Underground Record Labels in 2159 Pt. 3

The pigeon decided to return.  Had it not, the retro-Powermetalers would have maimed him fatally, with buckshot fire. Despite his cute appearance with those tiny post apocalyptic goggles of his, he would have then been eaten slowly by cockroaches over time after falling from grace.  Before he returned to Daryl he grabbed a 5 Bolivar silver coin from what was left of Panama. It was hard to fly back over the 500 foot wall that Trump had built, back in the technology age.  Not only did it have retracting metal spikes on top, but there was a moat with alligators on both sides.  Dead bodies were strewn along both sides of the fence, with vital organs missing.  No one ever came in.  No one got out alive either. Fortunately for Latin America, the wall mitigated the radiation winds on that side.

Upon the bird’s return, Daryl noticed the silver Panamanian coin in his beak.  It was a very low mintage coin and he was thrilled of the indication that there was power still now in that region of the world.

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Serpent Ascending’s Aṇaṅku Out September 16th

serpent ascending - ananku cover

Serpent Ascending announced that their debut album Aṇaṅku is going to be released by I, Voidhanger Records on September 16th. Serpent Ascending is the solo-project of Desecresy vocalist Jarno Nurmi and previously released two extremely promising demos, Serrpent Ascending and The Mournful Pilgrimage, that were compiled with one new track in The Enigma Unsettled anthology CD. From the label’s press release:

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Ramming Speed premiere new song

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Blues hard rock band Ramming Speed have released a new song titled “Don’t Let this Stay Here”.

The band released the following statement regarding the new song’s message:

‘Don’t Let This Stay Here’ is our reaction to the Edward Snowden leaks that confirmed the U.S. government’s saving of all our phone calls, text messages, emails and web searches in giant server farms. To us, that is fucking terrifying and unacceptable, and this is our rallying cry against it.
The citizens building the first top secret atomic bombs in Oak Ridge, Tennessee were told: ‘What you see here, what you do here, what you hear here, when you leave here, let it stay here.’ This song is for the NSA employees that question what they are doing. It’s for the American civilians feeling betrayed by the breaches of privacy, and it’s for the people at our shows singing along and sharing our frustration. Don’t Let This Stay Here. Spread the word.

A list of the band’s currently confirmed tour dates appears below. More shows will likely be added in the coming weeks.

  • 7/17 Eindhoven, NL – Dynamo Metalfest Pre-Party (w/ Gama Bomb)
  • 7/19 Aachen, DE – AZ Aachen
  • 7/20 Dendermonde, BE – JH Zenith ^
  • 7/21 Bleibt-Pratteln, CH – Konzertfabrik Z7 (w/ The Black Dahlia Murder)
  • 7/22 Bologna, IT – Freakout Club (w/ 7 Seconds)
  • 7/23 Milano, IT – Lo Fi *
  • 7/24 Rokycany, CR – Fluff Fest
  • 7/25 Leipzig, DE – Zoro #
  • 7/26 Koblenz, DE – SK2 #
  • 7/27 Stuttgart, DE – Juha West # *
  • 7/29 Bartislava, SK – Randal Club ^
  • 7/30 Vienna, AT – Das Bach #
  • 7/31 Chemnitz, DE – Killed System Festival #
  • 8/1 Berlin, DE – Stateless Society Festival *
  • 8/2 Dresden, DE – Chemiefabrik
  • 8/4 Budapest, HU – Dürer Kert
  • 8/6 Jaromer, CZ – Brutal Assault Fest 2015
  • 8/7 Mannheim, DE – Juz
  • 8/8 Brussels, BE – Garcia Lorca
  • 8/10 Glasgow, UK – Ivory Blacks
  • 8/13 London, UK – The Black Heart
  • 8/14 Leper, BE – Leperfest
  • 8/15 Thiex, FR – Motocultor Open Air

# with Deathrite
^ with DRI
* with Toxic Holocaust

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Paradise Lost releases new album in North America

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Paradise Lost has finally officially released their 14th album, The Plague Within, in North America. The band has also announced exact tour dates along with the release.

 

“The Plague Within” – European tour 2015
27.09 – IE Dublin, The Academy
28.09 – UK Belfast, The Limelight
30.09 – UK Manchester, Academy 2
01.10 – UK Glasgow, Garage
03.10 – UK Wolverhampton, Wulfrun Hall
04.10 – UK London, Koko
05.10 – DE Cologne, Live Music Hall
06.10 – BE Antwerp, Trix Muziekcentrum
07.10 – NL Utrecht, TivoliVredenburg
09.10 – DE Berlin, Huxley’s Neue Welt
10.10 – SE Malmö, KB
11.10 – SE Göteborg, Sticky Fingers
13.10 – FI Helsinki, The Circus
15.10 – SE Stockholm, Debaser Strand
16.10 – NO Oslo, John Dee
17.10 – DK Copenhagen, Pumpehuset
18.10 – DE Hamburg, Gruenspan
20.10 – CZ Prague, MeetFactory
21.10 – PL Wroclaw, Alibi
22.10 – PL Gdansk, B90
24.10 – CZ Ostrava, Barrak
25.10 – SK Bratislava, Randal Club
26.10 – HU Budapest, Barba Negra
27.10 – HR Zagreb, Vintage Industrial Bar
29.10 – SI Nova Gorica, Mostovna
30.10 – DE Munich, Theaterfabrik
31.10 – AT Vienna, Arena
02.11 – IT Milan, Live Club
03.11 – CH Solothurn, Kofmehl
05.11 – ES Barcelona, Salamandra
06.11 – ES Madrid, Sala Arena
07.11 – ES Bilbao, Sala Stage Live
08.11 – FR Bordeaux, Rocher de Palmer
09.11 – FR Paris, Le Trabendo
10.11 – FR Strasbourg, La Laiterie
12.11 – Liverpool – O2 Academy 2
13.11 – Nottingham – Rock City

 

Paradise Lost online:
http://www.paradiselost.co.uk
http://www.facebook.com/paradiselostofficial
http://twitter.com/officialpl

 

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Calgary Metalfest IV

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Big Nate Productions presents Calgary Metalfest IV June 3-7, 2015 with over 40 bands, kicking offJune 3rd at The Ship & Anchor Pub featuring: The Electric Revival, Bloated Pig, Lucid Scream, The Outer, and Woodhawk.

June 4th at Vern’s Bar will feature: The Cadavor Dog, Frightenstein, SS Doom, DethGod, Penitentz, After The Prophet, and No More Moments.

June 5th the Main Stage at Dickens Pub will feature: Villainizer (Edmonton), Begrime Exemious (Edmonton), Without Mercy (Abbotsford BC), Neck of the Woods (Vancouver), Vile Insignia, Every Hour Kills, Riot City, and Moosifix. Lord Nelson’s Bar features: Mortillery (Edmonton), Dead Asylum (Vancouver), XUL (Vernon BC), Sentient, Path to Extinction, Altars of Grief (Regina), and Skymir.

June 6th the Main Stage at Dickens will feature: Kobra and the Lotus, Into Eternity (Regina), Caveat, Untimely Demise (Saskatoon), Viathyn, Sparky (Saskatoon), Noire (Winnipeg), and Apprentice (Vancouver). Lord Nelson’s Bar features: Lavagoat (Saskatoon), Kataplexis, Chieftain, Doberman, Numenorean, Triton, and Okazaki Fragments.

June 7th CMF IV Hangover Party at Distortion – Live Music Venue. Bands to be announced.

Every year Calgary Metalfest has auctioned off a giant 4’x6’ festival poster signed by the bands to raise money for Make-A-Wish Southern Alberta. This year will be extra special as Reverend Rock (Ross Ingall) of the Metal Nation Radio program Too Metal For Church (Mondays from 10am-2pmand Fridays 12pm-3pm EST) has generously donated a Schecter Twin Tribal Double Neck Guitarfor the auction. The guitar and poster auction will take place before headliners Kobra and the Lotus go on stage at Dickens Pub on June 6th.

The Ship and Anchor Pub is located at 534 17th Ave SW, Vern’s Bar at 622 8th Ave SW, Lord Nelson’s Bar at 1020 8th Ave SW, Dickens Pub at 1000 9th Ave SW, and Distortion at 3828 MacLeod Tr. S, Calgary. All venues 18+. Doors for all shows will be at 8pm. Tickets and passes are available online at http://calgarymetalfest.com and at Dickens Pub, Sloth Records (Calgary), The Soundhouse (Red Deer), and from the Calgary bands.

CMF IV is sponsored by Last Rites, Heroes & Villains Tattoo & Piercing, Beatroute Magazine, Absolute Underground Magazine, UA LOCAL 496, and Metal Nation Radio.

 

Official site: http://calgarymetalfest.com

Nathan Renaud: info@bignateproductions.com 403.404.6283

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Interview: Unaussprechlichen Kulten

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We recently reviewed Unaussprechlichen Kulten Baphomet Pan Shub-Niggurath, a death metal album that knits together old school and newer styles of the underground metal art. We were lucky to get a few moments with Joseph Curwen, guitarist and composer, to explain the intricate secrets behind this dark cult act.

Do you identify with the “old school spirit” in the metal underground? If so, what is it and how does it emerge in your music?

Not really. “Old School” sounds like a “nostalgic trend” of “clone bands.” For us the Death Metal way is one style. It may have variants like brutal, old style or mixtures with other styles. But if the bands begin to clone all — the style, sound and even the graphics and pics — this really… sucks. Poorly made copies are not necessary! The “Sunlight” or “Tampa Florida” styles are wonderful and are always “inspiring,” I know it’s difficult to innovate in a “strict” style and with so many old bands as reference … but if a band does not have in its purpose something new, creative, original… anything in particular that distinguishes… why make that band?

The name “Unaussprechlichen Kulten” or “nameless cults” comes from the Cthulhu mythos, as do many of your song titles. How important is Lovecraft’s work to your art, and to metal in general? What other occult/romantic/fantasy writers influence you?

You are right about our name. Lovecraft’s literary legacy is rich in terminology and knowledge, therefore allows us to explain with his words the religious or spiritual concepts that otherwise we would be forced to use “Christian” or “common” terms so they can be understood. Lovecraft always publicly declared himself to be an atheist, but his erudition in the occult was something more than an amateur.
Therefore we are not only focused on the work of Lovecraft. We also include other topics, including Chilean mythology. The Necromancy is not unique to any particular culture, so what we do is explore in different subjects, always mystical and dark, but with the work of Lovecraft as a reference. Other interesting writers are Robert Bloch and Robert E. Howard, classics occultist like Blavatsky and Eliphas Levi, even contemporary Chilean writers as Oreste Plath and M. Serrano and others

Metal has always been influenced by the literature of Terror, and Lovecraft is the horror writer who made the most important revolution in the genre. He will always be a benchmark in the lyrics of Metal bands.

Baphomet Pan Shub-Niggurath sounds like it takes influence from both newer and older raditions in underground metal. What are your influences? Which of these did you find most useful in creating this album?

A lot of influences, you know mainly 80-90. Classic Swedish and American death Mmetal. Some from South American or Scandinavian… older? …mmm INCANTATION, NECRODEATH, GORGUTS, SHUB NIGGURATH, IMMOLATION, NECRODEATH, PENTAGRAM, MORBID ANGEL (old), MORTA SKULD, DISMEMBER, the mighty SADISTIC INTENT, DEMIGOD (old), MORTEM, and of course SLAYER, MERCYFUL FATE, SACRIFICE….. Newer? Throneum, Karnarium, Deathspell Omega, Godless, After Death, Dead Congregation, Hatespawn, Katharsis among many others.

In the early 1990s, there were few bands and not that many fans. Now there are more of both, and metal is accepted as normal in the mainstream press. How has this changed what it is to be a metal band? How has it not changed how it is to be a metal band?

Good question. It’s been over 20 years and society (worldwide) changed. We live in the information age; in the early 90s without internet, the bands depended on the promotion and diffusion that could be done through the “official” and monopolized media (radio, tv, zines Poser, label’s flyers, etc). Now every band can do their own promotion, also in these 20 years there was a “democratization” of recording technologies now make it possible to make music in a “Home Studio” way. More music available and easier to access it produces “the moment” in which we live.

This album embraces a dark and occult way of putting riffs in order and making songs of them. How do you know which riffs fit with each other? And how do you compose a song — do you start with a melody, a riff, an idea, an image?

From “People of the Monolith” onward our approach has always been the same way — to do riffs. I bring the riffs, arrangements and dis-harmonies of both guitars (I come with everything done and ready in accordance to what lyrics need like faster, slower or thicker parts, strange arrangements, etc.). It’s personal, a kind of trance. I only think in the “concept” and the lyrics, while I do an old trick: I move my fingers over the guitar until I’m no longer playing at random, but there is a “pattern” becoming a “riff.” Once I show the guitars to Butcher, drumming is 100% his responsibility. Then we adjust the structure and cuts together in the rehearsal room. When that base is settled, we incorporate the bass (based on drums). I used to do the bass but in this last record, NAMRU IMPETRADORUM MORTEM was integrated into the creative process of basses, all of them were 100% invented by him in Chapter VIII.

How did Unaussprechlichen Kulten form? Did you know each other from previous bands? Did you have a stated goal in coming together and forming the band?

In the beginning we was just two members, with no previous bands, the first name was “SPAWN.” With that name we just recorded 5 tracks of traditional Death Metal (never edited!). During that period of time I always felt unsettled about the name of the band so I decided to change it for a name in Spanish: “Culto Innombrable” was the one that came into my mind, it was a good name, we even made a logo. At that time I realize about the coincidence with the apocryphal Lovecraftian book: “UNAUSSPRECHLICHEN KULTEN”, diabolically whispered in my ear by Azathoth!

How well has the album been received so far? As more people hear your music, will your plans change? What comes next for Unaussprechlichen Kulten?

So far very good reviews, but our plans will not change. We are a “not popular” or “trendy” band. It has been more than ten years since it all began. So far we are a very unknown band out of Chile, we have been into the deep underground always, and I think will always be so because of our style. Death Metal is not a “trendy” style at this moment; now Death Metal is made by people who are stubborn and headstrong which maintains this “sectarian” behavior. It is true that more and more bands are appearing… on one hand this is good … the “scene” looks “healthy,” alive, which allows bands to exist and makes the media interested in promoting them (and of course in our case, more people hear our music), but on the other hand, also the “overpopulation” of bands is huge, generating a size of information unable to be processed. “A lot of bands” are not synonymous with “quality of bands.”

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