In the process of writing my recent review of Devouring Star‘s fantastic new EP ‘Antihedron’, I came to realise that there was a rare depth and maturity to the record, both musically and conceptually. They recently published brief explanations of some of the themes and meanings behind both their debut album ‘Through Lung and Heart’ and ‘Antihedron‘. But there are yet further depths to be explored. The band are cloaked in anonymity, however I was lucky enough to speak with JL who was kind enough to expound upon the concepts and themes at work within ‘Antihedron’, and the motivations and beliefs that inspire Devouring Star‘s music more generally. The answers shed new light on the impenetrable darkness of these records. Read on for the full interview. Continue reading “Interview: Devouring Star on Antihedron, Satanism, and Death”
The brutal death metal unleashed on Polish band Uerberos‘ debut album Tormented by Faith is as merciless as it is calculated. The technical frenzy of this piece of death metal is performed with perfect precision, aimed at the utter annihilation of all that stands in their way. Stylistically there is some overlap with their Polish brethren in Vader, but the sheer blistering aggression of their craft also reminds me of Hour of Penance, Desecravity, and Aborted at times. Guttural bellows rail against organised religion and the hypocrisy of so-called Christians: Not a new topic for death metal perhaps, but one that is particularly powerful and important for a band from the deeply Catholic nation of Poland. Their debut album Tormented By Faith is an astonishingly technical accomplishment, visceral and unforgiving, violent and grim. Continue reading “Review: Uerberos – “Tormented by Faith””
Volaða Land is the debut record from the recently-formed Icelandic group Draugsól. The band describe themselves as black metal, and by and large that’s accurate, but to my ears there’s a whole lot of death metal influence going on here as well, with a prominent low-end sound, heavy palm-muted guitar riffs, and guttural vocals. In some ways the texture of influences on this album almost reminds me of a way heavier, more death metal-influenced Enslaved. The tremolo-picked guitar passages and aggressive percussion are here as well of course, but Draugsól venture well beyond these conventional genre boundaries. The songs are constructed around powerful melodies, rhythms and motifs, with some incredibly tasteful, understated guitar solos and jazzy, varied percussion. Continue reading “Review: Draugsól – “Volaða Land””
It’s always a delight to discover new local talent that remind you that your nation’s metal scene has plenty to offer the world. London-based black metal group Deitus gave me just such a reminder recently. Truth be told, I actually first became aware of them some months ago when they opened for Dead Congregation in Manchester alongside Incarceration and Wode, and while I came away impressed with their live performance, it was only recently that I really gave their 2016 debut album “Acta Non Verba” a proper listen. The album title translates to “Deeds not words”, and should be understood as a statement of intent: Deitus sound absolutely bloodthirsty, hungry to leave their mark on the world with their melodic, aggressive style of black metal. Continue reading “Review: Deitus – “Acta Non Verba””
Devouring Star’s new EP ‘Antihedron’ is the sound of worlds collapsing in on themselves, a black hole devouring a solar system. Antihedron describes “negative planes and shapes”, and discusses the three central concepts of birth, existence, and death. Each song serves to highlight a separate facet of the human experience, as beings whose experience extends across each plane of existence. The crushing, abrasive weight of Devouring Star‘s sound serves as the perfect vessel for the cold, malicious Satanic energies they channel through their music. Antihedron is Devouring Star‘s finest moment to date, and a forceful reminder of the power a record can wield when the music is given purpose through its message. Read on for the review.
Martröð is the collaborative project of an international group of musicians united by their shared musical and ideological goals. Featuring Wrest (of Leviathan), D.G. (of Misþyrming), Alex Poole (of Krieg), and others, their pedigree is impressive, but their music ought to stand by itself, and with such an incredible line-up it’s only natural that expectations are high. Thankfully, those expectations have been met, and Martröð really have crafted a very special release with ‘Transformation of Wounds’.
Back with a fairly late review of last year’s excellent record “False Highs, True Lows” by the French black metal band Plebeian Grandstand. False Highs, True Lows is one of the great metal albums of 2016. This raging cacophony of violent negativity is almost too much to take in on one listen, and certainly demands repeated, careful listens with an open mind. The core of this French band’s sound draws on the legacy of their country’s vibrant black metal scene, but despite its concise runtime, the band also explore a surprisingly diverse range of musical textures and forms from raw, harsh noise and thundering beats to drone metal. In the hands of Plebeian Grandstand, guitars are turned into contorted, terrifying instruments; the chaotic, dissonant chords and riffs turn order into chaos and then both are lost to the swirling madness at the heart of this record. This extreme sensibility is compounded by the frenetic blastbeats and unpredictable fills, as well as the unhinged vocal-work of Adrien Broué.