Germany’s Necros Christos have been the subject of quite the buzz lately, being heralded as one of the darkest and most unique purveyors of unholy metal going right now.
While Doom of the Occult is my first proper experience with the quartet, it becomes readily apparent right from the get-go that Necros Christos-Greek for ‘Dead Christ’-is a group who truly get it. This lengthy, expansive record exhumes the fetid ‘n foul corpse of mutilating old school death metal and further embalms the fucker with doom-drenched formaldehyde, leaving things dark ‘n dirty to the core.
Doom of the Occult worships the arcane art of thick, swamped riffage, steeped in massive tone and crushing style, reverberating loudly the echoing groundwork laid by Autopsy and early Tiamat. Vocalist and guitarist Mors Dalos Ra does an equally admirable job growling along with equal menace, leading Doom of the Occult ever deeper into the labyrinthine tunnels of the old guard; a far cry pretty ‘n polished metal of today.
Nay, Necros Christos are a band whose heritage belongs to the past, yet whose musical sights are firmly focused straight ahead, determined to amp their forward creative motion. There is a power and energy to Doom of the Occult not often heard from most death metal these days; a determined line in the sand which deserves serious investigation from those obsessed with the old school.
Apparently this Chicago-based doom act has a number of LPs prior to this, their Relapse debut…who knew?
“Not I,” said the duck, and now I’m kicking myself in the ass for it, because Guiltless is some truly intense stuff.
The most immediate praise for Indian can be laid squarely at the feet of frenzied vocalist/guitarist Dylan O’ Toole, whose maniacal screaming put him in a league inching verrrrry close to the UK’s sadly departed and sorely missed sludge brigade Iron Monkey, so vitriolic and frankly frightening is the man’s delivery.
In fact, Indian’s musical attack could also be compared to said British doom purveyors, due to a similarly electric sense of urgency possessed by both bands.
Guiltless is a bit more dynamic, however, not only possessing that pounding, primordial crush, but also a slightly dissonant, lulling sense of discordant melody which ties the album together. Anchored by O’ Toole’s scathing vocal chords and Will Lindsay’s sandpaper guitar licks-the man has also spent time in Nachtmystium, Wolves in the Throne Room and Storm of Light, among others-Indian manages to make raucous, seething fury seem almost musical when captured under the Guiltless sound of pure, unadulterated doom hatred.
This one was a true surprise, and something which definitely demands further, intense listens from all of those remotely interested in the deepest ‘n darkest underbelly of sludge.
BLACK BREATH has been making their way across this great land by van and destroying everything in their path. They have been bringing their blend of death-thrash and crustpunk music to anyone who will listen, often leaving audiences a drooling, bloody mess. By playing little places like P.A.’s Lounge in Somerville the band gets right in the faces of their fans with their insane performance. Adding to the madness of this show was three of the best local bands the Boston scene had to offer making for a fun night. Props go to Melody and Robin of Ammonia Booking who put on some of the best shows in the Boston area.
Unfortunately I came in toward the end of HIVESMASHER’s set and I was bummed because they were killing it. They play an unrelenting style of grindcore and death metal that takes no prisoners. They play mostly short and to the point, brutal songs that are really high energy and perfectly suited for a small venue like tonight. The best song of what I saw was “Send Me To Satan” which had me ready to go to him it was so badass. I will need to catch a longer set from them next time, but they are definitely worth checking out.
Next up was MOTHERBOAR who I saw last month open for TIMES OF GRACE. With a chance to play a longer set they wowed me even more this time and are one of the local areas tightest bands. Playing songs mostly off of their last album 2010′s When The Beast Becomes The Servant(Born of Fire Records), they played a tight show full of grooving modern metal. They opened up with “Thundadome” and “Croctosquatch” really opened up a can a whupass and the crowd loved it. Guitar players Brian Conner and Andrew Doherty make a great team each taking turns holding down the crushing rhythms of the band and also swapping leads as needed. With the start of “Grillin and Killin” vocalist Kenny Irwin asked the crowd “Did you come to party” and the crowd answered back “We fucking came to party.” That is just so …. metal! The songs’ MOTORHEAD on crack style fits this band perfectly as they locked in to a major jammin groove. Thrash and boogie rock being the bands currency, it was impossible not to headbang or mosh along while watching them. Their best song tonight was “Terrordactyl” and it’s contains an ridiculous amount of primo riffage. I feel like the sky is the limit for these guys and can’t wait for their next record already.
Another awesome local band took the stage next in PHANTOM GLUE. This band has had its hand in several bands locally for a while and picking up speed. They play a mix of stoner metal, prog and some other eclectic influences too. Led by guitarist Matt Oates (THE HUGENOTS) and bassist Nick Wolf they alternate the vocals and make every song unique and sonically different from each other. The switch from raging heaviness to ambient weirdness (think THE MELVINS) as times which was great. They have a minimalist approach to vocals and really let the songs shine. They rarely repeat parts too often which is also refreshing since most bands beat a good riff to death. Cool tracks like “Lord Humongous” and “Fazed” really stretch out and explore space like a trippy prog jam band. A song like “Pilgrim” really sums up their style well, full of rock fury and doom laden riffs. Mike Gowell also plays some damn fine guitar, contributing some tasty licks and leads. They are so heavy and deliberate with their slow parts that you just feel your body absorb the waves of gut shaking distortion coming out of their amps. However, the real star tonight is their new drummer Kyle Rasmussen. The guy is an absolute beast on the kit with his lanky frame, laying into each strike like a heavyweight fighter. He hit super hard, played tight and I swear he was gonna leap out of his kit and wipe out the front row of people at one point. The last song of their set was “Brainbow” and it was a total mind jobber. I love it when a band can totally fuck with you mentally with their music and performance like these guys do.
This album kills posers!
Finally it was BLACK BREATH’s turn to rage. Setting their gear up pretty quickly the little club filled up to capacity and was buzzing. We were all packed in tight at the front in anticipation of what was to come and singer Neil McAdams didn’t even bother with the stage, preferring to hold court on the floor in the pit. As they teed off their set with “Escape From Death” all hell broke loose with a crazy mosh pit ensuing all around McAdams. The equally insane “Eat The Witch” was next and every member of the band was firing on all cylinders. McAdams is one of the up and coming frontmen in all of metal with his manic stage persona, strong vocal prowess and ability to connect with an audience. He just wails in general either singing or screaming. He gets right in everyone’s face with his performance in a very old-school punk rock way that I loved. The rest of the band is equally intense and on their game. J. Byrum’s tight drumming fits the band well as he pushes the beat and switches up his style as needed. He forms and impressive rhythm section with Elijah Wells’ sinewy and smooth bass work. Guitarists F. Fundler (SHOOK ONES) and E. Wallace make for a sick duo of axework. Wallace plays some really cool solos when he does step out on occasion.
I think what I like most about this band is that they are at times thrash and death metal and other times hardcore/crust, but not deathcore. Although I like a lot of bands in that style, I like that BLACK BREATH doesn’t go for the cheap money shot that breakdowns are becoming. These guys forged their own specific style and I dig it. “Black Spit (Sin on the Cross)” is like a death metal, punk rock, d-beat little burst of true mayhem in a violent little package. Even in this little club there was an awesome circle pit with people even trying to crowd surf off of a one foot high stage. The weighty SABBATH-ian grooves of the instrumental “Heavy Breathing” gave way to the extremities of “Virus”. “Virus” starts off thrashy, but slows down into a cool stoner jam by the end. “I Am Beyond” is a monster of a song and was perhaps the best of the entire night. The song just crushes and it was cool to hear everyone singing along with Neal. “Razor To Oblivion” was so rocking and righteous that a cool older guy of about 75 years old muscled his way up front from the bar to jam out! He was even taking pics with his iPhone! The equally impressive “Children of the Horn” is another killer track the Neal dedicated it to the fans for coming out. After a fast run through of “Unholy Virgin” they closed out the night with the over the top “Wewhocannotbenamed”.
This reissue comes at the perfect time, with this revered Long Island-based doom/death act having only recently announced their reformation, with a special appearance planned for this year’s Roadburn Festival in Holland.
Of course, Into Darkness also happens to be a stone cold, certified classic, originally released on Nuclear Blast waaaaaay back in 1990. Although that may not seem like too long a while for some of you out there-myself included-this was an exciting time for underground metal; a place where burgeoning bands were only just gaining their feet and experimenting wildly with independent, extreme metal sounds.
Winter was certainly one of these acts, and Into Darkness displays this right from the get-go with “Oppression Freedom Oppression (Reprise),” a legitimately dark ‘n mournful intro which kicks-proverbially speaking-right into “Servant of the Warsman,” an opening track which spills slothfully off the turntable in mournful Celtic Frost style. Right from this point, Into Darkness has already proved its worth as an essential, spearheading example of fine death/doom royalty.
This twisted power trio was truly ahead of its time here on Into Darkness, both in terms of delivery and aesthetic. In particular, the lead guitar work of Stephen Flam practically bristles with legit, Paradise Lost-styled anguish and sorrow. Indeed, Into Darkness probably deserves to be mentioned in the same breath as Gothic or Lost Paradise when it comes to surrealistically melding the grim grandeur of doom with the palpable power of true, old school death metal. Salut.
After having sneak attacked and blown my face off with their obscure 2008 effort, Tribute to Totalitarianism, The Netherlands’ own Izegrim have returned once again to chew bubblegum and kick ass…and they’re all out of bubblegum.
The band’s main offensive lies within a masterful riff attack; an all out barrage which incorporates the best of Bolt Throwing old school death, razor sharp thrash and the melodic metal of Arch Enemy into a potent pot of fertile, engaging kick-assery. Speaking of Arch Enemy, while the comparisons between bassist/frontwoman Marloes and Angela Gossow are probably inevitable, they are also a bit unfair, given the fact that, vocally, Marloes is a much more raw, intense and effects-less proposition.
Compared to Tribute to Totalitarianism, however, Code of Consequences simply ups the ante. The quality level has increased, the aggression level amped and the songwriting tightened to the point of precision. It’s actually a shame that Izegrim aren’t more well known here in the States, for their attack is very much vital and focused; a brutal sonic blast which could easily appeal the death metal fans from coast to coast.
Code of Consequences is a strong debut for Listenable; the album Izegrim had to make for the time, in order to hopefully rise from the underground hordes into the proper metal consciousness. Here’s to them!
It’s admittedly pretty ballsy to name your album “Masterpiece” anything, really…particularly when the band in question (Heavenwood) is only marginally known outside of their home country of Portugal.
Known this band was, however, having released two solid efforts in the mid 90s, the death/doom Diva in 1998 and the comparatively more straight forward, goth/rock influenced Sentenced-swirl of Swallow two years later.
Abyss Masterpiece is the band’s fourth LP proper-after the Redemption reunion of 2008-and signals yet another shift in style for the indecisive Portuguese group, this time back towards the heavier, black/death end of the spectrum. Although such solid songs as “Morning Glory Clouds” still display in spades the Paradise Lost-isms so cleverly found on Swallow-the band’s most accomplished effort-the atmosphere of Abyss is very much heavier and more accomplished, overall.
This balance is really hammered home by Heavenwood as the album flows on-anchored by the clear and pleasing voice of Ernesto Guerra, who sounds equally at home delivering fearsome growls-proving that the band did indeed take their time in crafting a collection which truly showcases their collective abilities as songwriters. Deftly combining heavy riffing and crystalline melodies, Abyss Masterpiece may be a brave title, but it’s also a strong LP which easily designates Heavenwood as one of the best dark metal acts in Portugal today.
So why not take a listen, you might find yourself asking aloud the question, “Moonspell WHO?”
Mercury Tide was a brief, blink-if-you-missed-it side project from Angel Dust guitarist/vocalist Dirk Thurisch, Flowing Tears drummer Stefan Gemballa and ex-In Flames bassist Anders Iwers , who-alongside keyboard player Dennis Riehle-decided to do a straight forward, stripped down rock project during their downtime.
Released in 2003, Why? was Mercury Tide’s full length debut; an album which, compared to Angel Dust, was comparatively more melancholic and goth-influenced; a semi-far cry from their main gig’s penchant for epic and majestic power/thrash. I use the word ‘semi’ only due to the fact that latter day Angel Dust efforts also began to feature a simpler, heavier approach which incorporated melodic keyboards and heavy guitar work on an equal basis.
If anything, Why? might indeed be considered a continuation from such stylistically similar-sounding Angel Dust efforts as 1999′s Bleed or 2000′s Enlighten the Darkness; two records which sharply divided Dust fans who favored the band’s earlier, more speed metal focused efforts. As such, it doesn’t sound so far fetched to assume that Mercury Tide might have indeed been formed in order to properly utilize Dirk’s respective influences; a way for them to not permeate Angel Dust’s established metal sound.
Why? is certainly guitar-centered, however; a focused and energetic LP which brings to mind the Finnish sound of bands like H.I.M. and Sentenced, filtered through the Dirk and Iwers’ Deutschland/Swedish collaboration. Although the whole album is solid, there are a number of clear standouts, not the least of which is the album’s epic title track, “This Never Ending Dreaming,” and the catchy, keyboard-led “Set Me Free.”
Despite the solid attack of Why? it didn’t really surprise much that Mercury Tide’s sole effort sank like a stone, perhaps due to the fact that it couldn’t really find a proper fan base in between Angel Dust’s staunchly traditional set and the goth metal contingent, who probably didn’t even know this band existed in the first place.
Shame, really, because all of this delegated Why? to the annals of forgotten metal history and the cut out bin. Although Dirk has since reactivated this project with a new lineup, only time will tell whether or not Mercury Tide will once again get off the ground and hit it running.
Summon the Crows-One More For the Gallows (Southern Lord)
Taking the lead with their fiery and potent mixture of grinding thrash and furious D-beat crust, Norway’s Summon the Crows have risen from the underground hordes to find an excellent label home over at Southern Lord.
One More For the Gallows is a blower debut for the company, displaying a marked improvement and progression from the their already killer salad days material, while firmly kicking ass the entire way.
There is a strong 80s metal aesthetic to the songwriting here-think German thrash and Celtic Frost crunch-combined with a dark, death metal influenced vocal attack. Production-wise, One More For the Gallows is similarly dark and murky, amping up the bass frequencies in search of that monster heavy sound.
Although Summon the Crows should appeal primarily to the Tragedy/Wolfpack/Anti-Cimex sort of crowd, black metal fans should also check this fucker out, due to the stripped down ‘n raw approach taken so often here by the band on such songs as “Black Hole.” The smoke, stench and fire of Norway’s anti-Christian metal heritage fills the lungs here on One More For the Gallows; a righteous and fist-pumping effort is there ever was one. This bad boy comes highly recommended.
When there hadn’t been a lot of new on where the new IN FLAMES album would be released, I just assumed they were still signed to Koch/E1. Not the case! The band announced in a joint statement today that they have signed with heavy music powerhouse CENTURY MEDIA for the release of their upcoming 10th studio album, ‘Sounds of a Playground Fading’. The album will be released on June 21st in North America and will then be supported by the band coming over to play the mainstage on this year’s Rockstar Energy Mayhem Festival!
Huge news, and very happy news at that, to hear that one of my all time favorite metal bands is still kicking ass and ready to blast our ears with another new album! I know I’m excited, are you?
