The title probably needs a few instances of “again” sprinkled throughout, but whatever. Metal Blade is presumably in the very early stages of putting out new vinyl presses of early Slayer recordings, as evidenced by their decision to announce this through one of our competitors. This rerelease focuses on Slayer’s earliest releases – their first two studio albums, as well as the Live Undead and Haunting the Chapel EPs. Like many of these vinyl reprints, it seems to be fairly limited in scale – only about 1200-1500 of each album is going to be pressed, and any collector who misses these is going to have to wait for a new pressing or content themselves with one of the many older versions. The actual musical content of these records is worth your time, anyways, which is something you can’t say about every record released.
Phil Taylor, the former drummer for Motörhead, has passed away at the age of 61. So far, no cause of death has been disclosed. As one of the founding members of the band, he understandably had a major influence on metal drumming; in particular, he probably played a major role in popularizing the use of double bass drumming in some of the more extreme subgenres. On the other hand, the variety in Motörhead’s early material also speaks volumes on his ability to perform in some substyles beyond just proto-speed metal. Beyond his especially famous performance on Ace of Spades, Taylor also performed on every one of Motörhead’s studio albums until 1916, with the exception of Orgasmatron.
Demoncy is another one of the site’s favorites, at least if the old Dark Legions Archives are to be believed. After rerecording Empire of the Fallen Angel two years ago, their decision to join up with Nuclear War Now! Productions may end up bringing them some extra exposure for their various projects. So far, NWN appears to be assisting with three major tasks. First, Demoncy is working on a new studio album – Ascension of a Star Long Fallen‘s release date has yet to be confirmed, but it will probably follow the approach established on 2012’s Enthroned Is The Night. In addition, the label is promising vinyl rereleases of the band’s earliest material, including their debut album. Finally, Demoncy is expected to perform at Nuclear War Now! Fest V in November 2016. Prior to this, Demoncy seems to have spent their career fitfully jumping between record labels, but this might bring them some helpful stability.
Usually, when the word “obscura” enters my brain, it’s because of the works of Gorguts, and not this band. Then again, Obscura’s jazz-fusion-prog-techdeath-clusterfuck approach hasn’t won much of a fandom here, but it has won some acclaim from the meatworld for being disorganized, diverse, and instrumentally proficient. The teaser for Akroasis is full of more of the same, beginning with an intro highly reminiscent of “Veil of Maya” off Cynic’s debut album before abruptly shifting into an unrelated progression for reasons that very likely are not related to this video being composed of 45-60 second snippets of Akroasis‘s songs. If the rest of the album is like this (and I’m sure it will be), even its most ardent fans will find themselves infatuated with something else long before this album gets its own successor.
On Friday, November 13th, you will be able to purchase Carcass’s latest compilation (Casket Case) for up to one minute. Earache Records claims that their previous ultra-limited box sets have sold out incredibly fast and it seems unlikely that this will be an exception. Casket Case features all five of the studio LPs Carcass released for Earache, meaning that you get the later underwhelming “melodic death metal” material as well as earlier, formative grindcore and death metal if you manage to get your hands on this. As a consolation price for those who fail to get their hands on this apparent bounty, Earache is also discounting the separate albums on CD for some time, as well as two compilations from when the band was dissolved during the late ’90s and early 2000s.
Enforcer has colonized 1983 and created an album that synthesizes much of that era’s above-ground metal, along with some careful additions from early speed/power metal into a coherent and musically proficient, if not particularly inventive whole. When you take into mind that there was just as much disposable crap being released then as now (at least by ratios), this probably pulls ahead of much of its inspirations for taking advantage of the historical perspective granted by 30 years of hindsight. Whether or not that’s enough to make it worthwhile is one of the questions I had on my mind as I evaluated From Beyond. (more…)
Summoning has been working on their latest studio album for about a year now. More recently (although admittedly some months ago), they spoke to a writer at Darkview about their plans for the upcoming album. So far, the band members continue to emphasize a degree of continuity with the style established on Old Morning’s Dawn, ranging from its more depressive atmosphere to the reuse of material originally intended for that album. On the other hand, Silenus suggests that some aspects of the music (like the melodic lines) may end up more like older albums, such as Oath Bound and Let Mortal Heroes Sing Your Fame. Regardless of what material it takes after, it’s likely that Summoning’s next album will be of some merit, and we’ll certainly update you on it once we have more concrete information.
We’ve occasionally written about the correlation between metal music fandom and various mental changes (often positive). More recently, University of Saskatchewan student Anna Nouhl Kuhlmann recently performed a study that lends credence to anecdotal stories of metal music resolving anxiety issues. Kuhlmann notably decided to focus on female fans, claiming that “A lot of the research I’ve found focuses on men…”, and that she “…wanted to show that metal music can have positive results for female fans, even though it has such negative stereotypes about it.” I personally doubt the results would be substantially different if the study had a different gender focus, at least based on my own personal experience of finding the genre less stressful than, for instance, mainstream pop. I’d also like to see the actual publications associated with this study, as it presumably would provide more details on her approach and findings that would definitely be of interest to our readers.
An old issue of Sadistic Metal Reviews once contained some interesting commentary on the subject of Agalloch – drop the “metal pretense” and possibly see album sales soar. The counterpoint is that there’s always an audience for rock music disguised as some sort of metal, but if Prisoner of Sunlight (Austaras’ first full length album after an allegedly post-black metal inspired debut EP in 2011) is to be believed, there’s also an audience for rock albums that don’t bother with the deception. As a mopey, vaguely depressive, pseudo-artsy post rock album that’s presumably been done a million times before, Prisoner of Sunlight is unsurprisingly less offensive than the halfway approach of a Deafheaven or a Myrkur or whatever the kids are forgetting about these days, but that’s not quite enough to make it worthwhile.
Above all else, Prisoner of Sunlight is a flat and directionless experience. The band builds their songs out of short chord progressions and brief guitar leads with little in the way of heavy metal styled riffing. They promptly do little to develop or elaborate on their musical ideas beyond the occasional break in for slow acoustic passages. Vocals are notably entirely clean sung, and stylistically they’re pretty much the standard Mikael Åkerfeldt for better or worse. I suppose you could say the technique needs some work to really shine, but they’re otherwise competent and perhaps stylistically appropriate. Any ambitions the vocalist has, though, are stamped on by the sheer flatness of the songwriting. Other elements fail to add any real interest to this – occasional synthesizer lines and generic rhythmic backing aren’t quite the selling point I would hope for. On the other hand, the album does nothing particularly wrong – no particularly jarring moments of randomness or especially obvious pandering to youth demographics, but the sense that Austuras focuses on texture and ‘ambiance’ above all else, while not necessarily a flaw (since some musicians can pull it off effectively), is a dealbreaker.
Ultimately, Prisoner of Sunlight is not a good album, but it isn’t even a bad enough album to laugh at. You might get the impression that more popular post-metal bands would sound like this if they too stripped all the metal from their approach. Perhaps they would; the lesson here is that you need a better understanding of how to vary your music if you’re going to write “atmospheric” metal. That’s more difficult than it would appear on first glance.
Suffocation has taken a previously scheduled show at Housecore Horror Festival III and apparently expanded it into a short tour. Not a great deal of notice for possible fans, but this gives fans of Suffocation throughout the USA (but mostly the southern parts) a few chances to see the band perform. There probably hasn’t been enough time since the band semi-officially announced an upcoming studio album for them to actually perform any new tracks, but you never know. As usual, the balance of formative early work and less powerful later work may vary throughout the tour, so be ready for the possibility of either should you choose to see Suffocation in concert.