Apex Fest VI Announces Schedule Of Dates


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Apex Fest VI has updated their lineup for their three day event, held at TransPecos in Ridgewood, Queens and the schedule is posted below.

APEX VI – An Apocalyptic Music Event

APEX FEST TOUR I:
w/ Trepaneringsritualen, Aderlating, IRM, Sutekh Hexen
May 31: Machines With Magnets – Pawtucket, RI
Jun 02: Philadelphia Mausoleum of Contemporary Art – Philadelphia, PA
Jun 03: The Crown – Baltimore, MD

APEX FEST VI MAIN EVENT

I – Jun 05: Trans Pecos – Queens, NY
w/ Jarl, Omei, Article Collection, Arbiter + films/visuals by Martin Bladh, Karolina Urbaniak

II – Jun 06: Trans Pecos – Queens, NY
w/ Gnaw Their Tongues, Trepaneringsritualen, Menace Ruine, IRM, Burial Hex, Sutekh Hexen, Barren Harvest + DJs Ryan Martin (DAÏS), Shenan (Rituals NYC)

III – Jun 07: Trans Pecos – Queens, NY
w/ The Body, Sophia + Karjalan Sissit, Svartsinn, Northaunt, Havan, Funerary Call + DJs Fade Kainer (Statiobloom, Batillus, Theologian), Ben Abstract (Wrath, Bonechurch)

APEX FEST TOUR II:
w/ Sophia+Karjalan Sissit, Svartsinn, Northaunt, Visions
Jun 08: 3rd & Girard – Philadelphia, PA
Jun 10: Dusk – Providence, RI
Jun 12: La Vitrola – Montreal, QC

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Primitive Man – Home Is Where The Hatred Is


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Abstract is the new brutal. The principal focus of Extreme Metal has always been to make music that sounds as violent or destructive as possible, but over the last couple of years a growing number of bands in different sub-genres have embraced a more subtle approach. Whether it’s Gnaw Their Tongues and their followers blending Black Metal with Noise elements, Blut Aus Nord embracing dissonance or Portal deconstructing familiar Death Metal into something totally other, it’s becoming more common to encounter Extreme Metal which doesn’t so much punch your face as make you doubt its existence.

Primitive Man are one of a current circle of bands – Sea Bastard, Keeper and Indian among their peers – engaged in stripping so-called “Sludge”, that ugly child of Punk and Black Sabbath, of its Blues influences and sense of groove and focussing entirely on its capacity for bleakness and discomfort, and are arguably the leaders in their circle when it comes to abstraction. Home Is Where The Hatred Is (Relapse) continues from their independent debut album Scorn with thirty minutes of abstract rhythms, broken chords and growled vocals that steadfastly refuse to describe anything as uplifting or recognisable as a riff. It’s a thick, genuinely unsettling morass of noise and almost ambient amp abuse, and when they do allow themselves a brief moment of Grind-fuelled violence at the start of Downfall it’s almost a relief – though one that’s rapidly overtaken as the song collapses once again into dissonance and atmospherics. There are similarities to Khanate, of course, in their use of dissonance and unorthodox song structures, but as their name would suggest they seem less artful and refined, more… well… primitive.

It is extremely difficult to criticise HIWTHI, not because it’s without flaws, but because any apparent weaknesses (tracks blurring into another; the lack of satisfying climax; the sense of dislocation and frustration that pervades) are so obviously the result of very deliberate choices by the band. They’re not bugs, to borrow from the clichés of IT, but features. This isn’t the dirty, angry Rock ‘n Roll of Eyehategod or Iron Monkey, and it doesn’t seek to press the same buttons – this is genuinely ugly, unsatisfying, dissonant music from a band who aren’t interested in catharsis or making you rock out.

8.0/10

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RICHIE HR


Gnaw Their Tongues – Collected Atrocities (2005-2008)


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These days, blending Black Metal with Noise/Ambient electronics is so common it’s become a cliché but that wasn’t always the case. During the late 90’s and early 2000’s using Noise for intros or segues was standard, but actually letting it into your SONGS was still largely frowned upon. Along with his peers in Axis Of Perdition, Mories (the man solely responsible for Gnaw Their Tongues) was among the first to really explore the potential of these two often contradictory styles, and still among the very best.

Collected Atrocities (Crucial Blast) is a compilation of EPs and splits recorded between 2005 and 2008, and though it represents the tiniest portion of their truly intimidating back catalogue, it’s a relatively accessible place for new listeners to start… not that “accessible” is a word normally associated with Gnaw Their Tongues. With over two hours of music spread across two CDs, the tracks here cover the full range of sounds which GNT inhabit – from full-on Black Metal with Noise as a background to sparse electronic soundscapes with nothing as familiar as a riff in sight – but mostly occupy the middle ground where Mories is at his strongest. Guitars processed to such a gruelling extent that they become Noise themselves form the backbone of abstract, punishing arrangements, fleshed out with unsettling sounds and broken rhythms, while Mories’ pained shriek fights for space with the disturbing spoken-word passages so popular in Harsh Noise.

Gnaw Their Tongues’ music works best when it occupies that space that I wish I had a better term for than “Background Foreground” – not “songs” in any recognisable sense, the tracks here seem to fall naturally to the back of the listener’s consciousness, but once there they begin mercilessly transforming everything else, changing even the most mundane experience into one pregnant with indescribable horror and discomfort. Do NOT go to a high-street fast-food shop on a Saturday night while listening to Gnaw Their Tongues – you will be plunged into an eldritch world of decay and horror from which your sanity will never escape.

The perfect proof that even Gnaw Their Tongues’ odds-and-sods are more genuinely unsettling than anything that 95% of Black Metal or Noise bands can put out on their best days, Collected Atrocities is not only essential listening for people already convinced by this combination of styles, but also an ideal first listen for the uninitiated, and – given its nature as a compilation – a surprisingly coherent one.

8.5/10

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RICHIE HR


Apex Fest VI Confirm Set Times


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The sixth biennial installation of the Apex Fest VI, the apocalyptic music event held June 5-7, 2015 in Queens, NY has finalized its lineup.

Presented by Annihilvs Power Electronix in association with Abstract, Black Horizons, Crucial Blast, Cyclic Law, Earsplit PR, Handmade Birds, Heathen Harvest, Heaven Street, Malignant Records and M.A.P.S., the APEX VI gala will take over Trans Pecos in Ridgewood, Queens, including sets from Portland doom cult, The Body (including guest collaborators to be announced), the second stateside performance from Dutch maniac Gnaw Their Tongues, the first appearance from Sweden’s IRM in ten years, Menace Ruine, Trepaneringsritualen, Burial Hex, Sutekh Hexen, Svartsinn, Jarl, Omei, Article Collection, Arbiter, Barren Harvest, Sophia + Karjalan Sissit, Northaunt, Havan, Funerary Call and more, in addition to short films and visual works presentations, exclusive merch/vendor wares and much more.

APEX FEST VI MAIN EVENT

Jun 05: Trans Pecos – Queens, NY
w/ JARL, OMEI, ARTICLE COLLECTION, ARBITER + films/visuals by MARTIN BLADH, KAROLINA URBANIAK

Jun 06: Trans Pecos – Queens, NY
w/ GNAW THEIR TONGUES, TREPANERINGSRITUALEN, MENACE RUINE, IRM, BURIAL HEX, SUTEKH HEXEN, BARREN HARVEST + DJs Ryan Martin (DAÏS), Shenan (RITUALS NYC)

Jun 07: Trans Pecos – Queens, NY
w/ THE BODY, SOPHIA + KARJALAN SISSIT, SVARTSINN, NORTHAUNT, HAVAN, FUNERARY CALL + DJs Fade Kainer (STATIQBLOOM, THEOLOGIAN), Ben Abstract (WRATH, BONECHURCH)

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Roadburn Festival Announce New Additions


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Roadburn Festival has new additions to their 20th edition of the festival, taking place April 9-12, 2015 in Tilberg, The Netherlands.

Roadburn 2015’s curators Wardruna’s Einar “Kvitrafn” Selvik and Enslaved’s Ivar Bjørnson have almost completed the line up for their event on Friday April 10. Loop main man, Robert Hampson and Swedish psych heroes, Agusa will both perform alongside Focus, Death Hawks, Sólstafir and others. BardSpec – the Ambient project/band from Enslaved composer/guitarist Ivar – will also perform at the event. Einar will present a workshop which will delve into his approach to music and the extensive creative concept behind Wardruna´s ongoing ‘Runaljod’ trilogy as well as his approach and study of the runes and other Norse esoteric arts. He will demonstrate a selection of the oldest Nordic instruments, play fully accoustic Wardruna music and there will also be time for questions from the audience.

Other bands added to the event include:

Briqueville
Moaning Cities
Your Highness
King Hiss
Tangled Horns
Ashtoreth
Miava
Gnaw Their Tongues
Abrahma
IZAH
Hypnos
Verbum Verus
City of Ships
Big Naturals
Admiral Sir Cloudesley Shovell
Death Penalty

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Gnaw Their Tongues Streaming “A Fiery Deluge”


gnaw their tongues

Gnaw Their Tongues is streaming “A Fiery Deluge,” off of Collected Atrocities 2005-2008, out on February 3, 2015 via Crucial Blast Records, here.

Listen to “Slaves,” also from Collected Atrocities 2005-2008, here, and “Glorification of Rats” from the 2007-released Prefering Human Skin Over Animal Fur release HERE.

gnaw their tongues collected atrocities 2005-2008

May 23: Ram’s Head Live – Baltimore MD (Maryland Deathfest)
Oct 09-11: Oakland Metro – Oakland, CA (California Deathfest)

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Gnaw Their Tongues, etc On APEX VI In June


apex vi

The upcoming sixth installment of the NYC-based Apocalyptic music event APEX VI will be happening from June 5-7, 2015 at TRANS PECOS, 915 WYCKOFF AVE, Ridgewood, Queens, NYC. More info can be found here.

The lineup is as follows:

DAY ONE – FRIDAY JUNE 5

M.A.P.S. PRESENTS:

SHORT FILMS & VISUAL WORKS BY:
MARTIN BLADH
KAROLINA URBANIAK

LIVE PERFORMANCES BY:

JARL (SWE)

+MORE TBC

DAY TWO – SATURDAY JUNE 6

GNAW THEIR TONGUES
(NL)
[SECOND EVER EAST COAST APPEARANCE!!!]

TREPANERINGSRITUALEN (SWE)
MENACE RUINE (CAN)
IRM (SWE)
BURIAL HEX (USA)
SUTEKH HEXEN (USA)
BARREN HARVEST (USA)

DAY THREE – SUNDAY JUNE 7

THE BODY & SPECIAL GUEST COLLABORATORS TBA (USA)
SOPHIA (SWE)
SVARTSINN (NOR)
KARJALAN SISSIT (SWE)
NORTHAUNT (NOR)
HAVAN (CAN)
FUNERARY CALL (CAN)

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Gnaw Their Tongues Releasing Collected Atrocities 2005-2008 In February


gnaw their tongues

Dutch Industrial Doomers Gnaw Their Tongues is releasing Collected Atrocities 2005-2008 compilation of their early works will be coming out on February 3, 2015 via Crucial Blast. Stream “Slaves” here, and “Glorification Of Rats,” off their 2007 released Prefering Human Skin Over Animal Fur here.

GNAW THEIR TONGUES Live:
Oct 09-11/2015: Oakland Metro – Oakland, CA @ California Deathfest (With Ævangelist, Antediluvian, Autopsy, Disma, Ghoul, Impaled, Loss, Noothgrush, Worship)

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Common Eider, King Eider – Taaleg Uksur


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The link between Metal and Dark Ambient music, though by this point undeniable, is rather a strange one. The point of commonality presumably lies in both genres’ fascination with “darkness” and negativity, but in terms of musical approach there’s very little common ground – Metal’s aggression and energy contrasted with music which is passive and languid by design.

 

California’s oddly-named Common Eider, King Eider seem like the personification of this contrast, with artwork and aesthetics designed to catch the attention of any Grimly Frost-Bitten Cryptic Winter Panda in the area, and music that couldn’t be further from Metal’s “more is definitely more” approach.

 

The four tracks that comprise Taaleg Uksur (Pesanta Urfolk) are built of sparse, minimalist drones, echoing silences and vocals that range from ghostly whispers to desolate shrieks. Whereas more Metal-friendly acts like Gnaw Their Tongues create dense walls of howling noise, Common Eider… keep it simple – there are several moments which consist of a single, unaccompanied drone that hovers on the verge of silence.


It would be easy for a listener more comfortable with the conventions of Rock and Metal to declare that “nothing happens” on Taaleg Uksur, and they wouldn’t exactly be wrong. This is an album where things are suggested rather than heard – where atmosphere takes precedence over event – but that doesn’t mean that there’s nothing interesting here. They have a surprising grasp of dynamics, switching from quiet to loud (or comparatively loud) drones to positive effect, and the use of vocals (comparable to last year’s Lustmord album, but much more stripped down and minimalist) adds a lot. The final track, ‘Caribou People’, introduces acoustic guitar and electric-guitar drones that create a sense of climax, and allow something to finally “happen”.

Taaleg Uksur is a rich, surprisingly engaging album of minimalist ambiance that uses emptiness as a potent tool, but if you’re the kind of person who reads that as a pretentious way of saying “someone goes ‘whooo’ and then nothing happens”, then you’d be advised to stay away. Metal fans seeking more ambient territories may find the new Wolves In The Throne Room an easier starting point.

 

7.0/10.0

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RICHIE H-R