Wülfskol Hellshock 7″ released for Record Store Day

April 18, 2015 –

wülfskol_-_hellshock_-_record_store_day

Imprecation composer/vocalist David Herrera unleashes his new project, Wülfskol, with a 7″ entitled Hellshock which has been released in time for Record Store Day (today). To kick off the release, the band is handing out free copies of a CD version of their songs at local record stores in their hometown of Houston, TX.

If you are at Vinyl Edge or Sound Exchange tomorrow, pick up a free Wülfskol cd while you are there. There will be 20 copies at each store, with 2 songs “I Am The Devils Blood” and a cover song of the Dwarves “Satan”. Hails!

The band, which describes its music as “songs in the tradition of early Bathory, Sodom, Misfits and Broken Bones. All about drugs, death, and the Devil,” also released cover artwork for the new release by underground artist Daniel Shaw:

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This might kick off Record Store Day 2015 with a bit of a celebration.

Trench Warfare leaks demo tracks

April 5, 2015 –

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Texas war metal band Trench Warfare leaked three tracks from its upcoming work in progress. These tracks revealed a sound that is straight raging war metal surge riffs on the verses, complex Perdition Temple style fills, and melodic undercurrents to choruses that resemble those of early Beherit.

Naturally this provokes interest from metal fans worldwide with caveats. War metal has give itself a bad reputation for being an entry point into black metal for the same droning three-chord nonsense that ushered hardcore punk into irrelevance when it became popular and all the tryhards and poseurs crowded the stage. Trench Warfare tries to balance the Blasphemy-inspired excesses of war metal with variety in riffing and flexible interruptions to relatively standard song structures.

While little is known of this obscure band beyond its contested origins and fugitive status, these tracks augur well for the future of this homebrew outfit. It has its own style and, while these tracks may require refinement to stand out in a crowded field, that is an inevitable and welcome part of experience and will make this promising material stronger.

Has heavy metal sold out?

February 26, 2015 –

has_heavy_metal_sold_out

The Carcass guys, who started out as grindcore but mutated into heavy metal disguised as death metal, gave an interview in which the topic of motivations came up. Frontman Jeff Walker argued that perhaps heavy metal has sold out:

I think if you’re going to play music, your reason for doing that should be solely that you want to be creative and enjoy it. You should be realistic…Too many people are creating bands as a career choice. ‘Should I be a football player? Should I be an actor?’ Everyone wants to be famous but I think your motives have to be pure…Once in a while, you’re going to hear some killer new stuff but it’s getting rarer and rarer. I think people’s motivations for wanting to do this are not purely artistic.

He is referring to the process by which bands change their sound for money or musicians target a certain sound expecting it will make money, which is the reverse of the natural artistic method of having a message to communicate and picking the style that best expresses that message.

Metal bands can both “sell out” and “sell in” by preaching to the converted, such as the flood of war metal bands making essentially soundalike material because they know people will buy it in order to appear “diehard” underground. These people are known by the name of tryhard and they cluster around certain three-letter internet forums.

On the other hand, metal bands can “sell out” by appealing to the pretense in people as well, such as Opeth which has always marketed itself as both “open-minded” and musically difficult, both of which are tempting labels for a low self-confidence fan to slap on himself. The rest of us are closed-minded and simplistic, but with the help of his Opeth-product, he is open-minded and deep.

In the same way, many bands turn toward “social consciousness” lyrics because people recognize these as a signal that the band is deep, even though every band goes into a social consciousness lyrics phase when it runs out of other things to write about. This also is a sell-out because the band knows in advance that the audience will reward more of the same, even if that form of same re-brands itself as “different,” despite almost every band doing it.

Walker may have a point. Over the past twenty years, metal has gone from an outsider to society which speaks unutterable truths in metaphor, to an insider accepted by every level of media. Now the concern is how to use heavy metal as a brand for being “edgy,” and how to use that brand to sell products whose owners hope the audience will buy them in order to be “edgy,” from alcohol to motorcycles to clothing and beyond.

Will heavy metal exist in twenty years, or will it be only a “flavor” applied when in a commercial the edgy product is on screen, like triumphant horns for bargains and girls singing Beatles songs for self-care products? Metal may make itself into a product after all, and selling out while making its musicians superstars will destroy the underlying community by corrupting its ideas.

Blasphemic Cruelty reveal cover for Crucible of the Infernum EP

December 5, 2014 –
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blasphemic_cruelty-crucible_of_the_infernum

Former Angelcorpse guitarist Gene Palubicki and his band Blasphemic Cruelty have announced the cover for their upcoming mini-album Crucible of the Infernum to be released on Hells Headbangers in early 2015.

The EP will feature three new tracks and a cover of Sodom “The Crippler,” in addition to cover art by Juanjo Castellano Rosado. Palubicki says: “It has taken a bit of time, since 2008, to get back here with some new Blasphemic Cruelty material, but time has come for our death engines to rattle, and it is in the form of Crucible of the Infernum. It will feature three new full-force death/thrash insanities as the band is known for from the previous output and a merciless cover version of Sodom’s ‘The Crippler.’ Final mixing sessions are in mid-January, and we’re aiming for an early 2015 release.”

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Diocletian – Gesundrian

June 11, 2014 –

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The sheer power of war comes alive in the third full-length from New Zealand warriors Diocletian, Gesundrian. The name Diocletian comes from the Roman emperor of the same name who waged what came to be known as the Diocletianic Persecution, which was the final and most severe attack on Christians in the Roman Empire. This band carries on the tradition of hatred and violence from those ancient times in the ferocious Gesundrian.

Not unlike similar acts such as Angelcorpse, Diocletian crafts war metal band but delves into more chaotically melodic construction rather than remaining a cookie-cutter clone of the Canadian bands. Gesundrian thunders forth with a dirge-like riff that builds an intense ardency, like sadness warping into anger, and progresses into a violent and powerful stampede of riffs throughout the entirety of this album like hordes of horseback warriors in the midst of battle.

While not offering anything fundamentally new, Gesundrian maintains the warlike spirit of metal, musically, lyrically, and structurally. For those who crave the invigorating dangers of ancient times, this is a work for you. Sound the drums of war: Diocletian approaches.

Interview: Heresiarch

October 7, 2013 –
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heresiarch-waelwulfAn eruption has occurred within death metal over the past years where bands have been attracted to the linear phrasal riffing of old Incantation, Demoncy and Havohej and have hybridized it with the ripping war metal of Angelcorpse, Conqueror and Perdition Temple, producing a sound like the roar of battle from within a cavern.

Leading this charge is New Zealand’s Heresiarch, whose Hammer of Intransigence introduced a stunned world to this new assault two years ago. Currently, the band prepares to release its Waelwulf EP and embark on a new series of combative adventures to further saturate the world in its violence.

With this in mind, we pitched NH of Heresiarch a few questions about the band, its direction, and the volatile ferment of motivic forces that provide a warlike impetus that is able to avoid destroying itself. For his answers, which demonstrate the raw visceral approach of both this style and its existential attitude, read the full interview here.

Interview: NH of Heresiarch

heresiarch-waelwulfAn eruption has occurred within death metal over the past years where bands have been attracted to the linear phrasal riffing of old Incantation, Demoncy and Havohej and have hybridized it with the ripping war metal of Angelcorpse, Conqueror and Perdition Temple, producing a sound like the roar of battle from within a cavern.

Leading this charge is New Zealand’s Heresiarch, whose Hammer of Intransigence introduced a stunned world to this new assault two years ago. Currently, the band prepares to release its Waelwulf EP and embark on a new series of combative adventures to further saturate the world in its violence.

With this in mind, we pitched NH of Heresiarch a few questions about the band, its direction, and the volatile ferment of motivic forces that provide a warlike impetus that is able to avoid destroying itself. His answers, which demonstrate the raw visceral approach of both this style and its existential attitude, follow.

What made you choose to make the style of metal that you did?

It was the sound that resonated most with me and reflected what I wanted to present effectively.

Why was your US tour recently canceled?

Line-up issues have plagued the progress and possibilities of Heresiarch since the beginning and this was no exception.

The main priority currently is completing the album writing and then preparation for recording, touring will be re-addressed when it’s pertinent to.

You say that Heresiarch is “esoteric leaning.” What does that mean?

Heresiarch takes influence from several esoteric paths, the most noticeable being from Indo-European branches; the upcoming Waelwulf EP is heavily influenced by Anglo-Saxon and Germanic literature, warfare, symbolism and worldviews with my own interpretations.

How do you compose?

Central to Heresiarch are visions of war, death and victory, on a grand apocalyptic scale with the aim to reflect the dread, violence and atmosphere attributed to such themes.

There is minimal melodic motivation behind any of the writing and writing generally consists of bludgeoning the guitar to the aforementioned themes, from there the songs and riffs are refined and eventually materializes the atmosphere I aim to convey. If the song or the riffs do not reflect this they are discarded.

Do you write on guitar, bass or vocals?

Composition is primarily done with guitar but always with an idea of how everything else should go with it; drums, bass and both guitars are written close together to compliment and reinforce each other.

Vocals and lyrics are generally the last thing to come since the content is already decided on within the writing process.

Will you be recording more material as Heresiarch?

The Waelwulf EP has been recorded, I am yet to finish the vocals but it should be done in its entirety by the end of October.

I have been working on a full length which will be released by Dark Descent records; around 25 minutes of the album is written to date. The theme, composition and the general layout have been completed and it will be the most “complete” release from us.

In your view, what are the bands today to watch in the underground, meaning the people who produce interesting music (who cares if it’s “commercially successful”)?

Besides the obvious ones there is IMPETUOUS RITUAL and GRAVE UPHEAVAL (some of our closest allies) from Australia.

SABBATIC GOAT, SINISTROUS DIABOLUS, VASSAFOR are all worth listening to from New Zealand. VESICANT is a new band I am drumming in; there will be recordings of that in the next year. Also TREPANATION are a relatively new band taking an interesting direction with what I’ve heard of their new material and BLOOD OF THE MOON from NZ now have a lineup again.

Also check out PAROXSIHZEM and ADVERSARIAL from Canada, IMPOSER from Italy and GENOCIDE SHRINES from Sri Lanka.

Will you tell us which musical works were your biggest influences in creating Heresiarch?

CONQUEROR – War Cult Supremacy is the most essential album of this style in my opinion.

Besides that: Realm of Chaos by BOLT THROWER, Fallen Angel of Doom by BLASPHEMY as well as some classical such as Lizst, Wagner and Holst.

Your newest track, “Endethraest,” sounds familiar but I can’t place it. It’s highly rhythmic and military, like a real war being prepared. What influenced this?

The initial influence for the track originally stemmed from Gustav Holst’s “Mars Bringer of War.” It’s a good indication of the new direction Heresiarch is heading, with less regard for speed like on Hammer of Intransigence and a focus towards creating a dark, martial atmosphere.

Rumor has it that Heresiarch uses some members from Diocletian and Witchrist as session musicians. These bands are apparently part of a ‘Doom Cult’ which is trying to brand itself as a certain type of metal. Are you part of that movement, or heading in a different direction?

Heresiarch has no members of Diocletian or Witchrist present in the current line-up and we never have been a member of Doom Cult.

What’s next for Heresiarch?

The aforementioned album is intended to be released by Dark Descent Records in 2014. All further intentions will be announced when suitable.

You say the band is based around war, death and victory. Why do you choose these topics? What do you hope to express? Do you intend to create change in the world?

There is no “hope” to express anything, the music does the talking and is the expression itself.

War, death and victory are intrinsic to sound of Heresiarch. Rallying and petitioning for social change and conscience, like all the other meek, well-wishing egalitarian scum is irrelevant to us.

Do you think war metal carries with it a big of a stigma in that so many bands are seen as humorless and self-important?

Yes.

Do you think most people accept war as necessary, or think of it as an evil to be purged? Why or why not?

I don’t care what most people think or believe in.

Extreme ends always attract extreme people, usually regardless of goal, doctrine or outcome.

It looks like the old school metal has lost out to the metalcore/indie-metal types. Is there any hope of rolling back the clock and getting to the days of better music? How important is it when the majority takes over a genre or a country and turns it into the same old stuff?

It’s not important. The “majority” as you say will always manifest their interests in trivial activities, beliefs and art in one way or another.

I guess the next logical question is, if you have no notion or desire for changing the world, what is your purpose in creating the music of Heresiarch?

I lost interest in all facets of politics and society a long time ago and from a logical perspective, a Black/Death Metal band is the least likely candidate to rally the masses towards changing the world.

In some respects that attitude is militarized in Heresiarch as an expression of contempt and disgust for all morality, faith and social structures which is a valid view for one to hold in today’s world… Essentially Heresiarch exists because it needs to and when that need ceases, so will the band.

If you could change the world, in what direction would you take it?

It’d look like the gatefold of Hammer of Intransigence.

Do you identify with any belief system and, if none, what motivates you?

Ride the tiger…

Impiety announces vinyl-only “Vengeance Hell Immemorial” compilation

May 13, 2013 –

impiety-vengeance_hell_immemorialReleased on the 20th anniversary of their first EP, Impiety’s upcoming LP collects some of their rarer releases onto a single platter for perusal by slamming high-speed death metal maniacs worldwide.

Compiling the Salve the Goat…Iblis Exelsi EP (1993), Ceremonial Necrochrist Redesecration demo (1993), split EP with Surrender of Divinity (2004), and the split EP with Abhorrence (2008), Vengeance Hell Immemorial assembles some of the more sought-after releases from this band’s history.

A special gatefold vinyl pressing from Hell’s Headbangers, the compilation will be unleashed upon the world on June 28, 2013. Less than a month later, on August 8 Impiety will unleash their new mini-album The Impious Crusade as if a nod to this grand tradition of shorter works, demos and EPs.

Salve the Goat…Iblis Exelsi EP (1993)
1) Cuntblasphemy
2) Magick-Consecration Goatsodomy
Ceremonial Necrochrist Redesecration demo (1992)
3) Intromancy
4) Ceremonial Necrochrist Redesecration1
5) Pentagramathron
6) Fallen Blasphemathory
7) The Seventh Goatspawn
8) Outroblation
Split w/ Surrender of Divinity (2004)
9) DragonOath Diabolus
10) The Seventh Goatspawn
11) Imperative Coronation
12) Invicible Force (Destruction cover)
13) Blessed are the Borachos
Split w/ Abhorrence (2008)
14) Storm of Abhorrence
15) Outronomicon

Impiety announces release date for “The Impious Crusade” mini-album

May 7, 2013 –

impiety--the_impious_crusadeSingaporean war/terror metal band Impiety recently announced a new mini-album, The Impious Crusades, and now reveal that the slab of screaming death will hit your mailbox on August 6th, 2013, as released by Hell’s Headbangers Records.

According to frontman Shyaithan, “Mission accomplished, and honestly really satisfied with how this record turned out! The Impious Crusade is a giant leap ahead from the last Impiety album, and to top this one is going to be severely difficult. But that is what I enjoy most, and shall continue to further challenge myself pushing wider, deeper, and even further beyond boundaries of untamed death and chaos.”

The Impious Crusades unites itself on the Impiety motto of “crush, kill destroy” and includes a cover of Sorcery’s “Lucifer’s Legions” and artwork by cult paintbrush Lord Sickness. Although the band have released no information about style, it now seems it will be coherent with their past years of blasting, racing, raging and deconstructive fast simple death metal with undertones of melody.

Although self-referential titles are generally harbingers of poor quality releases, the band seems united on this mini-album as a kind of short and quick mission statement, which could lead to a summation of past works into a single hard-hitting dose. Fans await this exciting release as the band makes the tracklist available:

1. Arrival of the Assassins
2. Commanding Death & Destroy
3. Accelerate the Annhiliation
4. The Impious Crusade
5. Lucifer’s Legions (Sorcery Cover)

Impiety to unleash mini-album “The Impious Crusade”

May 2, 2013 –

impiety--the_impious_crusadeOn August 6, 2013, Impiety will release its latest assault upon the world of mortal beings. Titled The Impious Crusade, this mini-album (that’s an EP for you 80s fanatics) will include five new songs of what we can only assume is the characteristic ripping fullback-rushing-at-Satan rhythmic metal that has made Impiety famous.

Unfortunately, assume is all that we can do. Other than describing the music as “innovative, brilliant and totally unforgiving,” the band has given us no clues. However, Impiety rose to fame for — in a time when bands were “experimenting” by including known influences from other genres — being cuts-to-the-bone pure rhythmic high speed chaotic death metal. Unlike war metal, they kept in the complexity of old school death metal and worked in even a bit of melody without turning into the over-tuned saccharine that afflicts many metal bands today.

In short, people have loyalty to Impiety because Impiety had loyalty to metal at a time when it was unfashionable and definitely not trendy to do so. Over the years, their output has been consistently within this theme, although it has improved, and has attracted numerous tributes. With this release, however, more may be afoot because the band are suspiciously mute on the topic of style.

The Impious Crusade will be released on Hell’s Headbanger’s Records, who promise more information today on this developing story.