Spyhorelandet comprises the kind of unrelenting hopelessness you’ll experience stumbling naked and bleeding though a blizzard after seeing your family devoured by wolves. However, where much of black metal concentrates on diabolic or fantastical pursuits, Formloff are interested in the “ugly personal histories each of us carries”.
This September Gilead Media and Mirror Universe will co-release a split LP featuring two of USBM’s best, Barghest from Baton Rouge, LA and Minneapolis, MN’s, False. Both bands are coming off successful 2011s, which saw Barghest release their debut self-titled full-length and an untitled EP from False. While these two bands are undoubtedly black metal, their styles – at least on this release – are complimentary enough to make this split seem natural, yet distinguishing enough that there would be no confusing the two.
Beautifully packaged, and as an extra-special feature, it includes a unique interview that Quothon did with Godreah main-man Crin for the legendary Godreah magazine. Truly these are songs to hail on high!
Sparseness and minimalism play a large part in Constantinople’s allure, and the space within the tracks leaves room for darkly spiritual reflection.
If you are into Black Metal and especially something with an atmospheric and ambient edge to it, definitely get this album; it will be well worth it.
As a neurotic and obsessive metal fan I struggle to cope with the number of magnificently malevolent black metal releases I’m missing out on. It’s a depressing thought—which I suppose is quite apt really. Such is the enigmatic nature of the underground scene, coupled with the fact that I am essentially a troglodyte, for every excellent black metal release I get to hear, five other worthy contenders pass me by. However, there are a few releases of late that I have been fortunate enough to hear and think deserve some praise-heavy wordage. Continuing my never-ending multi-album review series, this time I’m focusing on a few rough-edged gems (and one notably polished one) from black metal’s inhospitable climes.
On March 25th Alcest and Deafhaven played The Casbah, the smaller stage at Charlotte NC’s Tremont Music Hall, and Justin Richardson was there to soak it all in. Here is his review of the show.
With a few defeats and changes of members along the way, along with a fairly lengthy discography, Desaster are still campaigning like true survivors. Having never gained the sort of popularity or visibility of many of their German brethren, the band have remained a cult act, and their new album, The Arts of Destruction, isn’t likely to change that scenario any time soon.
Ambitious and progressive, razor-raw and unrelenting, the debut from Cape Town’s WILDERNESSKING is passionate and exciting, and I’d daresay an early frontrunner in my book for one of the best of the year.
Though it does not quite possess the potent and urgent vibe of Altar of Plagues’ Mammal, Social Disservices takes second place in my personal albums of the year. Hopefully it will receive even more recognition in 2012.