After 17 years of silence, English grindcore pioneers Carcass are to release a new studio album early next year. According to an interview earlier this month, original members Jeff Walker and Bill Steer are at it again together with new drummer Daniel Wilding.
Carcass made metal history with their debut album Reek of Putrefaction (1988) and their masterpiece Symphonies of Sickness (1989) and hopes are of course that the band will revive some of the spirit from those days. On a more pessimistic note, the band’s last offering was Swansong…
Walker himself says the new album “sounds almost like the missing link between the third and [fourth] albums but with some groove in there”. The attitude seems about right anyhow:
We’ve done this recording firstly for ourselves—there’s no label backing even as you read this—in fact me and Bill have spent a small fortune out of our pocket to see this through—it’s more of an artistic/personal statement than anything.
Demos offer what a band is capable of being. This demo, “Death Magick” (2012), presents a most favorable foundation, though leaves enough space to not exact a direct conclusion of how it’ll stem to the debut.
Seeing LaSanche perform live with new members promulgated a more solid line-up, which had drums pummel the audience into oblivion.
Québécois band Chthe’ilist (pronounced “K-tee-list”) play an exciting mixture of death/doom metal influences, where the music is kept crawling among maggots by a healthy dose of Demilich, but is tastefully highlighted by Chthe’ilist’s own twisted inventions.
Ildjarn in particular sounded like an occult nature mystic version of DRI, complete with the idiosyncratic songs made of tear-off riffs. As black metal devolved, more bands tried the brutal short fast and minimalist approach, but none quite achieved the pristine chilling isolation of Ildjarn.
Now Osmose Productions has announced a split between Ildjarn and one of the bands it undoubtedly influenced, Hate Forest. This slab of forest metal, called Those Once Mighty Fallen, presents past unreleased material from both bands, which are now both non-practicing.
Here’s the official announcement:
From the cold blackened graves their shadows rise…. Osmose Productions releases unexpected ILDJARN / HATE FOREST split CD/LP, called “Those Once Mighty Fallen”. Both dead bands are presented with their lost and forgotten recordings, accidentally found not so long ago. ILDJARN’s songs were created in the dark year of 1994 and HATE FOREST’s during cold winter nights of 2000-2001. Now, carefully re-mixed and re-mastered this audio- terror is available first time. A real epitaph to sincere, true black metal. No release date yet to communicate. – Osmose on FacePlant
If the two tracks released so far are any indication, then the album sounds exactly as the promo blurbs have been describing it (which makes a change): a cross between the claustrophobic, spacey weirdness of Dimension Hatross and the rockier, more mid-paced Nothingface with a touch of the sing-songy style of Angel Rat.
Unusually for a band of Voivod‘s stature, their decision to continue touring and making albums after the death of original guitarist Piggy has been greeted mostly positively. This is probably because his stand-in, Dan Mongrain, at times sounds more like Piggy than Piggy did; studiously recreating the tone and feel of classic Voivod whilst helping craft new material faithful to the era of the band most people always wanted to hear continued.
The album is released in Europe on January 21st and in North America on the 22nd. Eagerly awaiting this one.
Full tracklist for album is as follows:
1. Target Earth
2. Kluskap O’Kom
3. Empathy for the Enemy
4. Mechanical Mind
English battle poets Bolt Thrower will, according to their homepage, be playing at the Maryland Deathfest on May 23rd, Chaos in Tejas Festival in Austin a week later and Tuska Open Air Festival (Finland) on June 28th. At Deathfest they’ll be joined by Antaeus and Carcass among others.
Bolt Thrower made deathy grindcore during the late 80s and early 90s probably culminating in the epic …For Victory (1994).
Classical music and metal are not as strange bed-fellows as first seems. Both try to take the listener on a journey from A to B via certain key points emphasizing conflict/discovery/victory in a narrative style that’s as old as the hills.
Both rely on a sense of heaviness of life itself in their songwriting, classical from a typically more light perspective, and metal from a darker one. Both are full of references and allusions to literature and ancient history.
“When you listen to the great guitar soloists, they’re stealing licks from Vivaldi,” said Pine. She mixes Led Zeppelin, Paganini, AC/DC, Vivaldi and Black Sabbath in some of her live shows, when not creating crashing curtains of doom metal with Earthen Grave.
Classical music is named for its creators’ desire to allude to ancient civilization in form and ethos, specifically but not exclusively the classics – Greece and Rome. What could be more metal than obsessing about the ancient world? In the post-Renaissance world that classical music came out of, studying those older civilizations and reviving their aesthetic values was seen as enlightened and forward-looking, contrary to the “newer is better, always” argument we’re used to hearing about our own times.
Metal and Classical also have in common then that they are both a kind of romanticism: oddly traditional whilst at the same time being futurist and affirming. Through an embrace of the powerful and epic in life, both use an acknowledgement of life’s heaviness to find meaning in its struggle.
According to The Australian, one of the largest surveys of Britain’s metalheads discovered that metal is considered “an overwhelmingly positive force in the lives of those who love it.”
The article categorizes metal as “escapist,” meaning that it helps its fans through hard times. Nearly three quarters of the respondents to the survey said metal had helped them through a tough period in their lives, and 79% said they felt “energized” after listening to metal.
Its most interesting factoid came from Spinefarm managing director Dante Bonutto, who counterpointed the idea of metal as escapism with a note on its practicality. “[Heavy Metal] defines itself against the mainstream, the ‘short-term’ music fans that don’t play or think too much about music…Metal defines you against that shallow form of music,” said Bonutto.
Conducted by the British Phonographic industry, the survey asked 3,600 visitors of participating metal labels, metal magazines, and music industry sites about their listening habits.
Thrash band Birth A.D., who seem to be a continuation of later 1980s thrash like SOD and DRI, have released a streaming track from their new album, I Blame You.
The new album has been recorded with 80s metal guru producer Alex Perialas and includes re-recorded tracks from the first Birth A.D. release, Stillbirth of a Nation. Much like early DRI albums, this will give fans the band’s entire oeuvre in an updated form.
According to Blistering.com, the new album is “angry, fast, catchy as hell.” Should be a contender for album of the year if nothing else.
Thrash was a hybrid between extreme hardcore and extreme metal that arose in the early 1980s with bands like DRI, MDC, COC, Cryptic Slaughter, Fearless Iranians From Hell and Suicidal Tendencies making short, fast, punk-structure songs with metal riffs.
Currently most people refer to the genre as “crossover thrash” in order to differentiate the term from “thrash metal,” which was a 1980s teen metal name for “speed metal,” and comprises the range of music from Metallica through Destruction.
NYDM founders Immolation are in the studio and preparing work on their ninth full-length album, according to apeshit zine.
According to the report, Immolation are in Sound Studios in Milbrook, NY with veteran producer Paul Orofino with Zack Ohren behind the mixing desk. The band state the album will be “one of their strongest yet.”
Starting out in the late 1980s as a speed metal band with death metal vocals, Immolation morphed in death metal and then technical death metal with 1996’s Here In After, regarded by many as the apex of the band.
After a long absence, they returned with a series of late death metal albums like Unholy Cult which used a simpler but more streamlined style of death metal.
With 2010’s Majesty and Decay, and later the Providence EP, Immolation went in a more commercial direction, taking the simple songwriting of radio metal like Slipknot and adding to it death metal and speed metal riffs.
As long-time fans, we’re hoping they’ll return to death metal because they do it so well, but we’re not so delusional as to forget that death metal very rarely pays the bills. Good luck to this long-running NY band.