FOR THE LOVE OF METAL
Grave Miasma is the latest proponent of death metal done right. This is nasty, ugly stuff. While not as sharp in attack as Dead Congregation nor as profoundly murky as Mitochondrion nor as surreal as Portal, Grave Miasma entrenches itself in something of a middle ground.
Tate Bengston investigates the new EP by British death metallers Grave Miasma (formerly known as Goat Molestör).
By Ola Mazzuca Whether you feel that black metal bands of today are becoming increasingly predictable or losing their touch, there’s always going to…
This massive three-disc compilation gives the listener a sonic taster of all the flowery praise thrown around Daniel Ekeroth’s book and if that listener is a seasoned Sverige-phile, then Swedish Death Metal Compilation acts as a 3+ hour trip down the left hand path of memory lane. It’s all here, the good, bad, ugly, awesome, marginal and downright terrible
I could barely contain my excitement when Scott Kelly, Al Cisneros and Dale Crover quietly joined Wino, set up their stuff, pointedly ignored the choruses of cheers and the prerequisite ‘I love you, man’ from some drunk/high audience member and just started playing.
Germany’s Secrets of the Moon win this year’s award for most black on an album cover. Luckily for listeners, there’s as much inky depth to Privilegivm as the packaging’s colour pallette suggests.
I lost interest in Paradise Lost sometime in the mid-90s, and one opening slot for Opeth several years later did nothing to change my mind. But listening to the band’s latest album, Faith Divides Us – Death Unites Us did.
Who knew crack would be so cheap? I’ve never really been a drug taker, the occasional joint when I was in my younger days but never really liked it. So while I’ve never done anythning harder, I imagine this record would be something like taking cocaine or meth. The high is quick and the come down is quick and you come back for more but it is always like chasing the dragon.
It’s an eerily attractive package for those who appreciate agonized expressions, androgynous bodies, and the aesthetics of the damned. What it all sounds like is a graveyard chamber orchestra, complete with strings and horns performed by a long list of guest musicians and produced by John A. Rivers (Love and Rockets, Dead Can Dance, Buzzcocks).
Dimensional Bleedthrough is the sophomore effort from New York’s Krallice. Like the band’s debut, the record is generally steeped in the more recent “avant-garde” or “post-Black Metal” sound, but it offers enough of the little details that are recognizably the group’s own.
Jonathan Smith reviews the new Krallice album for Hellbound.ca
Whenever a veteran metal band undergoes radical changes, like in Amorphis’s case, a new lead singer and a more streamlined sound, even if that shift in direction is successful artistically commercially and artistically, there will always be the stubborn folks in the background bitching and moaning about how their favourite band just isn’t the same as it used to be. Well, if you’re one of those people who still gripe that Skyforger is a sellout and can’t hold a candle to Tales From the Thousand Lakes, first of all, you’re only half right, and secondly, you can give a listen to Finland’s newest supergroup, who approach Amorphis’s classic, folk-infused progressive doom sound as if nary a day has passed since 1994.
Adrien Begrand dissects the debut release by Finnish progressive death metal supergroup Barren Earth.