Demoncy’s new release: Empire of the Fallen Angel (Eternal Black Dominion) is set for international release onJune 29th on both CD and vinyl LP formats via Forever Plagued Records. Although originally released in 2003 after years of mysterious silence, the renamed Empire of the Fallen Angel (Eternal Black Dominion) is an entirely new recording. Whereas the original 2003 album was recorded with a full band lineup, this Empire of the Fallen Angel (Eternal Black Dominion) was recorded solely by Demoncy founder Ixithra, with the first four tracks being entirely new compositions.
Tengger Cavalry is a band from Mongolia whose main selling point is that they make extensive use of Mongolian traditional instruments in a metal context. Now, it may be that I am prejudiced both towards East Asian metal and the prominent use of folkloric music in metal, but there are statistical reasons for that. East Asians are not known for their originality in metal (not only…). And very often, when a band sells itself mainly because it uses traditional instruments we can smell the stink of gimmick all over it. Some kind of prejudice is based on the probability of an event given our experience. Sometimes enough experience justifies the validity of this probability. And sometimes we may find ourselves erring in our prejudice. But Tengger Cavalry are not the exception, they are the rule.
The “metal” element in this music is provided through a Rammstein-styled modern stadium heavy rock, a little ala Rob Zombie. The rest is comprised of simple, repetitive melodies played on folk instruments that are never developed . Decorations are provided by different kinds of instruments, while the Rammstein element is used as a backbone. This would work very well as a soundtrack for Arcade machine slasher games, providing a momentary sugar-high with no lasting nutritional value.
The production value here is necessarily very high quality. The music is incredibly catchy and all the same irrelevant, placing Blood Sacrifice Shaman in the same category of embarrassingly cartoonish party-rock-pretending-to-be-metal as late Chthonic and Babymetal. Recommended as T.V. commercial jingles for on-line games and such.
CVLT Nation is very proud to present the seventh covers compilation of their CVLT Nation Sessions series with AMEBIX’ Arise! This reinterpretation of a genre-defining classic is up for exclusive streaming and free download via CVLTNation.com, and features Plagues, Abstracter, Druglust, Coltsblood, American, Agrimonia, Okus and Larvae! These young musicians have done astounding tributes to one of the most iconic bands in punk and metal history.
Check it out at THIS LOCATION.
The CVLT Nation Sessions is a musical project with the aim of reinterpreting iconic music that has influenced a wide spectrum of genres, while also widening the audience for the participating bands. CVLT Nation has recruited some of its favorite underground heavy bands from around the world to record covers for free distribution and download via CVLTNation.com. All mastering is done by Black Matter Mastering in Nashville, Tennessee.
AMEBIX Arise! – The CVLT Nation Sessions Track Listing:
1. Plagues – The Moor
2. Plagues – Axeman
3. Abstracter – Fear of God
4. Drug Lust – Largactyl
5. Coltsblood – Drink and Be Merry
6. American – Spoils of Victory
7. Agrimonia – Arise!
8. Okus – Slave
9. Larvae – The Darkest Hour
Antigama dispatches their seventh full-length studio album, The Insolent in the coming days. This all transpires just one week before the band makes their long-awaited return to American soil for their East Coast tour with Selfmadegod Records lablemates, Drugs Of Faith, including the band’s second time attending Maryland Deathfest.
Recorded in February at JNS Studio in Warsaw, The Insolent was engineered by Pawel Grabowski, mixed by Pawel Grabowski and the band, mastered by Scott Hull at Visceral Sound in Bethesda, Maryland (Pig Destroyer, Agoraphobic Nosebleed), and features a guest appearance by the legendary Polish electronic artist Władysław “Gudonis” Komendarek.
Orders for The Insolent are available on cassette, eco-pack/gatefold digisleeve CD, black 12″ gatefold LP, and a translucent 12″ gatefold LP, limited to 100 copies worldwide. All four versions are now available internationally from Selfmadegod HERE and in the US via Selfmadegod’s stateside mailorder outlet, Earsplit Distro, RIGHT HERE.
Antigama tour the East Coast US Tour w/ Drugs Of Faith:
- 5/13/2015 Nihil Gallery – Brooklyn, NY w/ The Communion, Buckshot Facelift [info]
- 5/14/2015 The Funky Jungle – Providence, RI w/ The Communion, Eaten, Feedback [info]
- 5/15/2015 Clash Bar – Clifton, NJ @ Mildfest w/ The Communion, Organ Dealer, Pink Mass, more [info]
- 5/16/2015 Second Empire – Philadelphia, PA w/ Infernal Stronghold, Past Tense [info]
- 5/17/2015 Smash! – Washington, DC w/ Ampallang Infection, Blockhead [info]
- 5/18/2015 Cellar Door – Annandale, VA w/ Earthling, Blooddrunk Trolls [info]
- 5/19/2015 Strange Matter – Richmond, VA w/ High Priest, Empty Hands [info]
- 5/20/2015 Main Street Annex – Charlottesville, VA w/ Earthling, Blooddrunk Trolls [info]
- 5/23/2015 Baltimore Soundstage – Baltimore, MD @ Maryland Deathfest [no Drugs of Faith] [info]
You can follow Antigama on facebook: http://www.facebook.com/antigama
The history of Western music did not begin in the baroque period. A continuous musical tradition can be traced back at least as far as the early middle ages and this music itself has links to the musical traditions of ancient Greece. Much of this music fell into relative obscurity due to its notation and the anonymity of its composers, however throughout the 20th century a concerted effort on the part of scholars and performers has resulted in a revival of much of the music of the middle-ages and the renaissance. This series will present selections of music from the middle-ages and the renaissance together with some historical and philosophical background along with reflections on why it is relevant to metalheads.
The earliest medieval music that has been preserved to the present day is monophonic, that is to say it consists of a single melodic line without a harmonic accompaniment. This music has mainly been preserved in the form of the sacred chants of both the Catholic and Orthodox churches. The chants associated with the Catholic church are relatively well known to Western ears as Gregorian chant, whereas the chants of the Orthodox church are less familiar.
From a purely technical standpoint these pieces are interesting due to their use of different modes (scales) and the fact that they focus on pure melody, rather than using melodic lines that conform to a harmonic structure. This approach will not be entirely unfamiliar to metal listeners given that death metal in particular tends to utilise melodic lines which are not rooted to a particular harmonic scheme. From an artistic standpoint these chants are also of interest to metal listeners. Their contemplative and reverent nature speaks to a mentality more aligned with metal than with modern incarnations of Christianity and suggest an understanding of that religion which has long since been forgotten.
The following is an example of Byzantine chant (the chant of the Greek Orthodox Church). Note that it utilises a vocal drone which is not entirely static but moves away from and returns to the tonic note of the mode in order to create tension and resolution. This technique may be considered a predecessor of modern harmony but the music is still essentially focused on melodic material.
Boston-Quebec old-school technical death metalers Zealotry have announced that Alex Zalatan (Inhumatus) will be joining their ranks as the band’s permanent drummer. Zalatan will be in charge of percussion duties for Zealotry’s upcoming sophomore release, The Last Witness. Besides mastermind Roman Temin, Zealotry’s line up also includes Phil Tougas, single member of the project Chthe’ilist, on lead guitars.
Zealotry have made the following announcement on their facebook page:
It is with great pleasure that we announce today that for the first time in our history Zealotry has a permanent drummer.
Alex Zalatan, also of Inhumatus, Cymatics and Burial Moss.
Alex will be performing on our upcoming second album The Last Witness and any future shows we play. We’re very excited abut having someone of his considerable talents behind the drum kit for us.
A demo of what is to come in the second album was uploaded in 2014 and can be heard here.
Belgium’s Possession return with a brand-new mini-album, 1585-1646, set for international release on June 6th, with Iron Bonehead Productions handling the vinyl pressing and Invictus Productions handling the CD pressing, and today premiere the new track Ceremony.
Through these four tracks, Possession tells the story of a witch who lived in France between 1585 and 1646: on Obscurity, an intro sets the crucial medieval atmosphere; with Visitation the future witch receives the visit of the Devil, who offers her a pact she accepts; on Ceremony comes the Sabbath; with Guilty the Inquisitors hunt the witch, catch her, and torture her to make her confess; and at last, on Ablaze the Inquisitors burn the witch.
The track can be heard on Soundcloud.
Labeled under the very loose term melodic death metal, Spanish band Mistweaver write a versatile power metal with mainstream sensibilities and growling vocals. An experienced band sharing the stage with many prominent acts such as Suffocation, Enslaved, Exodus, Grave and Sodom, Mistweaver is onto their 5th full-length album.
The versatility in style mentioned earlier refers to a range in riffing that oscillates between straight up heavy metal to heavy-doom to acoustic passages that come out of nowhere topped with typical folk melodies ala Wintersun. But these guys are more accessible than the black-touched Wintersun, making heavier use of headbanging chugs and simple melodies. The use of keyboards is similar to the role given to them in In the Nightside Eclipse. Some sections touch on the more opera rock – oriented brand of power metal, the so-called symphonic power metal.
Mistweaver is the sort of band that has stayed on top of their game by doing everything that is expected of them. They have been active and playing with big names, they have put out an average of one album every three years (long enough for the judicious fan not to fall for a fast and cheap album, but not so long so that said fan does not conclude that the band has gone rusty), and their music has every single trait a fan of the general power metal and related genres might wish to find in an album of this kind.
The cast of Gruesome, the Schuldiner-hailing collective featuring members of Exhumed, Possessed, Malevolent Creation and Derketa, today untethers a very special cover of Slayer’s “Black Magic.” The band’s latest reconfiguration of the old-school appears on the deluxe digital edition of the band’s Savage Land full-length.
We chose our cover tunes the same way we tried to write the album,” relays guitarist/vocalist Matt Harvey. “We just did what Chuck [Schuldiner] would have done. Death was never a band particularly known for their cover song repertoire, but they did occasionally close their set with a rendition of ‘Black Magic’ and it’s a cover that dates as far back as an old 1984 Death/Mantas rehearsal, so we felt it would be appropriate. We were considering ‘The Exorcist’ by Possessed, since Death started recording a cover of it during Individual Thought Patterns, but since [Gruesome guitarist] Dan [Gonzalez] is in Possessed, it was a bit weird. Again, we tried to approach the song as Death doing a Slayer cover, so… hopefully we came close to the mark.
Gruesome pays homage to the mainstream’s and non-death metal listeners’ most celebrated American acts, Death. As such, their debut full-length, Savage Land, released last month Relapse Records, is an addictively punishing exhibition of late-’80s/early-’90s Florida-styled death metal that keeps the true sound and spirit of Chuck Schuldiner and Death alive and well.
Gruesome was borne out of guitarist/vocalist Matt Harvey (Exhumed) and drummer Gus Rios’ (Malevolent Creation) mutual involvement with the Death To All tours. After discarding the idea of putting together another incarnation of DTA to focus exclusively on Death’s first two albums, Harvey half-jokingly suggested writing their own songs in that vein. The idea gained traction, and the band had five songs written. Rios later recruited Possessed guitarist Daniel Gonzalez and Derketa bassist Robin Mazen to record the material in Florida. Savage Land was tracked by Rios and Gonzalez at Riversound Studios in Fort Lauderdale, Florida, mixed by Jarrett Pritchard at Mana Studios in St. Petersburg, Florida, and features a guest guitar solo on “Closed Casket” by James Murphy as well as cover art by legendary illustrator Ed Repka (Death, Megadeth, Massacre, Athiest et el).
“This couldn’t come more highly recommended. Buy this and take a trip back to the ’80s when death metal wasn’t all about blast beats and gutturals.” – Stereokiller
“This isn’t your crusty, nasty, run-of-the-mill retro death metal. Hell no. This the advanced, dripping-rot-from-the-corners-
of-a-coffin, putrid, vile death metal throwback that you’ve been waiting for. Observe.” – Metal Injection
“The enthusiasm alone on Savage Land is awe-inspiring… this is a fun romp through the rehearsal space of a bunch of longhairs who love a band so much it hurts. 8/10” – Exclaim
“…just so goddamned fun.” — MetalSucks
“Metal needs more albums like Savage Land… The legacy and sound of Death lives on ever so faithfully through bands like Gruesome, and wherever he is, Chuck Schuldiner is undoubtedly windmilling ferociously and smirking ear to ear at the deathly sounds of Savage Land. 4/5” – HeavyBlogIsHeavy
In order to help death metallers make a smooth transition into string quartets, the first edition of this series presented the reader with two quartets that are superficially and at least partially, in terms of a simplistic judgement of mood, akin to underground death metal. Today, we will venture into a territory that is equally relevant to metal, composition-wise, not because metal artists compose in this way, but as I suggested last time, because there are many ideas relating to refinement that could be extrapolated and applied in a death metal context. In order to make this transition smoothly, one of the quartets introduced in this second edition is still superficially dark in atmosphere.
Wolfgang Amadeus Mozart: String Quartet No. 19, “Dissonance”
Nicknamed after the prominent dissonances right at beginning of the first movement, it was the last of six quartets that Mozart dedicated to Haydn, who defined the classical way to write for string quartets. Even Beethoven recalls a before-and-after marked by the study of Haydn’s quartets. Mozart describes these quartets as “the culmination of a long and laborious effort” and many think it is the display of composer’s finest faculties.
As with any string quartet, the listener is encouraged to pay attention to each moment, absorb it, but not dwell on it. References to the exercise in dissonance application to an otherwise strict style can be found in other places in the quartet. A challenge may be to spot where this happens. We can start trying to wait for the moment in the second movement when the cello receives a leading line and the rest of the instruments play dissonant harmonies around it.
Béla Viktor János Bartók: String Quartet No. 4
An important influence to many from Benjamin Britten to King Crimson’s Robert Fripp, Bartók’s string quartets’ particular sound owed a great deal to the composer’s extensive field research on European folk music. Paul Wilson in his book, The Music of Béla Bartók, wrote that it was this research that allowed the composer to rid himself of the “tyrannical rule of the major and minor keys, leading eventually to a new conception of the chromatic scale, every tone of which came to be considered of equal value and could be used freely and independently.”. The astute and attentive observer may note that this, Bartók’s fourth string quartet, uses no prominent themes (complete musical expressions in themselves), but advances through developing motifs (musical cryptograms) only.