There are times when album art seems absolutely representative of the music contained within. So it is with Irkalla (The Artisan Era), the forthcoming album by Green Bay, Wisconsin’s Aronious. The technical death metal group’s follow-up to their 2020 album Perspicacity, rushes at the listener in relentless, head-spinning waves, as though the band was charting the soundtrack to the formation of galaxies. Continue reading
In the two (plus!) decades since their inception, it seems that Tasmanian death metallers Psycroptic have simultaneously had their plaudits and yet also feel like an underrated act, especially considering their ascent in their recent albums. Whilst 2003’s The Scepter of the Ancients was an early career high point, it wasn’t until 2015’s self titled effort (and first on current label Prosthetic) where they began to show themselves again amongst the upper echelon of bands in their field. If this was an arguable statement previously, Divine Council is the album that makes it a certainty.
Nailed it. On first listen of Equinox Vigil (Gilead Media), I suspected this to be the work of one man, two at most. Wrapped up my first listen and immediately checked online only to confirm that Inexorum is indeed a two-person operation and from the Midwest no less. Those drab icy winters would likely compel a musician or two to abandon polite society and embrace extreme metal whole hog.Continue reading
In what seems to be the year of the sophomore releases for new bands in the scene, Knoll has come stomping back with their second full-length, Metempiric (Self-Released). Somewhere between grindcore and horror movies is where this record will be classified years from now. The use of shrieking vocals, traditional grindcore instrumentals, and uncomfortable brass sections (oh yeah, there are trumpets!) peppered in really make this album a formidable contender for end-of-year discussions, but is just uncomfortable overall, which is a commendation that is not handed out often.
Scott and Zack of Bloodgate chatted with Ghost Cult a while back with Keefy to discuss their new album Solace in Mourning – out now! The band discussed their changes over the years, the make-up of the band with some lineup changes over time, their return to touring, and recounting the time they opened for Avenged Sevenfold, and Volbeat!
It was a perfect spring evening last Tuesday in Sterling Heights when Alternative Metal giants Deftones brought their tour to town. The sun was shining, and the birds were singing when a line of traffic started to form outside the Michigan Lottery Amphitheater. Cars were bumper to bumper as they tried to squeeze their way into the sold-out show at this Detroit suburb open-air venue. The opening act of the tour, VOWWS, could not make the gig so the second band on the roster, the mighty Gojira opened up the night.
“Blut Aus Nord is not available for interviews” proclaims the press release accompanying Disharmonium — Undreamable Abysses (Debemur Morti), the band’s fourteenth full album since their inception in the mid-nineties. That Blut Aus Nord are conspicuous about being enigmatic says a lot about their attitude.
Death Metal can be presented in various iterations: grimy and old school; melodic, and technical; symphonic and gothic. Each offshoot augments further exploration and daring.
Deceived by whispers of comfort from the dread pages, Richard Benton tarried too long among the blasphemous text of the Book Of Dead Names – and four eldritch nightmares followed him back.
Oh, what a surprise it was to get to do a piece on the re-release of Norwegian black metal legends Mortem’s Slow Death! A huge thank you to Peaceville for deciding to throw this one back out there in a two-disc set containing the original recordings along with some of the demos. Included in the release is the original 1989 booklet with an extended band history and some awesome rare images. I am actually finding it kind of hard to pick a place to begin!