Free show: Ayasoltec at the Lucky Lounge, Sunday March 30, 2014

March 30, 2014 –
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ayasoltec

Technical death metal band Ayasoltec, formed by ex-Masochism shredder Juan Torres, plays a free show tonight at the Lucky Lounge in Austin, Texas. Ayasoltec builds on the heritage of death metal with a strong jazz-fusion (YellowJackets, Al DiMeola) basis with a Latin American influence on the rhythm section, mixing shredder metal riffs with extensive solo-like passages building the mood in each song.

Lyrically, the band uses primarily Mayan and Aztec mythologies of life and death as a canvas for its explorations, employing a bi-ingual approach in which the English and Spanish languages are used to match the underlying music. The result takes the sound we expect from “technical death metal” (really, jazz/metal/punk fusion) and gives it more breadth musically while expanding the role metal can serve in delivering recognizable songs.

Torres’ previous band Masochism gained fame in Texas and beyond for its tight compositions and complex, aggressive guitar solos. Since 2006, he has played exclusively in Ayasoltec, which by combining ancient imagery with modern fusion hybrids creates an atmosphere unmatched by most bands attempting the post-death-metal styles. They are accompanied tonight by Immerse and Knights of Darkness.

Ayasoltec, Immerse and Knights of Darkness
The Lucky Lounge
209-A West 5th Street
Austin TX 78701

(512) 479-7700

“Hacker Metal” by Brett Stevens on Perfect Sound Forever

wopr

I wrote an article about the cross-influence between hacking and heavy metal. It covers the use of alternative media, like BBS and AE lines, to convey a hidden truth that is shared between metalheads and hackers. The article is entitled “Hacker Metal” and it is published in Perfect Sound Forever webzine.

For those who remember the early web, Perfect Sound Forever is an e-zine that started in 1993 and has run continuously since. It derived its name from an early Sony/Philips ad designed to convince people to switch to compact disks, and covers all forms of music including a fair amount of metal.

How to buy friends and manipulate people

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Metal — and everything else humanity-related — is like the first day of first grade. People are still using the same tactics they used then as the basis of their behavior, mainly because there are only so many options and the goal hasn’t changed.

What is the goal? Society is a cooperation for the sake of survival. We need to get other people to work with us. Most people do that through socializing, others use raw power, some others can only deal with it through the filter of money. But when you socialize, there are only a few paths. You can try to be the over-achiever, with all As and good at athletics. Or you can stand out another way, which is being The Opposite of what people expect. You see this in high school drama departments the clearest, but it’s also present in entertainment and politics among adults.

The tactic is this: stand out by being “different.”

The problem with this tactic of course is that it’s bone-headed, ignorant and predictable. They like blue? You like green. They turn right? You turn left. They like steak? You pick ice cream. Despite it being obvious as heck, this tactic continues to work. You “shock” people and then, using their reaction as a justification for the importance of what you do, rally everyone who hates them to your side. Even if that hatred is concealed.

In fact, we can see this in “black metal” today with an article entitled “Earning hipster act status, Deafheaven defies orthodoxy”:

There are no pink album covers in black metal.

With their much-lauded second album, “Sunbather,” the group broadened the black metal palate with swelling, enveloping guitars oft-associated with the foot-asleep-on-the-distortion-pedal drone of the British shoegazer ranks.

The album won the band an audience beyond the traditional partisans of the harsh, love-it-or-leave-it sound, and as such, Deafheaven was quickly branded a hipster act by scene purists.

In the same passage, the article both calls Deafheaven “different” and then acknowledges that the band is basically ripping off British shoegaze, a genre from thirty years ago.

That’s “innovation”?

Since 1994, we haven’t really had much from black metal. The underground shot its wad, and since only a few dozen people understood it in the first place, it collapsed in on itself while the rest of us try to figure it out. This is one reason that metal academia is important, especially if they stop studying the easy stuff — the newer material and the hard rock like bands — and go to the roots of the genre: Bathory, Immortal, Hellhammer, Burzum, Emperor, Darkthrone, Enslaved, Sodom, Slayer, Mayhem.

Right now our over-written (“foot-asleep-on-the-distortion-pedal”? are you kidding?) media and adamantly clueless fanbase are churning through the ruins of the past. By being “different,” one claims an audience. Black metal was different in a different way, namely that it didn’t try to be different so much as it took off in its own path. So what’s the binary opposite of that? Well, being the same old thing but pretending to be black metal, for starters. Hence the invasion of metal by non-metal bands: Opeth, Boris, Necrophagist, Sonic Youth, Dillinger Escape Plan.

Most of these bands reverted to what was simple and easy to create, which was post-hardcore. With its compositional style that cherished the random over the orderly, and its tendency to drift off and suddenly return to a repetition of its major theme, it was easy to compose. That was probably why it developed the way it did, namely that the punk songwriters who couldn’t come up with Hard Times in an Age of Quarrel or Arise! had to make their also-ran status seem less pointless by “innovating,” or coming up with a half-cooked version of more musically adept genres. Imitators imitating imitators, by being “different,” all the way down.

Deafheaven is no exception. Gone are the complex song structures and the intelligent use of drone. Gone are the troublesome Nietzschean existential questions, where we wonder if life is totally empty of anything, or if we can find a clue to its significance in nature. Gone are even the overtones of Viking metaphysics and Pagan mysticism, the interesting sociopathy for art’s sake, and the rebellious streak that took aim at anything the instant it became accepted, knowing that whatever the crowd likes is a lie. Instead, we get the music you can play at a school dance. Easy beats, head-nodding go-nowhere melodies, symmetry and rock ‘n’ roll conventions from time immemorial. It’s the same old brand new thing.

But really, this act of “being different” can be seen everywhere. Nu-metal was based on being different, or at least on the perceived emotional contrast between sing-song verses and ragey choruses. Metalcore was based on being different in that the riffs had no relation to each other so it was like hearing carnival music on a fast-moving merry-go-round. Later punk was based on being different, in that it was punk but it got in touch with its softer side and went all progressivey and stuff. All different, all the same.

Metal will begin to recover from its 1994-2014 slump when it acknowledges that these easy ways of socializing are gone. Appearance is not reality. The kid who really got ahead in socializing was the kid no one noticed. He made friends by being genuine, made connections with teachers by learning something even if he didn’t get As at all, and everyone knew him because he didn’t fit into any of the easy slots that almost everyone else did.

Or the kid who got ahead because she had an interest that was very specific and just fit her personality, so instead of going for all the drama, she just spent her time on that. Or on being a good friend, and being there when people were in need. Those were the people like black metal, which was the genre that chucked socializing away and focused on both outside reality and the inner spirit in all of us instead. I miss those days. It wasn’t pure whore, all the way down.

deafheaven-disposal

Nidhogg reveals details of Ildjarn and Hate Forest Those Once Mighty Fallen split

March 29, 2014 –

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Last year, we reviewed Ildjarn’s contribution to the Those Once Mighty Fallen split. In it, we speculated that Ildjarn perhaps was uninvolved in composing that music, due to its distinct difference with the rest of his discography.

This perception turned out to be well-founded, as former collaborator NiDHOGG recently revealed the original demo tape via his Youtube page, composed by him in 1994:

iLDjARN has confirmed to me that there’s been a mix-up in regards to the source-material for the split. The songs are my original compositions in their entirety, though uncredited. Old tapes have been floating around . There is no quarrell between me and iLDjARN regarding this, it’s a matter between him and OSMOSE.

The preliminary synth-basses here represent parts of what was later to be recorded as guitar and bass. The songs are 6 of intentionally 12, in random order, with original lyrics drawn from and tracking Voluspå, the ancient Norse tale of Ragnarok.

In the order they were recorded, with original titles, on my ca. ’94 sketch-tape:

1. Balders skjebne
2. Syner
3. Fimbulsvintr
4. Garm gjøy
5. Det siste slage
6. Fra øst en elv

Additionally, NiDHOGG released another demo recording stemming from around the same time period. Similar in diverse ways to the more standard black metal material found on the split and the more feral material composed later; it is an intriguing glimpse back into the relevant years of black metal, even in a nascent form.

Interview: Jari of Agonized

March 28, 2014 –

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Finnish band Agonized got the break last year that they wanted two decades ago: a horde of people interested in their only demo, “Gods…,” which was subsequently and sequentially released on CD-R, vinyl, CD and tape.

Created in the old school style of primitive rumbling death metal somewhere between Belial and Demigod, “Gods…” comprised four tracks (and an intro) of disturbing inhuman noise shaped into musical form. Since metal has not produced any style more compelling than old school death metal, interest in such material has accelerated over the recent years.

We were fortunate to get in a few words with Jari from Agonized about “Gods…” and the circumstances of its creation, and how and why it endures today…

Was there a “Finnish sound” to death metal, or multiple Finnish sounds? It seems to be popular to group bands like Funebre, Demilich, Xysma, and Demigod together and proclaim a similarity to them. Does this sound exist? Is Agonized part of the group that uses this sound?

I think there was. There was a similar sound to bands of that era. Like there was, or still is “Swedish sound.” It might be pure coincidence that bands played like that. In our case, we listened to Xysma, Abhorrence and Disgrace in 90s so those really had a big influence on our music. Of course every band sounded like their own style, doing their own mix of influences through the “Finnish” filter. You simply cannot say all Finnish bands sounded the same. They just had some Finnish trademark on their sound. I cannot define that better. I am not a musician haha.

What drew you personally to death metal back in the late 80s and early 90s? Did you have any connection to metal before death metal? Do you know if the other members of Agonized had a similar experience?

Three of us grew up together. Me, Janne (bass) and Mauno (drums) were childhood friends and have known each other since we were something like seven years old. We started like any other young kid those days. First there was Iron Maiden, W.A.S.P. and Kiss. I remember I bought my first W.A.S.P. record when I was ten years old. After that we just tried to find more and more extreme and heavy stuff. Then we started to find out heavier stuff like Slayer, Bathory and Destruction to name a few. I think this has been the way many of today’s death metal fans have started. Also I had some sort of punk era in between.

After Napalm Death released From Enslavement to Obliteration we read about them from Finnish music magazines and were like, “Whoa, that must be some cool shit.” At that time only way to get your hands on Napalm Death records was to travel to Helsinki from Lahti by train and buy them.

When I found that Napalm Death LP in Helsinki, at the same time I saw Carcass’s Reek of Putrefaction LP and Bolt Thrower Realm of Chaos. When I got home from Helsinki and put on the first notes of the Napalm Death LP, I could say my head exploded. What an absolute annihilation after listening years of thrash and speed metal. After that I got into the next LP, Carcass… yeah, right… Another deadly hit. Rest is history. I have never survived that actually. So I am still on that road.

When did Agonized form, and what were your inspirations and influences at that time? Did you have any non-musical influences, like literature or other forms of art or culture?

Agonized was formed in 1990 if I remember correctly. Janne, Mauno and I wanted to play some death metal after hardcore/grind experiments but it was really hard to find anyone skilled enough to play guitars. We put an advert on a Finnish music magazine that we are searching some guitarists to play death metal. We got contacted by two dudes (Antti and Mika) from Vantaa and went to see if it would work out. We had a nice playing session and everyone thought let’s play something together. We gathered few times, in Vantaa and Lahti, to play together.

As we were arranging concerts in Lahti for underground bands we played few shows on those events. Agonized had big influences from Bolt Thrower, Carcass and Xysma. Those must have been the most influential bands on Agonized, at least for me. I don’t remember any non-musical influences. No, I don’t think there was any non-musical influences. Agonized was mostly for just having fun playing the music we wanted to hear.

The band put out one demo, “Gods…” Can you tell us how this demo came about? When did you write the songs, and how did you record it?

After few shows we decided to record those tracks we played to tape. Songs on this tape are all Agonized ever managed to come by. Our shows contained only those tracks and I remember we played those twice to play even a decent length of set. All songs was born at those rehearsals we had together. We just started playing and decided that “hey, that sounded cool” and continued to another one.

“Gods…” was recorded in a local studio, we got two or three hours of free use of it with the guy who mixes the tape. Guy behind the desk did not have any idea what to do with this kind of music. I doubt he had never even mixed any metal band. We just listened the results and said “do this, do that…”. Guitars and drums were recorded first. After that we recorded vocals and last bass. Janne had some issues in his life and did not manage to recording session, so Mika played also bass on “Gods…”

Whole thing was ready in those two or three hours we got to be in the studio for free. We could have done it better with more, but were totally broke as we were just a bunch of kids who spent all their money the previous evening getting wasted. So we had to accept the fact that we did not have any money for more studio time.

Apparently the band members went separate ways after the recording of this demo. Do you know why this was? Did you personally want to keep going as Agonized?

After recording, I remember some got bored playing death metal and wanted to play something else. I myself was bored with my whole life and started some sort of seven year period of self destruction with substance abuse and techno haha. So I kind of departed from the whole scene to a completely different world. Couldn’t care less about Agonized or the whole scene. Of course I still listened to some bands but was completely away from the scene for years.

Looking back, what do you think of the demo, and the potential that the band had?

I have always thought it is a good demo. Still we could have done it better. But maybe if we would have done it with more time, it might have lost its primitive approach and become shit. Maybe, just maybe, it was done in the best possible way. Without thinking too much of the final result. Band definitely had potential, if we had just continued playing.

But due to personal problems and interests that just was not possible.

Several former Agonized members reunited in Cadavericmutilator, which as far as I know has never released a demo. What was Cadavericmutilator like?

Actually it was other way around. Cadavericmutilator was before Agonized. It was a noise/grindcore band including Janne, Mauno, me and several various members playing guitars. We made few shows and actually recorded one demo, which was not spread anywhere. It was just pure chaos. Just blasting with some noisy guitars playing whatever and two vocalists screaming with shitloads of effects on them. That demo would have been nice to hear today, unfortunately it was destroyed as I shot holes through the master tape when I was being a bit paranoid years ago hahaha. Well, it was quite crap anyways. So no big loss.

Some reviewers have mentioned that Agonized, while using the classic Finnish death metal ™ style, had more of the pace of Autopsy and the grinding presence of Carcass. Did any of these bands factor into your listening? How do you describe the music of Agonized?

I would describe music of Agonized as a hybrid of American and Finnish death metal. It is just like Bolt Thrower and Carcass mixed with Xysma. At least I think so. Some have compared it to Mortician, but I must admit that any of us did not even know what Mortician was back in the days we were active. So I cannot compare us to them.

I thought it was a stroke of genius how the band (or you alone?) managed to first release a CD-R of the demos, build interest, then get a 7″ released, build more interest, and finally get the CD re-release on Aphelion records. Can you tell us how each of these steps came about, and roughly how many copies of “Gods…” are out there as a result?

Actually this re-release fuzz is completely my fault. I wanted to just have a personal copy on CD-R, but due to high popular interest I decided to release 140 copies of CD-R so that people who want it can have it. Very soon after I did that, Emptiness released a 7″ that was limited to 500 copies. Patches were made at the same time to include with some of the copies. Also Aphelion released a CD version quite soon after this, limited to 1000 copies.

Latest news is that there is coming a tape version that has limitation of 100 copies. This will be released by Dunkelheit. Tape version is a bit different one. After all these other releases I found a nice copy of “Gods…” tape from Mexico (thanks Agata) and tape version uses that as a source. So it sounds a bit different than other versions that use Mr. Moyen’s tape as a source.

What have you done since the days of Agonized? Are you still active in the death metal community? What about the other members?

After Agonized I was away from this world for seven years with my substace abuse problems I defined earlier on this interview. For 15 years I have now been sober and have four great little kids and a wife and a daily job. Sounds boring eh? So I do not have time to be very active in anything. I do collect CDs and mainly they are death metal. New and old. There are excellent new albums and bands popping up every week. But it’s not like I am being active, just listening to same kind of music as when I was a kid. I do not know about other members. I suppose some of them do have some music related projects but no idea what kind of.

Are there any plans to get Agonized back together and write more material? If not, why? If so, what can we expect?

There was some discussion of this with other members. But as for now, at least I think this would not be so good idea. At least not under the name Agonized. I think reunions are not a very good idea after over 20 years of silence. When “Gods…” was released we were 16 year old angry young metal heads with great passion to do what we do. How in the hell that same can be achieved now, when we are like 40 year old dudes with families. I could do vocals, but I doubt it will be the same anymore. I’m not saying that when you are 40 you can’t play death metal, but for sure it won’t be the same band as it was over 20 years ago. It would be completely different story. But… Never say never.

Do you think death metal and underground metal are still relevant? Why do you think people are still drawn to this art form?

Absolutely. Seems to be very alive and kicking. Death metal is here to stay, where would it go. People like me like to listen to it. What would I listen if not death metal? I have grown with it. It is a tool to get away from this every day life for just a while. People want to release their anger by playing it and why not. It gives youth of today a good alternative on all the shit this world hits at you from every side.

Underground metal is a honest form of music and way to express yourself. Not the crap you stumble across everyday to make you dumb. I also do admire bands that have been around since the beginning. That is one hell of an achievement to play this kind of music 20-30 years active, touring and recording. Now that is something.

Cruxiter unleashes Madness of the Void demo 2014

March 27, 2014 –

Heavy metal band Cruxiter unleashes its latest demo, “Madness of the Void,” via YouTube in preparation for a cassette release. Cruxiter has been steadily gaining fans for its mixture of modern technique, classic heavy metal, and touches from the album-oriented melodic guitar rock of the late 1970s.

This follows the band’s previous demo in 2014, “Under the Moon,” which is also available on YouTube and shows the band in transition between their earliest works and their present style.

Autopsy releases “The Howling Dead” from Tourniquets, Hacksaws and Graves

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Crepitant muciferous mid-paced death metal band Autopsy releases its newest album, Tourniquets, Hacksaws and Graves on April 29. This will be the seventh full-length for the long-running band, who took a break from 1995-2008, and most likely will showcase more of their streamlined rubric of aggressive death metal balanced by a mainstay of moderately paced material which gives contrast to the bursts of fury.

Tourniquets, Hacksaws and Graves was recorded at Fantasy Studios with producer Adam Munoz, and features the classic Autopsy line-up of Eric Cutler and Danny Coralles on guitars, Joe Trevisano on bass and Chris Reifert on drums and vocals. Second-wave death metal cover designed Wes Benscoter painted a cover to order which exhibits the album’s theme in one convenient image.

The tracklist for this sonic shock troop attack will be:

1. Savagery
2. King of Flesh Ripped
3. Tourniquets, Hacksaws and Graves
4. The Howling Dead
5. After The Cutting
6. Forever Hungry
7. Teeth of The Shadow Horde
8. All Shall Bleed
9. Deep Crimson Dreaming
10. Parasitic Eye
11. Burial
12. Autopsy

Below is the sound sample from Peaceville Records:

Oppression – Sociopathie & Glorie

March 25, 2014 –

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Punk music, in all of its myriad strains, was an integral foundation of black metal. The sense of strong alienation coupled with a conflicted youthful exuberance towards the future was shared between both genres, in addition to technical specificities. As black metal burned through its trajectory and splintered into its various initiatory parts, it became clear that a punk foundation to the genre would be a logical ground for renewal.

It’s here that we find French-Canadian band Oppression. Merging Oi!-style punk with some enhancements from black metal, tracks are short (2-3 minute) affairs. Melodies are catchy, yet wistful lines grounded in simple guitar and bass riffs, with vocal alternating between manic shrieks and an idiosyncratic, youthful attempt at melodic singing. Using the more linear style composition of punk, as opposed to the riff-stacking song construction used by much of black metal, each song contributes a sense of motion that builds the album up over successive tracks. Production values are what one would expect for this style of music; clear enough to make out each instrument, but raw enough to preserve low-budget ethos.

This is a release that is not attempting to invent a new genre, but rather one which seeks to renew genres that had collapsed under their own entropy. This is a solid debut, which bodes well for the band as they refine their craft into the future. The strange aesthetics may be off-putting to some, but if those can be sublimated into the spirit of this album, a refreshingly honest work will open itself for enjoyment.

Interview with Dallas Toler-Wade of Narcotic Wasteland

March 24, 2014 –

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Most metalheads know the name Dallas Toler-Wade from Nile, the modern metal band that dropped static riffing and late-1970s guitar rock structures into death metal and paved the way for a new generation of hybrids and mythological themes in metal. However, before Nile, Toler-Wade created music with his cohorts in the band that has become Narcotic Wasteland.

Narcotic Wasteland, which just released its self-titled debut album, picks up with an even more modern style which resembles the deathcore/percussive death metal mix that Suffocation shifted to around the turn of the millennium. Its emphasis is more on memorable songs than spurious guitarplay. We talked to Toler-Wade to find out more.

You’ve just launched an entirely new project, Narcotic Wasteland. How does the style of this band differ from the band you are quite well-known for, Nile?

This band musically is getting back to the things I was writing before I joined Nile. Now you will here some similarities in some of the musical ideas, but that’s part of the reason I was interested in trying out for Nile back in 1997 to begin with.

Do you think death metal is still relevant in a time of modern metal?

I think that all music that comes from the heart with the intention of connecting to other people will always be relevant to like minded people.

What spurred you on to create Narcotic Wasteland, and how did you choose your fellow musicians?

I had these ideas brewing for quite some time. When I am home one of the things I do most is record ideas. As far as the lyrical ideas for Narcotic Wasteland I really had some things to get off my chest. I have lost a lot of friends over the years to hard drugs, and I just had this confusion, anger, and sadness boiling in my stomach that I needed to purge. But not all of the songs are about this. I don’t think any band should be limited to just one subject. they should be able to do whatever they want.

As far as the musicians that make up Narcotic Wasteland I knew I really wanted to jam with my long time friend Edwin Rhone again. We worked very well together in the past, and the sound of our hands are very similar. Edwin is a great songwriter and player as well. Edwin recommended Chris Dupre for bass and vocals. Chris is very creative, and he totally fits the sound of the music. It was really hard to find a drummer with the right style. it took a couple years, but George Kollias recommended Erik Schultek for the drums, and once again the style really fit great.

All of the guys are super cool, super talented, hard working musicians. I really think the next release with all of our heads together will make an even better record.

It sounds like you’ve gone for a more explosive production sound. How did you achieve this, and how happy were you with how the album as a whole turned out, production-wise?

I am very happy with the way this record came out. I did not want it too polished, just tight and clear with not too much flash. I did not want to put just another squeaky metal album out there. I wanted it to have attitude, and sometimes things get so clean the aggression gets mixed right out. After all it’s metal as long as you can hear everything then people will be able to hear the ideas.

Is Narcotic Wasteland a conceptual band? Or is this first album conceptual, and will you be doing something unlike that for other albums?

I really feel we have created something kind of different. I think we will only expand on what we have already created.

Every time I see the Narcotic Wasteland logo (of some intoxicating white powder cut into the letters of the name) I am both stunned and intrigued. Why did you go with this logo, as opposed to a “traditional” death metal style logo? Did you make it yourselves with physical powder?

I wanted the logo readable for sure. There are too many bands out there with non-readable logos. I thought it would be something heavy and real that deals with real topics. It’s death metal, and when you look at that logo it’s like looking death in the eye.

Heavy metal has always been somewhat apocalyptic. Does your music address a collapse in process (as society or at least parts of it devolve into narcotic wastelands) or are you speaking from after the collapse, telling us how to rebuild, or something else?

I think that we are living in a Narcoitc Wasteland, and yes it is causing people not only death, but financial ruin, and also people with addiction problems cause anguish for their friends and family.

Your songs are technical but not extraneously so. What guided you in composing these tracks? What effect did you hope to have on the listener?

No matter what kind of song I’m writing I really just want to connect with the listener. I have gotten messages from lots of people saying that it really hit them in the heart. For me that’s what it’s all about, and metal has always been strong emotionally.

You’ve got your debut album out and seem to be selling it at a fast clip from the website. What’s next? Are you seeking more label interest, touring, or composing new material?

We would love to play shows. As far as labels — sure why not? — but we really want to see how far we can push it on our own steam for now. The more work we do ourselves the less anyone else will need to do. So far we have done everything in house from the recording, songs, video, and website. I think it’s very important for a band to be as hands-on as they can with everything. And yes we are already working on the next release.

According to your biography, Narcotic Wasteland seems like a continuation of a musical partnership that began before you joined Nile. How does it feel to be back, and how has your music changed in the intervening years?

It is great to be working with Edwin Rhone again. I always thought we made a great guitar team. I think we have all grown musically over the years. And music will almost always change as long as you keep learning the craft. I just want to be a better writer and player for any band I am part of.

Sorcier des Glaces releases Ritual of the End

March 23, 2014 –

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Northern wanderlust black metal band Sorcier des Glaces announces its fifth album, Ritual of the End, to become available shortly through Galy Records. This Quebecois act made a name for itself in the internally collapsing underground by crafting lengthy melodies in windswept melancholic formations, despite the trends of the time which it rebuked.

According to the band, “Sorcier des Glaces strikes back with a fifth full-length album, featuring seven rituals of ice and darkness. Seven blackened hymns of Cold Primitive Metal from the northern desolate landscapes of Quebec. Old school to the bone, yet melodic, powered by a crushing metallic production. Ritual of the End features a cover of the mighty Samael, rightfully chosen from their 1992 album Blood Ritual.”

For those who like metal in the spirit of the past, which in black metal is the triumph of the pragmatism of nature over the mental fog of human social good intentions, Sorcier des Glaces offers the spirit of the past without rehashing specific acts or, worse, forming a lowest common denominator out of the aesthetic of the classics to imitate and flog to death. Instead, the band write naturalistic melodies which expand into lengthy songs capturing the dark, solitary, empty and feral mindset of black metal as opposes the neurotic chattering self-obsessed brain of the normal person today. Like past Sorcier des Glaces albums, Ritual of the End will most likely be artistically controversial in that most will flee it, but for those who desire the old school mentality it will be a rare delight.

Track listing:

01. Under The Moonlight
02. Morbid Ritual
03. Snowland
04. The Frozen Sword of Midnight
05. The Sign of the End
06. Macabre Operetta
07. Slumbering in the Dark