of playing in a touring band and making records and this is something I desperately want to do. My music is very sensitive and I would love to score the next American Beauty or Let The Right One In. That film is a masterpiece! Music is all about visions and images for me. I always have mental pictures of my music when I record it so this would come very naturally to me!”

Alcest’s music videos have been vivid journeys into the front man’s consciousness. The latest for the debut single ‘Opale’ contains much colourful and romantic imagery integral to the mood of the song itself. “The coloured smoke was my idea. It is inspired by the Indian celebration ‘Holi’. It makes for very otherworldly scenery with people throwing coloured powders at each other. In the beginning, the characters are cold and distant to one another but in the end, they find love and happiness. It fits the song quite well I think.”

Fans may miss the darker aspects of Alcest’s music moving forward but no doubt, this explosion of colour and change of direction has been good for the soul. While careful not to dismiss the band’s back catalogue in the live arena, there is one aspect of their music Neige was keen to leave behind. “We compose music only for ourselves and never think how others will react but when we perform it is for the people. I really don’t miss performing the harsh vocals but I love to hear classics from my favourite bands, so I will still be performing these types of vocals for sometime unfortunately! I want people who see us live to enjoy it and feel great so I will perform the old songs because I know they are special to the fans.”

Boldly stepping onto new ground while being eager to give the fans what they want live may prove distinctly challenging yet Neige has never been afraid of such things. Looking to the future, how does Neige see Alcest’s music shaping up? “I want to use strings and perhaps samples but the core of this band has always been the melodies. It is important to experiment and try new things. I am thinking of using electronic elements and seeing what may come of that. I feel at my best surrounded by nature. Paris has a lot of concrete and can be very claustrophobic at times but I suppose the fact I miss nature inspires me also.”

Softly spoken and polite, despite refusing to comprise the nature of his artistic vision, Neige remains a dreamer looking to a future of light filled with hope. Come what may, Shelter is a bold step into uncharted territory for an act hungry for adventure.

Alcest on Facebook

Ross Baker

The Top 25 Albums To Watch of 2014

Posted on February 10, 2014 by News Team

The last few years have had all kinds of implications on the future of the heavy music scene. Trends come and go, but great music persists no matter falls out of favor. While the great bands more or less remain consistent from year to year, new bands come along to surprise you all the time too. Looking at the following list is not only a chance to get excited over what is to come, but a reminder to brush up on releases you might have missed the last few years. Without further ado, here are some of the albums highest on our radar heading into 2014.

Tombs– The Brooklyn based blackened post-metal inspired mad genius have just completed their new album. Savage Gold is reportedly a double album’s worth of material, and promises to build upon the masterwork the band plied with Path of Totality in 2012. Front man Mike Hill is one of the leading voices and lyrical conceptualists of the last few years in metal.

Behemoth – The Satanist is not just Ghost Cult’s album of the month for February, but one of the most anticipated albums in many years due to getting pushed back several times. Not a drastic musical departure from their last few albums, but there are some surprises. Things just got more epic in scope.

Gojira – News that Gojira was ready to come right back with a release following L’Enfant Sauvage in 2012, is more than welcome. Gojira is a band that strives for the zenith in everything they do. Who knows what lay ahead for them? They continue to make brutal music accessible, and not somehow not suck.

Eyehategod – Long in the works, a new Eyehategod album is less of a release and more of an momentous event. The bands’ never ending tour schedule surely has fueled a lot of inspiration for Mike IX Williams and crew. Surely, the recent passing of drummer Joe LaCaze, stays close to their hearts, and might just floor you when they let it all out on wax.

Tryptykon – Like so many others on this list, Tom Gabriel Fischer rarely rests on his laurels. With new music on the way and many international shows already booked for 2014, this promises to be a tremendous year for the band.

The Atlas Moth – Brutal mid-western sludge killers, TAM never do anything in half measures. Their bowel assaulting sonic wave live must be felt in person to be believed. Only to be matched by their mature, cultivated writing style on record.

Fantomas – Expect the unexpected is a saying that has followed Mike Patton’s entire career. Patton seems to parse out his time to one of his many projects each year, focusing a little more on the most currently active ones. Last year it was Tomahawk and his film scoring work. This year brings new music from arguablly Patton’s toughest to digest, yet most interesting main course.

Godflesh – Don’t call it a comeback, since the group rumbled back to life a few years ago. After some touring last year, the band commenced on writing a new album. Godflesh is one of those bands whose influence is cited by many, but their sound cannot be duplicated.

Origin – Origin is hard at work recording their follow-up to Entity, which was brilliant, and not even made by a compelted line-up of the band. Jason Keyser’s (ex-Skinless) first album writing and recording with the band promises an explosive mix of brains, and blazing technical brutal death metal excellence.

Machine Head – Of the bands on this list (or any list) how many can say of their last three albums, two reshaped the genre of modern American metal, and the third was the big hit they never had before commercially? Can Robb Flynn and company continue to push boundaries and crush the competition? Their expected first release for Nuclear Blast should unveil the answer to all by next fall.

Nachtmysitum – Blake Judd’s last hurrah under this moniker should be a killer affair. He has been much maligned and likely misunderstood for most of his career. He is also human too, so expect that paradox of extreme hatred/fragility to play a part in this album.

Animals As Leaders – Is djent dead? Not likely. AAL has done as much to bring back good old fashioned shredding, and inventive guitar albums than the most most adept tech death, and thrash bands that used to dominate this landscape. In Tosin we trust.

Opeth – Was there any more divisive album two years ago to metal fans than Heritage? Old-school Opeth fans need to accept that the band goes by Mikael Åkerfeldt’s will and muse, and not by what the people want. Expect another brilliant album of prog-laden rock with some metal slipped in, and perhaps a few more left-turns than before.

Thou – The Bayou bashers of Thou make sick, uncomfortable, music for people with a high tolerance for aural pain. They also rule so hard live. They are planning a busy year of touring, in which they will write and record a new album, partially from the road. Because wood-shedding is for bitches.

Mastodon – Similar to Opeth, fans that cut their teeth on the bands’ early repertoire hated losing Mastodon to the cult of mass appeal. Chances are no one outside of the band really knows what to expect from them on this new album, although recent interviews have promised a partial return to some noise and sludge type tracks ca. Remission-era albums. Summer can’t come fast enough.

Oxbow – As a credit to their pedigree, Oxbow is always growing and changing, even when they are not putting out release after release as some of their peers have done. News of a confirmed new album caused equal amounts of fear and joy around GC HQ ,who have followed the band since Fuckfest. Oxbow albums are mental terrorism for your soul. Release the Kraken!

Exodus – Their last two releases of original material were modern thrash masterpieces. While the band has been on hold while Gary Holt toured heavily with Slayer, the band stayed busy with side projects and writing. Their legacy intact, they are one of the few bands today who might be better now than when they wrote their classic material 30 plus years ago.

Iced Earth – Plagues of Babylon marks the most consistent stretch in a long time for the power metal titans. Jon Schaffer’s deft writing and leading vision, coupled with Stu Block’s pipes of gold make this “must listen metal”.

Napalm Death – Prolific grindcore legends come back with yet another new album. Rather than try to re-invent the wheel each time, Barney Greenway and crew know what they are, and they know what they are not. There is a genuine power in that, and it’s something many bands need to learn.

Wolves In The Throne Room – With the recent EP release of their 2011 BBC sessions, WITTR have come out of their slumber and begun writing a follow-up to the perhaps impossible to top Celestial Lineage. The Weaver Brothers don’t care about joining the USBM elite, year end lists, or changing trends. Just their legacy of creating great albums with no filler.

Anthrax – The recurring theme when they talk about the hit that was Worship Music (Megaforce) in 2011, is still surprise, even from die-hard fans. The band hasn’t been riding this high creatively and commercially since 1993’s Sound of White Noise. Can the band top themselves and stay relevant? Stay tuned true believers!

Cynic – Sure Cynic will never be the band people remember from 1993. However, as Paul Masvidal and Sean Reinert have proved over and over, it is unwise to doubt them. The fathers of modern progressive metal promise another challenging, technical album. Plus, you never know if two years of shows on “The Death To All” tour ignited their taste for heavier stylings.

Devin Townsend Project – Uncle Devy, we’d just couldn’t leave you out. Riding high after years of constant recording and touring cycles, and massive performance art/concert project (The Retinal Circus), the time is nigh for Ziltoid to return on Z2. You know you will laugh your ass off as Townsend plies his boundless songcraft to new heights of insanity.

Testament – Similar to Anthrax, Exodus, and Overkill, this is a classic band doing it right. Megadeth, take some notes. With Steve DiGiorgio back in the fold on bass, the next Testament album due later this year has a chance to harken back to the heaviness of Demonic and The Gathering.

Cannibal Corpse – Every Cannibal Corpse record seems more brutal and impressive than the last. The band seems intent on going as hard as they can, as long as they can since they have recently passed the 25-year mark as a band.

Killer Be Killed – Most of the time super-groups are lame failures. But Killer Be Killed reeks of potential greatness, since it has names like Max Cavalera, Greg Puciato, Troy Sanders attached. We feel all tingly like when we heard Nailbomb for the first time. This should be at least very good.

Belphegor – The blackened death metal masters have returned. Not only do they have a new album due in June, but have many festivals and high profile tours planned for 2014. This will be the year of the Goat!

Tool – Tool makes this list every year, since it has been almost eight years since 10,000 Days came out. News of tour dates booked, plus the looming 50^th birthday bash this spring of Maynard James Keenan, in which every band he’s in, save Tool, is on the bill gives us pause. This makes us mad suspicious. Hmm…

Keith (Keefy) Chachkes

Graveborne – Through The Window Of Night

Posted on January 28, 2014 by News Team

Let’s get it on the table – Through The Window of Night (Séance) is well played and excellently produced with a good energy. Frontman Raato unleashes powerful, feral howls, and Pentele shines with a 36 minute holocaust from behind the kit. This is a decent black metal release with very obvious Gorgoroth and Immortal reference points.

However, for all its’ competency, like so many faceless corpse-painted albums before it, Through The Window Of Night is pointless. It has no personality, no individuality and serves no real purpose. Not every album should, or can be boundary pushing, but sticking rigidly to a style and formula that has been stuck rigidly to for nigh on twenty years by countless others leaves them in the middle of an unspectacular and very large pack.

Black Metal is intrinsically a scene of contradiction – claiming rebellion and anarchy while entrenched in blatant retrospection and reverence to a select few hallowed reference points. But these days it’s a blunted rebellion, stunted by a refusal to move beyond a formula that was first laid down 25 years ago by Bathory and then refined and defined by Darkthrone, Burzum, Mayhem, Emperor et al.

Staring out the window wistfully (the proper one, the one in the wall, not one of night), a half-grin plays on the lips as fond memories tickle the brain of a time when black metal was exciting and boasted creativity and diversity, when acts mutated and pushed boundaries. Sadly Through The Window of Night, for all its’ sonic strength and no matter how well played it is, lacks any desire to be anything other than just another black metal album. If they were alone in their Gorgoroth/Immortal worship, then I might think more kindly, but it’s over 20 years since Pure Holocaust and 18 since Antichrist. The repetition of sound and style by Graveborne and others is well beyond boring now.

5/10

Graveborne on Facebook

Steve Tovey

Avichi- Catharsis Absolute

Posted on January 24, 2014 by News Team

After being in the works for a long time, Avichi’s Catharsis Absolute (Profound Lore) has finally surfaced, and for the most part it’s been worth the wait. Piano interludes open and close the album, with 4 tracks of ferocious black metal packed in between. Whilst the album isn’t exactly accessible, the melodic undercurrent that runs throughout the album makes it slightly more welcoming than other obscure one man projects such as Fyrnask. The harsh, repetitive riff at the end of ‘Flames In My Eyes’ is reminiscent of Darkthrone’s classic era, although it doesn’t feel half as frosty given that this album actually has some production quality. This is no bad thing though, as the production quality gives strength to ‘Lightweaver’, and heightens the anthemic qualities of ‘Voice of Intuition’. What is most noticeable about the album is the use of melody. This is particularly apparent on ‘Lightweaver’, where twisting black metal riffs, keyboards, and chanting intertwine to create a surprisingly catchy song. ‘Voice of Intuition’ is also surprisingly catchy, given the anthemic qualities of the song. A very audible vocal line of “SPEAK TO ME!” is bellowed out across a strong, almost black ‘n’ roll rhythm.

‘All Gods Fall’ is by far the longest track on the album, clocking in at 12 minutes. Here, Avichi slows things down, and gets atmospheric without ever falling into post-black metal tropes. Unfortunately though, it isn’t quite as memorable as the tracks that precede it, meaning that this otherwise great album goes out with a bit of a fizzle as opposed to a bang. It’s by no means a bad track, but the punchiness of the first 3 songs is sorely missed. The track is followed by the aforementioned piano outro, which at this point feels as if it drags, as opposed to adding any atmosphere to the album.

Whilst the album has undeniably strong moments, it is ultimately let down by ending on a meandering 12 minute track which feels lacking in focus, followed by a dull piano outro. If it had ended with one of the middle 3 tracks, it would probably offer a lot more incentive for repeat listens. Despite these negative points, Catharsis Absolute is a decent album, as the tracks which are good, are very good indeed.

7.o/10

Avichi/Profound Lore on Facebook

Tom Saunders

Hekseri – Hekseri

Posted on December 31, 2013 by News Team

Editor’s note: In Ghost Cult’s epic quest to bring you the best in heavy music journalism, we have left no stone unturned when it comes to underground artists to uncover, or just getting some new and unique writers in the fold. This time we did both! After a long time of begging, hounding and cajoling, we are proud to welcome Wren Leader into our ranks as an occasional contributor. In addition to running his long-time highly influence music blog, Bob Loves Music, and a series of DIY metal festivals (Bobfest) where he routinely bring out some of the best talent in the world, in many cases back from the dead. Wren is a purveyor of all things brutal, and a citizen of the metal world.

A few years ago I was offered a tremendous opportunity, the chance to write for a major newspaper. A local but heavily distributed and popular periodical was looking for a few metalheads to write about local and underground metal. Being a connoisseur of fine and exquisite heavy metal noise, I jumped at the chance to see my love of extreme music published. The first and only thing I wrote was a review of an album by one of my favorite local bands, the mighty black metal band Hekseri. While it wasn’t a Pulitzer Prize winning article, I thought it conveyed the beautiful brutality of this incredible band. You can imagine my excitement when I looked down at a newspaper that is read by thousands of people and see my name printed. Unfortunately, that excitement turned to disappointment. Somehow the review had been edited from what I had submitted. There were a few changed lines here and there (which bugged me a little), but the glaring errors included highlighting ex-members of the band that hadn’t been involved with the band for years nor were on the recording as well as misspelling current band members names. I was a bit embarrassed. Even though the general population probably wouldn’t notice, I didn’t like that my name was associated with misinformation and it wasn’t fair to the two masterminds of Hekseri who created this labor of unholy love. Now I understand the need for editing, the newspaper editor had been extremely helpful in fine tuning the piece with me into something that I was quite proud of. But then to see it edited even more with information I knew not to be correct. I probably should have messaged the editor and asked what had happened, but I kinda sucked it up and said “hey something I wrote was in the newspaper, that’s pretty darn cool!” Now Ghost Cult has offered me the chance for the original review to be published! I hope you enjoy it!

Since their beginning in 2004, Hekseri has been one of Boston’s loudest and most volatile black metal bands. After releasing several demos and a split, and performing at such local hotspots as Allston’s O’Briens Pub and the long deceased Skybar of Somerville, this staple of the Boston metal scene has finally released onto the world their full-length self-titled debut. Taking their name from the Danish and Norwegian word for “witchcraft,” Hekseri are indeed a cold and dark conception. Founded by two occult women, this is an explosion of atrocious aggression, blasphemous bile and ear-piercing music that is sure to freeze the blood of all who listen. The guitarist known as Iron Meggido creates thin powerful distortion-filled riffs that are razor sharp and able to rip flesh from the bone. Thuringwethil supports the guitars with a merciless bass rumbling that permeates the record. The drums by pound the ground into submission. On top of this unforgiving sound, both sinister prophets spurt unholy lyrics of anti-religion, war, wrath and dark paganism, provided in shrill inhumanly harsh screams and growls that strike fear in all hearts. While there are no compromises in the brutality of Hekseri’s sound, there is still present a strangely melodic nature. Much like the album art which features gray deathly bodies surrounding a serene mountainous landscape, each devil song has its own memorable flavor; ‘Gods Of Rotting Death’ is a crushing dirge-like hymn whose simple but effective riff can engrave itself into anyone’s soul, ‘Bladefucker’ is relentless in its thrashing onslaught. ‘The Atrocity’ starts off with a haunting clean guitar before diving into a dissonant chaotic anthem, which showcase their breadth alongside the unapologetic blasts of blackness of ‘Invoking The War Goddess’ and the title track. It’s an exhausting listen, but there’s beauty to it. A masterful tribute to the dark arts, this treacherous debut Hekseri record rewards those hardened enough to listen with a gorgeous and grim experience.

9.0/10

Hekseri on Facebook

Wren Leader

Ereb Altor – Fire Meets Ice

Posted on December 17, 2013 by News Team

It’s like the start of another fantasy series that forgot to get inventive with the title. Fire and Ice may be recalling days past and calling on old gods, but it is certainly no half mastered project. Sharing their entire lineup, Ereb Altor is the side project to Swedish based band Isole. This could explain why despite forming in 2003, we saw so little of the band up to their first studio release in 2008. While releases from Isole have been in decline, Ereb Altor has suddenly taking new life, celebrating ten years together as a band with the release of their forth studio album this year with Fire Meets Ice (Napalm Records).

One noticeable difference right from the start is the lack of Bathory influence running through this album. Although it is not completely absent, and some songs still run strong with hints of Hammerheart or Twighlight of the Gods, earlier work such as first album By Honour could easily be passed up as a simple Bathory copy or tribute songs, while Fire Meets Ice is a very different beast. Sharing many of the parts between them, Mats and Ragnar are able to switch the sound from intense tremolo guitars and harsh vocals, to sudden moment of ethereal vocals and mournful guitars in a matter of moments. Their sound on this album is definitely blacker than anything the band has explored before, but rather than breaking out the pits of hell and raising the undead, it blends in and adds a layer of bleak determination and grim hardship.

Unlike other bands dominating the folk and Viking metal genre, they always maintain a distinctly mournful, somber tone throughout the album, never breaking into anything that resembles a catchy riff or jig. Their message is simple; this is fantasy for those that like it desolate. There are no warm nostalgic memories of battle or songs of favour from the old gods. The world is burning, ravaged by fire and ice, and this is the anthem of a new age. This is Viking metal at its very finest.

8.0/10

Ereb Altor on Facebook

Caitlin Smith

Eindhoven Metal Meeting Preview

Posted on December 11, 2013 by News Team

This coming weekend thousands will descend on one of the metal capitals of the world for the Eindhoven Metal Meeting! Ghost Cult Magazine is proud to be a media partner with the festival for 2013. Centrally located and accessible to many major cities, this festival seems poised to biggest edition of the fest, going back to the hallowed beginnings in Arnhem a decade ago. In what promises to be a memorable festival lineup worthy of closing out this year of stellar gigs and productions throughout the EU, the promoters have assembled a trove of amazing headliners and support bands for hungry metal fans to feast on. The main set up of the fest is two stages. The Large Stage is sponsored by Large PopMerchandising is where the main action will take place. Not to be outdone, the Jagermeister Stage, also features many well known, killer acts that will likely have fans splitting their skulls and ear drums, going back and forth between the two. On the plus side the running order for the entire fest has been posted and in a genius stroke, the bands will all be alternating sets, so theoretically very few bands will overlap each other. That’s a class move right there, one to be appreciated by today’s discerning metal fan.

The lineup is amazing on each day. Kicking things off on December 12^thwill be a very thrash feeling experience with headline caliber sets likely due from Dew Scented , Death Angel, and Sabbaton on the The Large Stage. The Jager stage will have the likes of Downfall of Empires, Extrema, Zetro Souza’s (Testament, Exodus) new band Hatriot, and Accuser. The headline band for Thursday is the always fun in a live setting Accept.

Day two might be the most evil and well-balanced lineup on both stages. The Large Stage is notable for a proverbial murders’ row of names such as Fleshgod Apocalypse, Morgoth, Belphegor, Napalm Death, Carpathian Forest (!), Tiamat, and Watain. In addition to the very strong In Solitude, the Jager stage has a lot of grindcore for a good change of pace such as the anticipated reunion from the Church of Pungent Stench, Vomitory, and good old Brutal Truth among others.

To grow a fest like this into a three-day affair, you need to be able come to the table with a strong final act and they have certainly done it here with this collection of bands: The Monolith Deathcult, Destroyer 666, Arkona, Hail Of Bullets, Elvenking, Arcturus, Coroner, and Therion among others. The Jager stage has no slouches either with names such as the recently added Heavenshine, Bodyfarm, Centurion, Hooded Menace, Impaled Nazarene, Nargaroth and Aborym to name a few. This promises to be a great time for all. Ghost Cult will be there to capture all the action and bring you a review soon after. Take care of each other out there and have a good time in the name of metal!

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