The Black Moriah launches “Trail of Texas Terror” tour

the_black_moriah-trail_of_texas_terror_tour

Following the Housecore Horror Film Festival, speed metal/math metal band The Black Moriah will embark on a short tour of Texas to showcase its most recent album, Casket Prospects. Formed by a former Absu member and experienced metal musicians, The Black Moriah attempts to bridge classic and modern metal.

Casket Prospects shows the band integrating the indie-metal styles in black and death metal with classic metal hooks. Droning dissonant riffs compete for space with speed metal riffs, heavy metal choruses, and complex conjurations of song structure underneath the modern metal “surge style” vocals.

While the alternative metal stylings may not appeal to the average Absu fan, the technicality and frenetic intensity of this release may satisfy in its stead. The “Trail of Texas Terror” tour shows the band reaching out to a new fanbase more on the alternative/indie side while attempting to keep its core fanbase in more traditional metal.

The Black Moriah – Trail of Texas Terror tour 2013

     
October 17 Dallas, TX The Wits End
October 18 San Angelo, TX Penny Pub
October 19 Amarillo, TX The Wreck Room
October 20 El Paso, TX Alumni Bar
October 24 Austin, TX The Dirty Dog
Housecore Horror Film Festival
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Grave unleashes Morbid Ascent EP

grave-morbid_ascentToday classic Swedish death metal band Grave releases its comeback EP, Morbid Ascent, featuring four tracks of death metal and a cover of a Satyricon song. The US version of this release is pressed on mustard-yellow vinyl and can be purchased Century Media.

Known for their debut album Into the Grave from the early 1990s, Grave introduced the rudimentary form of the Swedish death metal sound to a new generation who appreciated the raw intensity of their primal music. Joining a small circle of European bands who were as poundingly violent as their American counterparts, Grave became a staple before fading away in the late 1990s.

Morbid Ascent shows the band resurrecting itself in the present era and attempting to adapt its classic sound and improved technical performance to the demands of a new time, following their 2012 release Endless Procession of Souls. If you’re in Europe, you can catch Grave live on October 5 at Zombie Fest II in Oostenede, Belgium.

Side 1:
1. Venial Sin
2. Morbid Ascent
Side 2:
1. Possessed (originally by SATYRICON)
2. Epos (Risen From The Tomb – Remix)
3. Reality Of Life

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Exhumer releases Degraded by Sepsis and embarks on European tour

exhumer-degraded_by_sepsisExhumer will release their second album Degraded by Sepsis on October 15, 2013 through Comatose Music. The Italian deathgrind band embarks on a full European tour with Psycroptic, Hour of Penance and Dyscarnate starting this Friday. Tour dates follow.

Degraded by Sepsis presents an efficient and well-executed take on standard deathgrind. Guttural blasting abounds, underscored with melody, emphasizing a buildup to a vocal and percussion tirade that brings the song to its peak. Song development is minimal and mostly verse-chorus.

While this may not win any points with those who demand innovation and profundity, Exhumer’s second work shows us material that is deliberate, with no extraneous parts hanging around like at a poorly-cleaned morgue, and tasteful in that all pieces fit together and the song experience as a whole is enjoyable.

Psycroptic, Hour of Penance, Dyscarnate and Exhumer European Tour 2013

 
September 20 Aarshot, Belgium JC De Klinker
September 21 Essen, Germany Turock
September 22 London UK Electrowerkz
September 23 Dublin, Ireland The Pint
September 24 Glasgow, UK Ivory Blacks
September 25 Cardiff, UK Bogiez Rock Club
September 26 Margate, UK Westcoast
September 27 Paris, France Glazart
September 28 Lausanne, Switzerland Metal Assault Festival
September 29 Zurich, Switzerland Planet 5
September 30 Munich, Germany Feierwerk Kranhalle
October 1 Kosice, Slovakia Collosseum
October 2 Ostrava, Czech Rep Barrack Music Club
October 4 Rotterdam, Netherlands Baroeg
October 5 Copenhagen, Denmark Beta
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Gorgoroth to release Instinctus Bestialis in early 2014

gorgoroth-black_metalNorwegian black metal band Gorgoroth have announced a tentative schedule for their new album, Instinctus Bestialis. In a recent interview, the band stated that their goal was to have the album released by the early part of 2014, later adding that the demos had already been finalized.

This will be the band’s first release with this lineup; having replaced vocalist Pest with Atterigner, vocalist for modern black metal band Triumfall. In 2009, Gorgoroth released Quantos Possunt ad Satanitatem Trahunt, which saw the band furthering their post-millennial style of playing black-flavored heavy metal, relying primarily on verse-chorus arrangements.

Most relevant for their ’90s work, the decade saw Gorgoroth perfecting the style of melodic narrative metal, linear yet intriguing in its possibilities. Simultaneously unsettling and inviting, Gorgoroth bridged the gap between the progenitors of the genre and the many bands that would later follow.

The band will be touring in support of Instinctus Bestialis, starting in March and beginning in Europe, with Hoest from Taake on vocals. No tour dates have yet been announced.

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Incantation – Mortal Throne of Nazarene LP re-issue

incantation-mortal_throne_of_nazarene_lp_reissueThe good thing about the transition to two decades of operation is that a genre may benefit from advances in technology and funding to re-release its classics in restored or originally-intended form. Through this channel a burst of classics on vinyl has emerged over the past five years.

Mortal Throne of Nazarene is Incantation‘s most controversial album. People either love it or hate it, and a huge part of this is the simple fact that it’s impossible to follow up to Onward to Golgotha. That album walks the earth like an ice giant or Norse god, crushing all in its path. How to top that?

Part of what makes this album so controversial was its original production which captured a searing guitar tone but also managed to blend the vocals and guitars to create a stream of noise that often made it impossible to discern chord changes. It wasn’t terrible, for the time, but it made it harder to listen to the music under the vocals.

The LP re-issue of Mortal Throne of Nazarene fixes these problems. Not only are instruments clear, but the vocals are also present with great force. Not only that but the warmth of vinyl is put to good use preserving the color of distorted guitar, bass and drums, which fleshes out this album. It does it all without losing volume, making this an intense compacted flow of sound.

As far as the album itself, my supposition is that the controversy will never die. It has its inspired parts and flashes of genius, but large portions of the rest feel incomplete, like they got sketched out but never fully adjusted and shaped to serve at optimal power. Much of those are lengthy chromatic connective passages that seem to repeat where they would have branched on earlier releases.

It’s reminiscent of Suffocation’s Breeding the Spawn in that way. For confirmation, listen to the Forsaken Mourning of Angelic Anguish EP which follows this album and adjusts details of many songs such that they work together instead of divergently. Several LP songs are on that shorter release at greater effect.

What this re-issue of Mortal Throne of Nazarene will do is to fan those flames of controversy by letting us hear this album with a production on par to that of Onward to Golgotha. This means that with this LP re-issue, the band separate controversy over production from controversy over composition, and let the underground see this album in a new light.

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Gnaw – Horrible Chamber

6_Panel_DigipakPowerviolence is a con. It’s pitched to us as the most extreme possible version of punk-based music, but under an affinity for noise, it’s a cross between sloppy hardcore and noise interludes with emo-derived vocals. There’s nothing new here or any particularity extremity.

The trick with extremity, by the way, is to make it musical. Any dunce can make droning ear pain. Very few can structure it in a way such that it becomes a meaningful listening experience. And if you don’t want a meaningful listening experience, you’re basically listening to Justin Bieber, even if you trick it out as noisecore.

Horrible Chamber isn’t horrible (heh) but it’s boring. The vocals require long decay, so there’s a process of syllables surging forth and then fading out, which requires slower tempi on the drums which in turn requires a certain amount of oversimplification. The percussion isn’t like metal, cadence-based, but tries to keep some bop under the rant and noise.

Riff-wise, there’s nothing in Gnaw we didn’t hear in the past thirty years of grindcore, hardcore and punk rock. Many of these riffs in fact sound more like rock hybrids, where the simplified punk version of a riff is gradually shaped back toward its pentatonic-friendly cousins. Nothing other than aesthetics distinguishes this.

And while Horrible Chamber achieves a good balance of noise to catchy parts, it also doesn’t really add anything to the life of anyone who has experienced more than entry-level punk music. Thus it gets the most damning of all record reviews, which is the default: it does little wrong, but not enough right, to stay relevant for long.

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Letters: Why isn’t Metallica “thrash metal”?

metallica-kill_em_allA reader writes with a few questions:

Why is Metallica’s debut classified in your website as Speed Metal and not Thrash Metal? What defines Thrash Metal and why are Metallica and Kreator placed under Speed Metal? The second question really being what defines Speed Metal?

What is speed metal? Speed metal is the music formed of the hybrid of NWOBHM and punk music. NWOBHM itself was a fusion of Black Sabbath and the “metal-like” hard rock genres of the time, including some progressive rock, given an underground and DIY outlook. The definitive speed metal album is the first Metallica work, but we could also look to Overkill, Nuclear Assault, Anthrax, Megadeth, Testament and Prong.

What is thrash metal? A marketing term for “speed metal.” Some argue that it’s a separate genre, namely speed metal with “broken beats” or d-beats, but the fact of the matter is that the d-beat-influenced drumming was already part of speed metal. Musically, anything regarded as “thrash metal” is speed metal. Hence use of that term instead.

Now, as to Kreator — why is it speed metal? Kreator is on the line between speed metal and death metal but ultimately has more in common with later speed metal like Destruction and Sodom than it does with outright death metal. It was a previous generation to the music that expanded in the late 1980s through early 1990s.

What is thrash? Thrash is a hybrid form of heavy metal and punk music preferred by thrashers, i.e. skaters. This music evolved out of the explosion of punk music at the end of the 1970s and the tendency of bands like Discharge, Amebix, The Exploited, the Cro-Mags and others to take on metal riff-styles, especially as inspired by Slayer and other heavily punk-influenced bands. However, many thrash bands used riff influences from NWOBHM or before, with Black Sabbath being prominent.

The reason we separate speed metal and thrash is that they are different movements. Speed metal is metal that incorporates some aspects of punk; thrash is a metal/punk hybrid that generally uses punk song structures and metal riffs, laying the groundwork for grindcore. There’s also no point in expanding the speed metal franchise into many different sub-types when all are essentially musically identical.

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Pestilence releasing Obsideo on November 11, 2013

pestilence-obsideoDutch death metal band Pestilence confirm that they will release their latest album, Onsideo, through Candlelight Records on 11th in North America. Produced by vocalist/guitarist Patrick Mameli, the album is the band’s first recording for the label and first new material from the four-piece since 2011.

Obsideo sees Pestilence as a four piece, with guitarist/vocalist Patrick Mameli joining original guitarist Patrick Uterwijk, bassist George Maier and drummer Dave Haley to create a technical and aggressive sound. “We have gone beyond our human limits to achieve the highest form of brutal music,” said Mameli, who claimed the album consisted of “ten of the most demanding songs written in death metal.”

Following a lengthy absence, Pestilence resurrected itself in 2009 with Resurrection Macabre. Since then the band has toured and explored options for its new sound, which incorporates eight-string guitars and modern metal influences into its classic death metal sound.

Consuming Impulse, the band’s 1989 release, remains a highwater mark for death metal for its intricate assembly and integration of complex riffs and multiple themes. Since that time, the band has drifted toward more socially-acceptable forms of technical music.

Obsideo Track-Listing:

  1. Obsideo
  2. Displaced
  3. Aura Negative
  4. NecroMorph
  5. Laniatus
  6. Distress
  7. Soulrot
  8. Saturation
  9. Transition
  10. Superconscious

http://www.youtube.com/watch?v=r3GO66yX488

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Perdition Temple unleashes The Tempter’s Victorious in early 2014

perdition_temple-the_tempters_victoriousMembers of Immolation, Angelcorpse, and Black Witchery comprise the new Gene Palubicki-fronted project Perdition Temple, which will be releasing two new recordings on Hell’s Headbangers records in 2014. Arising from the ashes of Angelcorpse through its principal composer and most renowned guitarist, Perdition Temple extends the Angelcorpse concept to new extremes.

The first release will be a 7″ EP with one original track and one cover on the B-side. This is a teaser for the album and a showcase for the new lineup for those who are considering the album but not yet convinced. There’s no word on whether this will be Perdition Temple’s trademark high-speed intricate chromatic riffing or another style.

The Tempter’s Victorious will be released in early 2014 and will be a full-length album with eight new tracks and cover art by Adam Burke. Recording begins in the next few months to have this release ready in time for its street date. The following is the current lineup of Perdition Temple:

  • Gene Palubicki – guitars
  • Bill Taylor – guitars
  • Impurath – vocals
  • Ronnie Parmer – drums
  • Gabriel Gozainy – bass

http://www.youtube.com/watch?v=HGoQa7BlExw

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Interview with Andrés Padilla (Underground Never Dies)

andrés padilla-underground_never_diesRecently the word got out about a new book that’s going to explain the metal underground. This book, called Underground Never Dies, is edited by Andrés Padilla, the longstanding publisher and chief writer of Grinder Magazine.

Like several underground books before it, Underground Never Dies does not attempt to summarize the underground from a single point of view. Rather, it lets many different voices speak and, like harmonization in song, a truth emerges.

Cover art by Mark Riddick graces the entrance to this all-star production of underground metal analysis and opinion. In these pages, you will find people that you know of, or will want to know of, who helped build the underground into what it is.

We were lucky to get a chat in with Andrés as he prepares to launch this challenging work. Thanks to Andrés Padilla, Grinder Magazine and Doomentia Records for helping us secure this interview.

Click here for the full interview.

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