Goatcraft – Yersinia Pestis (2016)

goatcraft - yersinia pestis

Article by Lance Viggiano.

Arpeggiated minor chord melancholy culled from or composed during belligerent improvisational tirades given body by a sluggish left hand approximating power chords to provide the work a lattice to the traditions of metal. Yersinia Pestis abstains from its predecessor’s thematic coherence – an accident of writing what were essentially cover songs of a famous painter – to make marked but mishandled improvements in its individual presentations through tuneful reprisals of established Goatcraft trademarks. The dependence upon staccato and arpeggio retain the artist’s characteristic stiffness in execution which blemishes through its brutishness.

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Nigromante’s The Euphonies and Profundidades Available For Download

Nigromante - PROFUNDIDADES cover

Nigromante’s Profundidades, recently reviewed by David Rosales, has been released for free download in MP3 format by experimental ambient label Spheredelic along with the earlier The Euphonies album:

Our second release in July is a double feature including the brand new album “Profundidades” as well as the reissue of the EP “The Euphonies” by Nigromante.
All music and ideas by Ebvleb. The picture for the cover layout was created by Marvin Narciso MMXV

The project Nigromante was founded between 1997/98. The shadowy figure behind Nigromante is inspired by and operating in the most deteriorated graveyards of Guatemala. Nigromante is to be listened to in the darkness of night, with pure candlelight, in order to feel the sound unleash specific emotions. It is the music of graves and the next dimension aiming at a direct contact with the lost souls of those who wander between the next dimension and this one. Nigromante is UNIQUE, a medieval modern aura of necroespiritual compositions.

Nigromante describes his music as “Necrospiritual Occult and Ethereal Nostalgia”. He uses sounds of medieval pianos, oboes, strings, etc. – all created with synths.

Alluring – The Room (2013)


The Room provides a relaxing, tranquil listen. The opening trope is slightly clichéd in mood and form but it works well in context and creates a relaxed hallucinatory vibe. A lush analogue chorusing effect with solid low-end sound makes the introduction a seismic force in addition to a musical one.

Continue reading Alluring – The Room (2013)

Nigromante – Profundidades (2016)


Article by David Rosales.

Receding light and surrounding darkness encroaching, a stench of death and the beginning of lamentations beyond the veil of mortality; this is the picture presented to us by Nigromante. These images cannot come from elsewhere but the deepest wellspring of human sorrow immortalized through its own seal of power, a searing symbol that brands pain and agony unto souls — that they may be thus imprisoned and chained.

“Usar un sigilo sin saber…. ¡Se maldicen a ellos mismos!”
— A. Valentina
(trans.: “To use a seal without knowing… They curse themselves!”)

Continue reading Nigromante – Profundidades (2016)

Desolation – Chorus From The Ruins (2008)

“Detail shows the face of Stela D which rises 12 ft beside the altar of sacrifice with a death god effigy. The stele represents the 13th ruler of Copán, King Waxaklajun Ub’aah K’awiil (in English, Lord 18 Rabbit), showing half of his face as it was sculpted, and the other half stripped as it would look in Death.”

“Detail shows the face of Stela D which rises 12 ft beside the altar of sacrifice with a death god effigy. The stele represents the 13th ruler of Copán, King Waxaklajun Ub’aah K’awiil (in English, Lord 18 Rabbit), showing half of his face as it was sculpted, and the other half stripped as it would look in Death.” – Akherra Phasmatanás

Article by David Rosales.

Desolation is a full-on ambient project that blends simple and solid harmonic backgrounds, repetitive phrases of a dark coloring, with recorded lamentations both human and otherwise. The aim seems to be to produce the whole array of impressions encapsulated within that single word: desolation. The music’s structure is progressive and appears to be segmented in an episodic manner, which normally implies a loss of continuity between sections. This unwanted effect is expertly avoided by providing smooth transitions, interleaving ambient soundscapes, nature sounds, vocal improvisations, all of which bring variety within a strongly directly concept that never loses content density or a strong sense of purpose. Furthermore, the album being simply distributed between two long tracks reinforces its unity and the requirement that the audience listens to the whole work as if commencing a mental journey, which once begun must be seen through to its very end.

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The Mythic and the Mystic

witches animal heads

Article by Lance Viggiano.

Burzum and Beherit each represent two summits of black metal’s many perspectives – in particular its looking back to look ahead ethos. The work of Laiho is exploratory and spiritual while the work of Varg is seeking and religious. Each composer followed a similar trajectory of mapping this landscape through metal first, then ambient. Each phase reveals strengths and weakness in each of their aims which results in a somewhat complementary synthesis between two highly individual bodies of work.

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Space Rock Special: Hawkwind (1971-1973)


Article by Johan P.

The stylistically inclusive nature of progressive rock allows quite a lot of stretching of the genre’s musical boundaries. This part of Death Metal Underground’s 1970s Progressive Rock for Hessians series looks into the early, classic period of the English group Hawkwind – a group of sonic shaman-warriors who transgressed more than one genre border right from their inception. Well, almost. Their unconvincing 1970 self-titled debut album can rightfully be dismissed as a failed attempt at improvisational psychedelic folk rock, with songs that sound too much like flawed byproducts of the flower power era. Luckily, the following years saw the band re-forge their sound on In Search of Space (1971), articulate it on Doremi Fasol Latido (1972) and finally push their newfound style to its limits on Space Ritual (1973).

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Autechre – AE_LIVE (2015)


Article by Lance Viggiano

Autechre began their lifecycle inspired by Kraftwerk’s robot-pop composed of complex layers of simple motifs transformed into dialogues in which each layer of sound appeared to be communicating with each other, resulting in intricate music that often sounded emotionally distant yet alluring and rewarding. This approach has been refined through later work by removing the individuality of each motif, stripping it of meaning and self-purpose; and instead crafting living wholes out of simplistic cells. With the AE_LIVE release, Autechre present a novel concept that was originally released as a four-part series and since has been expanded to nine separate compositions averaging around an hour each. For the sake of sanity and brevity, this review will focus on the original four performances.

Each performance is procession of distinct tracks whose form and aesthetic are pre-composed. The basic structure and sonic palette unfold in a live setting through improvisation resulting in a collection of compositions which are distinct but unified. The thing-in-itself is inaccessible and can only be approached through a variety of perspectives. Autechre manifest the underlying urge of each track through indeterminate duration, rhythmic and harmonic variance. The compositions contain no narrative arcs which may frustrate the listener however life itself is equally devoid of historical arcs, shapes of time, purpose, and rationality. If we can abstract a theme out of each manifestation it is the inner and outer turmoil of living a human life. The subject-object relationship to this work is different between listeners, therefore the meaning of the art is subject to variety since we do not have access to the inner contents.

1. AE_LIVE_KRAKOW_200914

Man’s primal, aggressive, and marauding nature is the subject of this composition. This experience is the most immediate of the original four and simplest to grasp for those used to musical tour de force. Exuberant synth erupttions are followed by moments of hesitation through cascading bass creating an abstract representation of threat, uncertainty, and sudden response. The rhythms often invoke a steady elevated heartbeat over which sharp patterns clash and dissolve. Autechre explore their early dialectic style in the compositions coda but instead of a conversational tone, invoke a confrontational quality. Elements compete with one another, increasingly at odds and less integrated as the whole piece winds down into an uncertain and exhausted conclusion.


The most dance and groove oriented take is predominantly physical in nature. The focus is on the body and its motion. Autechre push the limits of danceable rhythm which in turn challenges the body to remain in step with the ever-shifting cadence of life.


The most sparse and introspective variation. Track transitions are less abrupt while the whole retains more interdependence than the other pieces fitting for a contemplative journey. Autechre sort their mental contents in a relaxed meter. However, the character of the patterns are no less tumultuous and bombastic than the others.

4. AE_LIVE_DUBLIN_191214

External and visceral. Washes of ambience linger in the background giving off an impression of a subject traversing a landscape. This contains the most abrupt and forced transitions. A lack of fluidity is reminiscent of the rush of chaotic and divided sensory imagery washes over listeners who find themselves in unfamiliar places, isolated, without familiarity or a rational center.

AE_LIVE may be purchased from the AE_STORE