Altar / Cartilage split re-issued as 2CD on XTREEM Music

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During the heyday of death metal, Swedish band Altar and Finnish band Cartilage banded together to release a split album entitled Ex Oblivione / The Fragile Concept Of Affection . Long sought-after by collectors, it is being re-issued by Xtreem Music as a 2-CD set with other early recordings. The label made the following statement:

It was in 1992 when two promising bands from the swedish & finnish Death Metal scenes, released a split album, that now, 23 years later, it’s one of the most cult splits ever released in the early 90’s. Unfortunately, CARTILAGE never recorded anything after that and although ALTAR did a few demos later on, they disbanded shortly after.

But the legacy still lives here and this split album originally released through former Xtreem Music label Drowned Productions, gets a re-issue in form of a double CD with 7 bonus tracks by each band taken from their early demos, a total of 14 songs (60 min.) from each one.

All songs have been remastered (not remixed!) for an optimal sound, preserving the essence from the originals and this release comes with a new cover artwork, a remake of the original one made by cult finnish artist Turkka Rantanen. Of course, original cover art is included on the release and booklet comes with extra photos, flyers & demo covers to complete this cult re-issue. However, we know that purists won’t be satisfied with this release, so they can always go and pay a fortune on eBay to get the original (if they can). No hard feelings! For the rest, here you have a new chance to get this gem in an improved and extended way at a reasonable price. A vinyl version with the original split album tracks, will follow in the future.

Release date for the ALTAR/CARTILAGE “Split Album” 2-CD is set for August 20th and in the meantime, you can listen to one track by each band on the following links:

ALTAR

CARTILAGE

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Hammerheart Records re-issues At the Gates Gardens of Grief

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Hammerheart Records has re-issued the classic of Swedish death metal Gardens of Grief by pioneering progressive death metal band At the Gates. The label issued the following statement:

At the Gates are one of those Swedish bands that doesn’t really need an introduction for anybody really eager enough to dig as deep as their first EP, Gardens of Grief, which was released in 1991 on Dolores Records.

Being one of the more distinct sounding bands from the whole original Swedish death metal scene, they have managed to spit out a couple of really great albums in the 90s, the pinnacle of their career being 1995’s “Slaughter of the Soul”.

What we have here lads is a chaotic mix between great song composition, one of metal’s best vocalists (in my humble opinion) screaming his shit out and pure maniacal death metal the way its supposed to be played. Right from the start of the first track you will get nothing less than a punch in your face, to the groin and to the balls. Tempo changes along with the massive output of riffs used work perfectly to create a unique atmosphere that sends you right to hell. This is one of those birth moments of a band that further defined the typical “Swedish sound” that most of us know as being a kind of mix between crunch and white noise. Every song has a very mature approach towards composition, not sounding very melodic, but dark, vicious and awestruck. This is fierce, ruthless death metal played by people who had a spark in them and wanted to play crazy music.

This EP is a very good example of how a rough start can prophesy a band’s great career with no absolute low point whatsoever and be a marker for good things to come.

For fans of: Grotesque, Dissection, Watain

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Codex Obscurum: a retrospective

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From its beginnings as an unsteady homage to the zines of years past to its current role as commentator and gatekeeper of quality underground metal, Codex Obscurum zine has grown and refined its approach over the past five years. Today the editors released a photograph of issues one through eight in all their glory, and we thought we would share it with you.

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Malediction releasing Chronology of Distortion discography re-issue

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Previously under-appreciated UK death metal band Malediction, whose sole release was a live recording on Wild Rags Records entitled Chronicles of Dissention, has partnered with Dark Blasphemies Records to re-issue its discography as Chronology of Distortion, sixteen tracks spanning 72 minutes of death metal slated for release in December 2015.

Known for their laconic take on the Morbid Angel style of phrasal guitar riffs woven together into a narrative, Malediction specialized in using selective melody and introspective lead guitar to create a unique vision of the death metal style. Fans who could not get the songs on Chronicles of Dissention the first time around will appreciate these lost classics finally coming to light.

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Unearthly embarks on Unearthly Rites tour

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Brazilian speed/death metal band Unearthly have embarked on a tour of the United States which sees them which sees them hit over 20 dates with Krow and Nihilistinen Barbaarisus. Following the steps of Hate Eternal and Nile, Unearthly embrace a technical style of death metal which features the choppy riffs and stop/start techniques of speed metal. Listen to their 2014 album, The Unearthly, below.

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Dark Reign releases “Fire Power Resurrecting Death” demo (2015)

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Dark Reign, a band most known for its 1980s demos of speed/death metal hybrid high-intensity metal, has released a 2015 demo entitled “Fire Power Resurrecting Death.” A sample track follows, showing more of ripping riffs and thunderous choruses for which this band — which granted members to other Texas death metal acts — has been known and appreciated for during the past two decades.

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Infamous unleashes Tempesta

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Italian black metal band Infamous unleashed its third full-length album, Tempesta, on CD-R limited to a hundred copies. This band carved a niche for itself with its incredibly violent music that nonetheless conjured up the naturalistic, feral and sentimental spirit of black metal that confronts reality directly and generates a sense of opposition to decay.

Like the previous Infamous release, Rovine e Disperazione, the third album — as shown by the sample track below — emphasizes better riff definition and the slow emergence of depth of melody through layered composition. With recent work revealing a possible Ildjarn influence, Infamous tread waters of a careful balance between the emotional aspects of melody and the primal alienated violence which was characteristic of older Norse bands, albeit in a style which reflects its Southern European roots. Fans of Greek black metal and the more windblown releases from Graveland and Ancient might appreciate this one.

With any luck, a deserving label will pick up this band and re-issue its discography, a series of recordings which display raw creativity along with a steely-eyed glimpse at the ongoing failure of humanity.

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From banning “hate” to forced obedience

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Originally, the “no platform” idea was that when outright neo-Nazi bands scheduled a concert, people would protest and the venues would stop supporting them. While I find this dubious and believe it will backfire against its original intent, it was at least clear and limited to stopping undesired expression.

Now we see that it becomes: forcing all bands to have the “right” opinion if they want to perform. As the Times of Israel writes, a performer is being censored for not being pro-Palestine:

Festival organizers were driven by intense pressure from the Boycott, Divestment and Sanctions (BDS) movement, the reports said. Artists scheduled to perform at the event threatened to cancel their appearances if Matisyahu were to perform because he was “seen to represent Israel.”

The organizers gave Matisyahu an ultimatum, telling him if he would “sign such a declaration [publicly affirming his support for the Palestinians, he] can perform,” according to Spanish daily, El Pais.

Now, I know that people on the internet can get feisty about Israel and/or Jews, but I view this as a mistaken notion. Oddly, what I used to hear coming from the far-right I now hear coming from the middle-left, which is the usual smattering of fears that Jews somehow control the world or are responsible for its downfall. Back in reality, Jews are a small minority that — while disproportionately successful in science, the arts, entertainment and business — act in their own interests which seem to be personal in nature rather than The Protocols of the Elders of Zion-style conspiracy takeover of Earth. It is beyond this article to comment on Israel-vs-Palestine except to say that it is clear that the two populations seem incompatible with one another.

From that point, we can actually discuss the issue. But that is not what SJWs — who are all liberal and should know better as presumed defenders of individual rights, including speech — want us to do. They want discussion to end and only one viewpoint to be heard, which is that of a pro-Palestine anti-Israel outlook. What happened to Matisyahu crosses the line into anti-Semitism. He is not known for a pro-Israel position, nor has he offered one. But he is Jewish… and he performed in Israel… which is enough for his critics to equate “Jewish” with “pro-Israel” and demand he speak out in the issue in agreement with them, even if he has either a contrary viewpoint or any of a number of differing views. It is unclear whether he has any political views at all.

Censorship forms a slippery slope. At first, it is designed to eliminate ideas associated with known social harms, like violence and pedophilia. No one will stand up for those people, so the next generation aims at a broader target. Eventually, it becomes what we see it is now, which is “Agree with us or you will be silenced.” If you want to know what keeps me and other anti-censorship activists going, even if it means speaking up for icky people from 4chan or Reddit, it is that we know how censorship expands from known ills to failure to agree, and we want to stop that process before it starts.

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