Bandcamp Misanthropy – Volume 14

The bottomless wellspring of Bandcamp is overflowing with great shit just waiting to be discovered. This series aims to shine light on the freshest emanations and foulest incantations from its darkest corners, a few artists at a time. Here’s the fourteenth installment for your vulgar delectation. Enjoy. 

~

Artist: Ashen Throat

Year: 2017

And with a depraved, hellish howl; we’re off. UK atmospheric/depressive project Ashen Throat has conjured its first demo and it’s a capable debut offering. Not much is known about these enigmas, but the duo of J and Luke Powell describe their work as “Belching draconian fire in open revolt against nihilism, self doubt, depression and the modern world as we know it“. Sounds good to me.

While there isn’t too much here that you haven’t heard before, what is here is done well. ‘Breathing Black Fire’ is four solid tracks of raw, cold second-wave influenced melody with vocals echoing from the womb of the earth itself. When the depressive elements are in full flight it’s akin to experiencing emotional death, but it’s also possessed of an icy elemental fury that bursts pleasingly from your speakers. The production is great for a demo, with just the right amount of oppressive density versus chilling instrumental clarity. Third rite ‘Axis’ brings surprises in the form of a short folksy intro with sounds of someone walking through a woods and faintly triumphant synthetic horns buried deep in the mix; both work well and help with immersion into the oppressive nature of the material while closing track ‘Temple’ proves to be the most furious on offer and eventually devolves into some chilling throatwork. The screams at 4:45 onwards are notable too. I particularly dig the vocals on this entire release; when they experiment further than the usual DSBM howl or echoing, black-as-pitch rasp they often succeed, coming across as genuinely unhinged and tortured.

Overall, a well balanced debut demo that you can tell is a cathartic experience for both artist and listener, and that at name-your-price download is worth the 20-odd minutes of your time. Support.

~

Artist: Mylingar

Year: 2016

I’m full of rage, father. Murderous urges. I don’t just hate this man. 

I hate all men. 

I hate life.

This shrapnel-blast of utter destruction came out amidst the dying embers of 2016, shortly before BMD was birthed into painful existence. I wanted to include it now not only because it absolutely fucking murders and the fact that it’s up for name-your-price download is unbelievable, but also because upon recently revisiting it I made the exciting discovery that they have a new album in the works, and the gentlemanly thing to do is to alert the general public so women, children and those of a weak constitution can take the necessary precautions. 

I’ll keep the warning short: Mylingar’s ‘Döda Vägar’ (“Dead Roads”) is five abusive tracks of grinding black death punishment that want nothing more than for you and everyone around you to take a dirt nap. These Swedish beasts reach a similar level of disgust and hatred as Anaal Nathrakh or Dragged Into Sunlight, final blow ‘Friheten’ alone will make you want to take on the whole human race and commit genocide with a blunt shovel.

Pulverising drumming, savage riffs and contemptuous vocals; it has it all, and I love this shit. If you missed it when it first dropped you have absolutely zero excuse to not check it out now and get acquainted. Grab it for whatever you like from their Bandcamp, or snap up a physical copy here from Amor Fati Productions. Sheer brutality in audio form.

~

Artist: Brood In Black

Year: 2017

Sometimes, unfortunately, things fall through the cracks. I get a lot of mail here, my list of releases to check out is never shorter than Gary Ridgway’s victims list, and despite my best efforts sometimes a release or recommendation slips by unintentionally. The demo from fresh USBM act Brood In Black is one of those things; it was sent to me many months ago and I only rediscovered it in my inbox the other day whilst searching for something else. Sincerest apologies.

Anyway. After an industrial pitch shifted intro, titular opening track ‘Arrival of Death’ kicks into what this release is all about and will stick to through the entirety of its length: Raw, totally primitive, black-fucking-metal. Like listening to early 90s demos style raw; no flashy shit, just archetypal blood-dripping evil for the sake of it. Each track is like unearthing an old rehearsal tape from some hitherto unheard of obscure band at the birth of their existence. Seriously, if you want a nostalgia trip back to when the earliest bands full of youthful exuberance picked up their instruments and just bashed it out in the name of the dark lord, you might just find it here. They even have hand copied and hand drawn tapes for sale.

It may seem like I haven’t really touched on the actual music or songs themselves, but if you know what I’m talking about so far then you know what to expect. I’m interested to see where this project goes, are we seeing the embryonic stages of a new great act? Who knows. Bring the hell, fellas. Up for name-your-price download. Hail Satan.

~

Artist: Sadness

Year: 2017

I’m throwing this in here real quick because prolific DSBM/post-black melancholist Sadness has a freshly released new EP for your ears, and is also running a handy promotion: All 18 of his top quality releases are set at name-your-price download until the codes run out. 

‘Sun Into Water’ is his latest EP that was released on October 24th and will apparently serve as a lead-in to a future full length release, but it’s an exquisite piece all on its own. Still heading in the more blackgaze direction of his recent work, it’s comprised of two lengthy, beautiful tracks slathered lavishly in airy melodies and ethereal synths simply made to carry you away into the mists of reminiscence.

In the interests of keeping this short, I’ll just say: everything this guy has done is fantastic. If you enjoy the soothing and soul-rending sounds of melancholia but haven’t yet immersed yourself in this stunning project; rectify this immediately and snatch all of those releases before the downloads run out. Perfect for those lonely, introspective nights. Or anytime at all, really.

~

Artist: Waal

Year: 2017

The Icelandic scene really has become the modern-day version of the Norwegian ’90s. A veritable torrent of ultimate quality black metal releases seems to pour from the region in a near constant stream; I’ve no idea what’s in the water over there, but it’s fucking great and seems to go from strength to strength. One of the latest acts to blossom from the fertile soil is Waal, and presented here is their debut two track EP ‘Ruminations’ for our consideration. 

Posessed of an earnest, cold rawness and atonality, the opening salvo ‘Stoned By Reflection’ lashes from the gates in hypnotic, undulating fashion while second track ‘Void and Passion’ writhes in a seething, menacing consternation. Both the song and EP titles themselves aptly describe the tumultuous descent and violent introspection contained within this release, as it worms its way into your mind it instigates an internal regression to a deeper darker state where you can’t be held accountable for your actions.

Short though it may be, I can’t praise this release highly enough. From the songwriting to the sound it strikes an obscure chord within and is incredibly addictive. I’ve often found myself listening to both tracks on loop for hours on end and never once tiring of the experience. Whatever your secrets are, I hope you’ve made peace with them because this EP will drag you in and spiral you down to depths you never wanted to reach again. 

Embrace it.

A limited cassette edition in folded black card is available through Mysterion, or you can drop a measly couple of dollars on a digital copy from their Bandcamp below.

~

Artist: Croc Noir

Year: 2017

I had an odd moment when I received this EP in my inbox; being Australian, the word ‘Croc’ calls to mind crocodiles. Up to this point in my life, crocodiles are not something I’d naturally associated with black metal. Perfunctory Googling did not shine any further light on the matter aside from the information that Croc Noir is a jungle level on World of Warcraft and also translates to ‘Black Croc’ in the band’s native French tongue; so failing the possibilty that they’re hardcore gamers perhaps Croc Noir really are working to thrust ancient reptiles into the misanthropic gloom of the black metal spectrum. If so, hails to them.

Linguistic differences and rambling digressions aside, the duo have created an interesting release in ‘Nuit’ (“Night”). A shamanistic introduction does in fact conjure images of the jungle before ‘Charogne’ kicks in to stoic yet disaffected second-wave style darkness. It’s enjoyable, but it’s on tracks like the following ‘Ruine’ where they really shine for me. Touching on a sedate-yet-tormented DSBM style which allows the disaffected, distant nature of the production to come into its own, it’s easily my favourite track on here and when they return after a couple of hate-filled diversions to a more depressive style on final track ‘Décharné’ it’s also astoundingly good and virtually drips with despair. An excellent way to end the EP, with both tracks in particular deserving of many repeat listens. 

Out for about four months now and their second release overall, it suffers a little from appearing a slightly disjointed collection of good ideas rather than a coherent killer journey, but there is definitely a lot to like here and subsequent releases will only improve in that aspect. The more I hear it the more it creeps its way into my brain. I’m sure it’ll do the same to you in no time. 

The gentlemen generously have both of their EP’s up at name-your-price download from their Bandcamp below, or you can perform a death-roll on a CD compilation of both until it dies at Wolfspell Records. Tapes are also covered through Corde Raide Productions.

~

Artist: Kralle

Year: 2017

Straight up: If you want to hear why I’ve included the debut demo from US one man raw atmospheric project Kralle in this Volume, go directly to third track ‘A Cold Burial’ and press play. 

Released back in June the rest of ‘Demo MMXVII’ certainly has some good moments (bar the intro, which doesn’t really add too much value and I’m not a huge fan of well known film/comic villain dialogue samples in black metal; the quote itself may be fitting but you can’t help but picture the character saying it which detracts from the experience) and closing track ‘Frozen Nights in the Tundra of Isolation’ is also a decent slab of icy northern blackness, but he totally nails it on ‘A Cold Burial’. 

A dysphoric, detached waltz through wastelands of hopelessness and agonies so deep-seated they’ve become a dull ache; it’s moving stuff that honestly feels like you’re wandering through monochrome dead forests searching for a place to lay down in the snow and die. Think a rawer, more depressing version of Burzum’s ‘Dunkelheit’ and you’re heading in the right direction.

Overall, not a perfect release but there’s a certainly lot of of promise here and if he can bottle the magic of ‘A Cold Burial’ or decides to go even rawer on further offerings it will be a sight to behold. There were a limited run of tapes available but they’ve since sold out; luckily it’s also up for name-your-price download.

Edit: Just found out he has a fresh new split release dropping on Halloween. More Kralle incoming.

~

Artist: Blattaria 

Year: 2017

Nightmare tumbling through unfettered kaleidoscope dreamscapes, slashed by a thousand knives as the rivers of blood raining from your wounds crystallize into whirling spiral galaxies around your flailing form. If this sounds appealing, by all means dive right in to the maniacal debut full length from hellish US psychedelic/experimental project Blattaria (“Cockroaches”). 

This self-titled slice of insanity is the work of sole sadist Manuel Garcia, whose vocals roar like a man constantly being torn apart and violently reassembled incorrectly over and over again in an infinite loop. Atonality and dissonance are key here as he wields tumbling, paranoid horrors to induce a state of near constant anxiety and fear; have you ever seen Dario Argento’s classic Suspiria? It’s a masterfully done film  where even something as simple as a character walking across a room can have your heart in your mouth and eyes wide in terror, and he achieves a similar effect here. Even the quieter passages are infused with a subversive, skittering panic. It’s nihilistic in the extreme; we are all nothing more than cockroaches and Blattaria know it. Something of a nice surprise too is the fact that Jacob Buczarski of Mare Cognitum fame was behind the mixing desk on this one, and he’s done an exceptional job; every note of the avant-garde mayhem sounding crystal clear as it tears strips off your grey matter. 

Released on October 19th this isn’t an album you simply listen to, but one you must live through or endure, and it’s refreshing to hear a release that inspires such genuine psychological fear in the listener. Both a cassette and LP edition are available here from Fallen Empire Records, but it’s also up at name-your-price download from his Bandcamp below. Enter if you dare. Pure art.

~

Submissions for possible inclusion in future Volumes are welcomed.

Like Black Metal Daily on Facebook for more kvlt sounds and tonal blasphemy.

Email blackmetaldaily@outlook.com

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Bandcamp Misanthropy – Volume 13

The bottomless wellspring of Bandcamp is overflowing with great shit just waiting to be discovered. This series aims to shine light on the freshest emanations and foulest incantations from its darkest corners, a few artists at a time. Here’s the thirteenth installment for your vulgar delectation. Enjoy. 

~

Artist: Void Tendril

Year: 2017

First up in a cluster of releases I’ve been immensely enjoying: Uk blackened doom duo Void Tendril have just dropped their first ever demo ‘Ensnaring the Demiurge’. For an embryonic first recording it’s a doozy; the four tracks as a whole are a raw, crushing experience with a great sense of melody and an inherent theatricality or ‘storytelling’ vibe to both the vocals and composition that captivates for the entire 30 minute length. 

‘A Crone’s Reptilian Eye’ is a suitable introduction to the wiles of their ways with some absolutely killer riffs massaging your mind, before the misery really begins to hit home on second track ‘Shivering Residue’. Everything gets darker and more intense, the harmonized vocals between the two are a noteworthy addition and when that flows into the artfully morose layered guitar that closes out the track you know these fellas are on to something special. It only gets better from there too as the last two tracks ‘The Vampyric Embrace of Flame’ and ‘The Hourglass Catacomb’ pull you deeper into the abyss; the latter taking my pick for tune of the bunch.

I should also mention the cover art is a great evocative piece from Stephen Wilson/Unknown Relic, superbly meshing the demo’s concept with an expansion of the tarot card ‘The Tower’. I’m already a huge fan of his work, go check it out if you haven’t already. The whole package is soon to be released on cassette by Rat King Records UK, but for now grab yourself a name-your-price download and be ensnared by the searching grasp of the Void Tendril.

~

Artist: Prison of Mirrors

Year: 2017

Pure satanic devotion in black metal form. Occult Italian triumvirate Prison of Mirrors released their first great EP ‘Nothing’ back in 2014 and they’ve now followed up with an reverential new two-track of unholy vehement rites, ‘Unstinted, Delirious, Convulsive Oaths’.

From the very first seconds of opener ‘Wounds of Radical Abnegation’, their statement is perilously clear. Spectacularly impious riffing spider-crawls under a percussive assault so thick you can almost feel the blows, weaving a sorcery both horrifying and irresistibly mesmerising. Lord Svart’s vocals are also a feature as his otherworldly, haunting rasp seeps from the abyss behind the cacophony; delivering paeans, curses and dark blessings alike.

The EP, over the course of its two lengthy compositions, feels laid out like a ritual. If the first track is worship and calling the dark light into you, then second offering ‘Litany of Consecration’ is the feeling of having entered into the necessary transcendent state. It crackles with diabolical essence. The powers have been drawn, the work must be done; welding and weaving the forces, bending them to your will and that of the master. It takes the honours of track of the EP for me, the atmosphere and fury inherent in this is nothing short of electric.

Recorded at Sonic Temple Studio and mastered by Stephen Lockhart at Studio Emissary, everything sounds incredible and I highly recommend you spend some time immersed in its intricate arcane mysteries. Released on cassette through the dual forces of Signal Rex and De Essentia Diaboli you can grab a physical copy through either of those esteemed establishments; or score a name-your-price download through Signal’s Bandcamp below/support them directly for 2€ through their own Bandcamp here

~

Artist: Nowhere

Year: 2017

You may recall I featured raw one-man US destroyer Wojtek’s project Nowhere on his split with Dead and Grey (who also has another EP on the way at the end of October in a little cross-promotion for those interested) back in Volume 9; well, the new single from his upcoming album ‘Eternal Black, Infinite Void’ landed in my inbox a short time ago, so I figured I’d squeeze it in here.

The track ‘All Hail the Void’ represents two significant changes: a revamp to a somewhat denser, more chaos inducing sound and someone else behind the producer’s desk for the very first time. Myrdin Cerphas from Revelation None and Synodic is twiddling the knobs here and the result is noticeable, the raw essence of Nowhere’s assault is still very intact but now it’s a blistering skin-flaying maelstrom. Wojtek’s creative and at times disturbing guitar work sounds great and his vocals have never been better; the song itself is a muscular, serpentine hell-trip that flows into a bleak, warped acoustic section for the last minute and a half. A suitable close out for the scathing pandemonium that preceeded it, the cherry on top of a track that’s probably the best material I’ve heard from him yet.

All in all it’s an interesting development from the Nowhere camp and one that leaves me intrigued to hear the rest of the album when it drops next year. If you’re into raw chaos, show some support for a single dollar from his Bandcamp below and help him get this thing made.

~

Artist: Ulg

Year: 2017

If you’re in any way a fan of atmospheric black don’t even bother reading this, go straight down and hit that download link at the bottom. If for some reason you still need convincing or just have some time to kill while you’re in the waiting room at the clinic or something, then by all means, read on.

Ulg’s debut release ‘Windark’ is one I didn’t know I was craving until I heard it. Released back in January but somehow escaping my attention until now, sole member J. Marshall has crafted four “odes to mystic naturalism and the folklore of the wilderness” and each and every one is simply stunning. He spends the majority of his time in the wild and it shows, his compositions bleed sincerity, reverence and awe from every note. If I had to draw a lazy comparison I’d say it’s similar to Russians Walknut or possibly Ygg, but that would be doing the material a disservice. Artfully restrained rhythmic drumming from session man Vladyslav Usyk provides the perfect backbone and induces a trancelike state while the majestic layered guitars effortlessly tap into the spirit, danger, shadow and mystery of the natural world. The sound is simple and effective, raw but not totally underdone. Both repetition and melody are utilised with skill, all tracks will likely have you spellbound from beginning to end. Hell, I could listen to ‘Eternal Winter’ alone for days on end and not get tired of it.

I’d hurl my wallet at any label without hesitation to get my hands on a physical of this and I’m sure many others would too, so hopefully someone steps up to the plate and gives this release the treatment it deserves. He’s also as I type this putting the finishing touches on his follow up album due out in January 2018, so rejoice; not long to wait for more of this goodness.

Oh and did I mention he records all his vocals outdoors, immersed in the solitude of the forest? He does. If I haven’t convinced you yet, just grab a name-your-price download anyway and let the music do the talking. Hails.

~

Artist: Graveflowers

Year: 2017

Enigmatic raw USBM act Graveflowers released their third bouquet of scented laudations ‘The Hyacinth Garden’ just over a week ago. I don’t know much about these artists (or artist?), but they call their sound ‘experiments in nocturnal sound and energy’. Well, they’ve nailed the nocturnal part: What instantly came to mind listening to this was Ulver’s seminal classic collection of hymns to the night, ‘Nattens Madrigal’.

Which isn’t saying it’s a straight rip. I mean that more as as compliment. There are many similarities between the two: from the short acoustic interludes to the almost nakedly harsh sound, to the composition of the tracks themselves (tracks like ‘Fear Death By Water’ definitely hark back to the old Norwegian style). Even the folksy natural undertones are present, although switch out Ulver’s Norwegian woods for a more Americana-infused influence. 

They have the experimental part of their descriptor covered too. Their last EP ‘Oleander’ (released four years back, also good) had a heavy noise influence which they’ve toned down this time, but ‘Then Spoke the Thunder’ for example waltzes into earthy post rock/black territory and fucking owns it. On the flip side of that, ‘April is the Cruelest Month’ is total, intense, paranoia inducing terror.

Whoever they are, they’ve sucessfully upped the ante from their previous releases in every aspect; this is an excellent EP. Or mini album, the eight superb tracks on show clock in at a total of twenty-one minutes combined. Check it out at name-your-price download from their Bandcamp with their other releases, tapes are also available from Path of Silence. Great stuff.

~

Artist: Voidcraeft 

Year: 2017

This is pure quality. German microtonal mentalist Voidcraeft has just conjured his fifth slab of furious insanity, ‘Indoctrination of Emptiness’; up for free download as usual. This time around he’s collaborated with US ambient/black metal artist Agonanist and the result is nothing short of mind blowing.

Taking a similar path as Jute Gyte (but far blacker sonically), he also has some interesting and detailed diary-like liner notes on his Bandcamp, describing the release and its creation. I’ll lift some of them here: 

“…I was fascinated by the idea of using dreams as a source of inspiration because I was also reading lots of psychoanalytic drivel by C.G. Jung at the time – most of which I consider highly pseudoscientific in nature, I must add. In fact, I tried to imitate him for a while and started making notes on my own dreams, right after waking up at night. This process is supposed to preserve the narrative of the dream with greater accuracy. I can attest to its necessity. 

My most vivid account from that period was a dream in which a procession of people were accompanying me and a brown cow to a table that resembled the one in the painting The Last Supper. Somebody had placed a colourful crown of flowers on the head of the cow. Nobody spoke a word. Other than the shuffling of our feet, there was no sound to be heard. The expression on their faces was one of complete apathy. It was an eerie atmosphere. They had me take the seat of Jesus in the painting. One of the women milked the cow and placed the bowl of milk in front of me. Then she took the crown and placed it on my head. It seemed like a festive moment but nobody applauded or said a word. I knew they were honouring me for something but I was unable to tell what it was. I drank the milk and placed the empty bowl before me. 

At that point, the dream ended and I could not sleep for another four hours. What does it mean? Are these the religious delusions of an atheist? Hardly so…”

They get far more technical and weirder than that too, just like his music. He has several other releases of intense atmospheric black experimentalism also up for name-your-price download on his Bandcamp, all with fascinating backstory (his previous release ‘Dogma’ is based on a set of composition rules he imposed upon himself after an email exchange with Luciano of I, Voidhanger Records about the Dogme 95 Manifesto of Lars Von Trier and Thomas Vinterberg). A compelling artist that’s well worth investigating; I won’t say much more, start here and dive in.

~

Submissions for possible inclusion in future Volumes welcomed.

Like Black Metal Daily on Facebook for more kvlt sounds and tonal blasphemy.

Bandcamp Misanthropy – Volume 12

The bottomless wellspring of Bandcamp is overflowing with great shit just waiting to be discovered. This series aims to shine light on the freshest emanations and foulest incantations from its darkest corners, a few artists at a time. Here’s the twelfth installment for your vulgar delectation. Enjoy. 

~

Artist: Insanity Cult

Year: 2017

Kicking off, we have what could end up being my favourite Hellenic black metal release of the year. Insanity Cult formed in 2011 and I’ve just discovered their second full-length ‘Of Despair and Self-Destruction’ that was released into the ether about six months ago. To be honest, I wish I’d discovered it earlier. 

This album is a brooding, violent, elegant and somber beast with a deep, dark emotional intensity that grips your soul. Everything has been stripped back, each note drips with passion distilled down to its purest and most potent form. Just try not to feel something while listening to this; it’s a truly moving piece of black art.

The five piece includes Sacreligious from Sores (who were featured in Volumes 2 and 10) on vocals and he absolutely nails it here, sounding both distraught and envenomed in one. The lyrics are despairing and introspective, nihilistic and beautiful. The acoustic introductions and interludes are exquisite and some of the best I’ve heard of late. The production is perfectly done, the songwriting almost flawless.

I could continue to spew superlatives, but I’ll just say: check this album out. Every track here is a winner, they have created something bordering on breathtaking. Name-your-price download with limited tapes still available from Unholy Forces Productions and CDs from Ogmios Underground.

~

Artist: Bubonic Cult

Year: 2017

Another cult, but this time we sink down in a different direction: Sri Lanka’s one man orthodox occultist Bubonic Cult channels total raw death and Satan worship inspired by the horror and destruction of the bubonic plague. 

Not by any stretch is this your typical raw black metal foray. ‘The Grotesque of Desolation’ is two tracks imbued with a twisted sense of wretched melody that truly embodies the despair and inevitable decaying consumption of life caused by the disease, and revels in it. The desolate yet almost jaunty riffs weave a captivating death incantation, ensnaring mind and flesh alike as depraved vocals swathed in reverb devolve on occasion into otherworldly guttural croaks. The overall effect is both haunting and immediate, an esoteric and irresistible evil.

Total death, total support. Up for name-your-price download, as are his other two great releases. Hails.


~

Artist: Crafteon

Year: 2017

You may have seen this one getting a bit of coverage already, unsurprisingly for good reason. USBM four-piece Crafteon self released their debut album a couple of weeks ago and it’s eight tracks of excellent Lovecraft worship with Swedish-style finesse. 

The man HP and his tales of dread have provided inspiration to countless bands since the dawn of heavy music but seldom has it been done this convincingly. Melodic atmosphere reigns supreme here, the exquisitely crafted assault deftly conveying the eldritch horror and dark wonder of the subject matter. You know how it feels when you read Lovecraft? Crafteon is the audio equivalent of that feeling. The moment ‘The Outsider’ bursts from the gates like a storm you’re drawn into this world; from the intensity of the aforementioned opener to the glorious, brooding ‘The Colour out of Space’ and the creeping riff-fest that is ‘From Beyond’, each track has a life of its own and captivates from go to whoa. 

While the savagely mellifluous guitar work is a major strength, it isn’t the only thing that shines. Vocals that vary wildly between commanding rasps and a malignant Abbath-like croak tell the tales with suitable intrigue. The audible bass pulses with nefarious life, pumping blood through the tracks while the driving mostly mid-paced rhythmic drumming provides a powerful backbone for the great old one as it rises from the murky unknown depths to rend your mind asunder, gibbering in incoherent cosmic terror.

Another release where it’s frankly hard to believe it’s their debut due to the level of quality on display, I’d wager these wraiths get picked up by a label fairly shortly. If you’re a fan of Lovecraftian mythos and/or good Swedish black/black metal in general, pick this up without hesitation. If not, you’re a weirdo but pick it up anyway. Name-your-price download with a few physical copies also remaining if you’re quick.

~

Artist: Void Terror

Year: 2017

Who doesn’t like a bit of death metal, blackened, old school as fuck and reeking of the crypt? Nobody, that’s who. US cult Void Terror’s first demo ‘Soul Harvest’ is a two track tour-de-force of sick riffs that will flay off your skin and crush your bones to dust.

With a sound verging between pure headbanging pulverisation and tomb-rotting miasma rattling from decaying ribcages, the four piece have summoned an absolutely killer as fuck demo. I’m a huge fan of everything about this, from the drums to the vocals to the actual songs themselves. And it isn’t just a nostalgia trip, oh no; while it pays homage to the greats it more than holds up in the modern death/black arena. Play this for anyone and you’re almost guaranteed a result.

At name-your-price, get on this shit stat. And to these gents: Kindly hurry up and release a full length, I’ve played the shit out of this already. Cheers.

~

Artist: Intrinsic Light / Expurgatory

Year: 2017

And finally in the tradition of keeping the most challenging release ’til last, we have the experimental split between Australians Intrinsic Light and Expurgatory. Both of these artists have a few releases behind them, but I’ve only recently discovered them with this split… And what a split it is.

Intrinsic Light have the first side and the duo label themselves ‘Blackened Zen’, saying they “alchemically meld exploratory entheogenic improvisation with sporadic shakra-surges of blackened mantra metal vibrationally filling the air with necromindfulness so dense it blasts directly into the Third Ear, forcing one’s spirit to simultaneously ascend North of Nirvana and descend South of Hell”. What that means is over the course of their two tracks it sounds like you’re riding a wave of consciousness in raw black metal form that devolves and reconstructs through transcendental stages, varying in intensity.

When I say transcendental, I don’t mean the polished or cosmic transcendentalism prevalent in many acts; it’s more raw, the “earthy meditating Buddhist monks in a forest temple” type. It isn’t rushed or immediate, it’s made to alter your consciousness and reach new inner planes of existence; and it balances the knife edge of it’s proto-black Jekyll and Hyde side perfectly.

Expurgatory however, are a whole different proposition that somehow still works and flows seamlessly on from Intrinsic Light’s already mind-blowing side. The seven piece’s first track ‘Grand Union’ is blackened noise rock, dreamlike female vocals over a harsh concoction of laconic whimsy. Great stuff, swathes of distortion helping the etherial quality of the music wash over you and tangibly loosen all your muscles, both mental and physical as you relax into the noise.

If Intrinsic Light’s side is more meditative in its black intentions, Expurgatory’s is like a daydream that becomes progressively more disturbing. It eventually culminates in their second track: a spectacularly dark, disassociative ambient spoken word cover of a track by a deceased pop artist (!) that I won’t say too much about as it simply has to be experienced for yourself.

A raw, authentic and exploratory release, it’s like nothing I’ve heard before and for those who aren’t afraid to listen to a wider scope of darkness than just blast beats, quite mind expanding. At first glance it may not be for the faint at heart simply by way of the stratospheric tangents it fires itself off into, but spend some time with it and you’ll find it incredibly rewarding. The sheer range of emotion and styles this release goes through in four tracks is spectacular, unfolding like a flower hidden away for centuries that you discover at the perfect moment as it blooms and then dies; a captivating and humbling event only your eyes have ever seen, and ever will. And you’ll never be able to adequately explain it to anyone.

Released through label YNTPM (You Need To Practice More) there’s only one single physical copy left for purchase; if you miss out console yourself with a name-your-price download available from Expurgatory’s Bandcamp below, or Intrinsic Light’s here.

EDIT: All physical copies now sold.

~

Submissions for possible inclusion in future Volumes are welcome.

Like Black Metal Daily on Facebook for more kvlt sounds and tonal blasphemy.

Email: blackmetaldaily@outlook.com 

Bandcamp Misanthropy – Volume 11

The bottomless wellspring of Bandcamp is overflowing with great shit just waiting to be discovered. This series aims to shine light on the freshest emanations and foulest incantations from its darkest corners, a few artists at a time. Here’s the eleventh installment for your vulgar delectation. Enjoy. 

~

Artist: Suicide Forest

Year: 2017

What better way to kick off than with some grim, cold misery? Suicide Forest is a one man DSBM project that’s only been active for a year; during that period he’s conceived three demos and slowly built himself a live band. ‘Apathy’ is the third and most recent of those demos, unleashed at the dawn of July.

The cover art gives you a good idea what to expect before you dive in to first track ‘Apathetic’, and it delivers. A stunning composition of beautiful sorrow, a waltz made of tears and suffering. Frozen, melancholy riffs run as an ice stream underneath gorgeous piano lines; it’s an epic and completely entrancing experience. Second and instrumental track ‘Entranced by the Blood Moon’ then employs the kind of unsettling and introspective atonality that wouldn’t be out of place on a Xasthur album, acting as a portal into a world you may not wish to explore.

The whole demo is only two long songs and two instrumental pieces so at this point you’re halfway through the agony. Third track ‘Lucis Absentia’ gives you a thought-provoking break for a few minutes, with an intro of spoken word by a gentleman of dubious sanity that believes he is the reincarnation of the mind of Jesus descended from heaven. It perfectly illustrates the delusion of fanaticism before the last half blossoms into another slab of glorious depression that almost takes on transcendental qualities; another ambient piano piece then gracefully and solemnly closes out proceedings.

Main man A. Kruger originally conceived/posted the first demo with no expectations of it ever going anywhere and it’s been great to see all the well-deserved attention his project has received in the last 12 months, with his demos finding releases through War Against Yourself Records and Fólkvangr Records. All releases including this are also up for name-your-price download, so immerse yourself in the pain and beauty and prepare for the full-length, which is being created as we speak. Hails.

~

Artist: Dyadhem

Year: 2017

Next up we have a one man project from Belgium, Dyadhem. Corentin is the sole member of this beast and he smashes out blackened sludge metal with the fury of ages inherent within. Debut full-length ‘From Essential Bitterness’ is posessed of a great vibe that has just the right balance between rockin’ sludge/stoner riffs and raw black metal; occasionally the album flow can come across as ever-so-slightly disjointed due to the juxtaposition, but overall it works. The vocals are great from the main timeless sludgy roar to the stirring cleans scattered throughout, he even harmonizes with himself later on to surprising effect.

If you’re up for something a little different you could do much worse than this. His second outing in total and a very solid release; the first EP from last year is also at name-your-price like this and is worth checking out. Interesting stuff, I’ll be following along to see where the project goes.

~

Artist: Liittouma

Year: 2017

Excellent folk-infused atmospheric fare from Finland. Liittouma are masters of melody, this is simply a fantastic listen; emotive, engaging and powerful. First track ‘Oleva’ starts of with beautiful folksy overtones that want to carry you away on the breeze, before darkness falls and the track eventually collapses into thunderous double kick and hellish rasps. By the end of it, you realise what’s spiriting you away over the mountaintops actually has jet-black wings and reeks of sulphur. The EP’s only other song ‘Tähtiäiti’ is posessed of diabolical melody so immediate and crazily infectious you’ll swear you’re humming along to the theme of some favourite old television show you used to watch as a kid. Seriously, if there’s been a riff that hits that button more than this one so far this year, I want to hear it.

Incredible stuff. My only problem with this is that clocking in at under ten minutes total it’s far, far too criminally short. More please, and soon. Available at name-your-price download.

~

Artist: Diplegia

Year: 2017

“With the mistakes I’ve made, I’ll follow you to the grave…”

US depressive/post black duo Diplegia have followed up their two track EP ‘Squander’ from earlier this year with a neat new single, ‘Follow’.

Getting straight into it with some descending tremolo over a solid mid- paced blast and vocals that aren’t a million miles from old Hecate Enthroned/Cradle style shrieking; it then doesn’t take too long to devolve into post-black territory with acoustic emotion and introspective vibes pushing to the fore. The music here is great (especially enjoyed the minimalist piano tinkering over the finale) but I have a feeling the vocals may be a sticking point with some. Personally I don’t mind them; check it out at name-your-price download and decide for yourself. 

They’re also elbows-deep in birthing their debut full length, so if you dig this little teaser keep an ear to the ground for further information.

~

 Artist: Elkenwood

Year: 2017

Progressive black folksters from Australia Elkenwood just dropped their eponymous debut album, and two odd musical references popped into my mind while listening to it. The first is Gothic-era Paradise Lost/early My Dying Bride and the second is a band that I’ll be surprised if any of you have heard of: Chalice, also from Australia around the turn of the century. Of course more obvious comparisons with the standard black/folk acts could be made but their natural melancholia and plaintive, despondent tone is reminiscent of the early work of the old gothic doom masters; and I’m probably just thinking of Chalice ‘cos they were a progressive black folk band with a vaguely similar feel from the same country. Lazy? Possibly, but if you’re one of the precious few who know what I’m on about you may see some parallels.

Anyway: The four piece skillfully create fantastic, epic compositions that draw you deep into their world, conjuring vivid images of dark fantasy lands or falling Autumn leaves depending on their shifting moods. They have a great organic sound that suits the music exceptionally well. The clean vocal sections could possibly use just a touch more polish, but conversely the scattered choral vocals work like a charm and that yearning guitar tone is a real feature. As a side note, opening track ‘Uncreation’ also features guest drumming from one Sid Falck. Yep, “skinsman for thrashers Overkill from ’88-’92” Sid Falck. Ace.

At name-your-price download this is a thoroughly enjoyable debut and definitely worth your support. Fans of the sub-genre take note; on the strength of this I reckon they’ll be one to watch.

~

Artist: Daemon Rising

Year: 2017

And now we head back to some orthodox punishment. I was given the heads up to these guys from a close friend, and when I witnessed live footage of main man Baal anointing the foreheads of entranced audience members with inverted blood crucifixes I simply had to check ’em out.

Birthed in 2015 with the express mission to “liberate those poisoned by religion through the power of black metal”, theirs is a mission they take seriously. Their raw assault seems crafted for maximum hypnotic effect, mesmerising rhythms leaving you stunned and receptive to their message as they pulverize black salvation into you and Baal howls his wretched mantras. 

Incidentally the group also features Wojtek of Nowhere (featured in Volume 9) on bass and he does an admirable job of holding down the evil pulse, aiding especially in the sinister vibe of the more mid-paced passages on offer. While not album of the year material by any means these gents have created a fine foundation, subsequent releases are only going to get better and better. Free streaming available on Spotify, or cop an album download for a few bucks below and follow the path to darkness.

~

 Artist: Yagan

Year: 2017

And finally (because I love subjecting myself to unusual things) we have the latest album by Yagan, an odd solo depressive and atmospheric project from Mayanmar/Burma.

The project’s second release ‘Vore’ is a ponderous, raw and weird mix of primitive, rasping DSBM and a kind of proto Tiamat-esque Goth rock with some deadpanned lyrics like “I don’t laugh the way you do, what I find funny would only disgust you”. The riffs behind it are mostly pretty solid and the whole thing can be fairly infectious, as even on the more DSBM tracks like ‘The Autumn Moon’ he keeps it unorthodox with some out-there melody. As icing on the strange cake, track 7 is actually an upbeat/depressive The Dubliners cover: ‘McAlpine’s Fusiliers’, a jaunty gaelic ditty given a necro workover with croaked vocals. Seriously, give this a listen, it’s honestly one of the weirdest things I’ve heard in a while and probably the most entertaining track on the album. Or the worst, depending on your point of view.

Borderline bizarre stuff that’s definitely not dull, check out the Dubliners track at least. Name-your-price download, limited tape is also available from Vintage Cult Records. Cool cover art too.

~

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Bandcamp Misanthropy – Volume 10

The bottomless wellspring of Bandcamp is overflowing with great shit just waiting to be discovered. This series aims to shine light on the freshest emanations and foulest incantations from its darkest corners, a few artists at a time. Here’s the tenth installment for your vulgar delectation. Enjoy. 

~

Artist: Buioingola

Year: 2015/2017

Easing into it, we have some atmospheric blackened darkwave/post-doom from Italy. Buioingola (“Darkness In My Throat”) recorded their sophomore album two years ago and have since split up; the album laying dormant until it was finally shown the posthumous light of day in March by Shove RecordsSentient Ruin LaboratoriesSangue Dischi and Unquiet Records

When I say “easing into it”, don’t get me wrong. This is still a intense release although the black metal isn’t quite at the forefront; in fact, it may even be one of the least ‘BM’ things I’ve ever covered here. Instead, the depressive and atmospheric black elements rise and fall as waves within at key moments, perfectly weighted; Il Nuovo Mare (“The New Sea”) is a beautiful, brooding and flowing album with equal parts calm waters and raging storms. Black metal and doom meshes with industrial, neocrust and shoegaze; a multitude of different influences from Killing Joke to Altar of Plagues collide and create something wholly unique and unrecognizable as the sum of its parts. 

A stunning new beast, spectacular if you want to expand your horizons. Few physical copies are left at the above mentioned labels, however if it’s available at name-your-price download from their Bandcamp below. Want to know what drowning feels like? Dive in, and breathe deeply.

~

Artist: Coffinshade

What we have here is raw DSBM from the US and Poland, who they are is Coffinshade: Lord Psychosis and Cmentarna Dusza, and what they do is create audio misery. Their third release ‘In the Darkness I Shall Dwell’ is subdued and solitary melancholic blackness with wraith-like howls that reverberate into the night air like the wretched screams of the dying. 

Their three lengthy journeys into the darkest and most hopeless end of the emotional spectrum are bookended by atmospheric instrumental pieces. Whether the instrumentals add too much value is debatable as they’re probably the weakest material on the recording, but the proper songs themselves are deceptively good and very enjoyable. While not a masterclass of the genre by any stretch they do create a wonderfully cold air of despair, ephemeral melodies hanging like mist to be breathed in through hacking sobs as your body is wracked with pain. By the end of the titular fourth track it had wheedled its way into my mind, and I had to press play again for another trip through suicidal agony.

Raw and flawed it may be, but that’s just part of it’s charm. It’s been out for about six months now at name-your-price download, so reach out with gnarled hands (or a mouse click, whatever) to pick one up and lurk the void, forgotten and scorned.

~

Artist: Grave Circles

Year: 2017

Ukrainian duo Grave Circles are not messing about with their blistering atmospheric debut EP ‘Tome I’; this is some thrilling stuff. All three tracks are a furious barrage of powerhouse drums, impressive guitar work (just listen to the dissonant first leads in opening assault ‘Transfixing Inward the Human Essence’), more than capable vocals and flowing, volatile songwriting that will make you sit up and take notice.

Who are they? Nobody knows anything about them, bar their names: Virus and Baal. Whoever they are, they effortlessly switch from sinister to dangerous to emotive with consummate skill; this is an extraordinarily accomplished first EP. You can hear the passion in every note and it is utterly enthralling. Physical copies are apparently coming in November but at the moment it’s available at name-your-price download, so check this one out stat. You won’t regret it.

~

Artist: Vox Malorum

Year: 2017

Solo USBM hellion Shinigami wants YOU. His project Vox Malorum’s debut EP ‘A Call to Arms’ is just that; mid paced raw melodic black metal anthems that demand you rise up and join the foul crusade of death, blasphemy and destruction.

A stirring piano intro allows a minute to steel the nerves before the battle begins. ‘The Beginning Ov The End’ is the first salvo, marching inexorably towards the enemy while second track ‘Summoning the Black Winds’ is great atmospheric fare, a mystically charged mid-pacer and probably my pick of the bunch. The third and title track is epic, majestic and hateful; perfect for slaughtering the enemies with impunity as fourth offering ‘Gaia’s Disease, Humanity’ then aims for eradication of the entire human race.

Great and varied layered vocals, melodic death influences, old style synths that sit just right in the mix; the whole thing is put together well for a first demo and has an epic feel to it. Overall an entertaining and spirited debut assault, new material is already being written and physical copies are on the way, but for now get your hands on a name-your-price download and heed the call. 

~

 Artist: Sores

Year: 2017

We had a quick look at Greek misanthropic duo Sores’ two track debut ‘Demo I’ back in Volume 2; luckily for us they’ve now performed a quick follow-up and unleashed a second double-pronged assault ‘Demo II’ a mere few days ago.

Similarly to their first release they blast straight out of the gates with a hellish scream and impressive explosion of raw hate, fitting since the tracks are called ‘In Depths of Aggression (Parts I and II)’. The crazed, impassioned vocals are still in full force and more immediate than last time, railing and raving with blood-curdling and throat shredding intensity. The riffs are still killer. The song is structured in several sections that devolve until it slowly grinds down, which ultimately serves as the perfect lead-in to Part II where here, instead of upping the ante on the second track into a blistering assault like they did on ‘Demo I’, they drop back into a swaying 3/4 tempo with atmosphere pushed to the fore and some great bass work that simply makes the track. A excellent display of another facet of their sound, it’s my favourite of their four offerings to date and leaves me keen to check out what they’ll do with a longer-form release.

Having lost none of what was great about the first demo and instead slightly refined and expanded their formula; at name-your-price download this is well worth a pick up. Get involved and support the spread of the Sores.

~

Artist: Enbilulugugal

Year: 2000 – 2017

And finally, an absolutely mammoth name-your-price download from “the most hated band this side of the universe”, US goatsodomy experimentalists Enbilulugugal.

Destroying minds, eardrums and other orifices since 2000, for all the masochists out there they’ve decided to release every single thing they’ve ever shat into existence in one foul (sic) swoop. I’m going to lift from a great review here, as it describes them perfectly: 

“…This is utter shit! You should be paid to listen to this! I have seriously never heard something so awful and it nearly ruined my view of music for a little while. I almost vomited when I listened to them… The most immature piece of garbage I’ve ever had the displeasure of laying my ears on. Please save yourselves from this hell; heed my warning! There is nothing here for you to enjoy!”

Seventeen years of ear-raping black noise-grind shitfucking carnage, an entire discography of 260 tracks, free download. What more do you need to know? Pure sonic hell, zero fucks given. Consume at your own risk. Hails.

~

Submissions for possible inclusion in future Volumes welcomed.

Like Black Metal Daily on Facebook for more kvlt sounds and tonal blasphemy.

Email: blackmetaldaily@outlook.com 

Bandcamp Misanthropy – Volume 9

The bottomless wellspring of Bandcamp is overflowing with great shit just waiting to be discovered. This series aims to shine light on the freshest emanations and foulest incantations from its darkest corners, a few artists at a time. Here’s the ninth installment for your vulgar delectation. Enjoy. 

~

Artist: Christ Dismembered

Year: 2014/2017

Kicking off with some Australian hellfire, blasphemic horde Christ Dismembered recorded their debut album back in 2014; which to the misfortune of all that’s holy has now finally manifested itself upon us in a blaze of sulphur and burning ash.

The self-titled slab of impiety is pretty much everything you could imagine from looking at that cover art, satisfying blast-and-slash odes to the Lightbringer and the total and utter destruction of Jesus Christ. But it’s not just an all-out antichristian war assault; the whole thing takes a multi-style approach with great songs, killer riffs all over the place and a healthy dose of more-infectious-than-aids melody; all allowed to shine like a sacrificial blade in the moonlight from a tasteful, surprisingly restrained yet totally raw sound. And to top it all off, this thing fucking grooves; ‘A Slap in the Face to God’ is an absolute monster. You’ll be banging your head for Satan one minute and searching the floor for the shattered remnants of your cranium the next.

I’ve had this shit on repeat and not one single track is a dud. An extremely pleasant surprise that’s more than worthy of your support; physical copies are available if you message the band but it’s also up at name-your-price download, so grab yourself a copy of the carnage and revel in your disgust for God.

~

Artist: SVRM

Year: 2017

I don’t know about you but I’ll always make time to check out an atmospheric project from Ukraine because nine times out of ten it’s pure quality. One man force of nature SVRM keeps the streak going strong: latest EP ‘За смертю’ (‘For Death’) is three tracks of beautiful rage. 

Sergiy Tkachenko proves himself a master of his art. At just over ten minutes for the whole EP all fat has been trimmed, no unnecessary noodling to be found here. Songs have been distilled back to their bare essence of what makes them great. There’s not one unnecessary note, not one second is wasted. The overall effect is thrilling as he mixes etherial flourishes and pained emotion with an all-encompassing elemental fury; the first track alone will have you jumping out of your seat. The vocals are attacked with passion, the emotion dripping from his anguished, strained roar palpable; the whole experience seethes with an underlying power that ensnares and captivates, repeat listens only getting better and better. 

One of the unsung gems of this year so far that deserves much more attention than it has been getting. He’s already writing the next EP and has apparently been listening to The Cure, so I guess we’ll see what direction he goes in next. Up for name-your-price download.

~

Artists: Dead and Grey / Nowhere

Year: 2017

Both of these solo projects have recently fallen into my lap, and upon investigation not only do both hail from Oklahoma USA and play raw-as-fuck black metal, but they also put out a split in January and have a show together soon. So, given the split seems a decent jumping-off point for their respective discographies, we’ll check that out.

Released in January, ‘The Fall Ov The Empires Ov Man’ kicks off with Dead and Grey’s brand of raw, nihilistic depression. Suffering and misery abound with some solid DSBM wretchedness before opener ‘Cold and Aborted’ devolves around the halfway mark into what this project does exceptionally well; harsh noise influenced ambiance enters the fray and carries us out to the end of the track, creating a suitably miasmic vibe. Listening to his other releases I always find myself enjoying them the most in his noise moments; he has a knack for dragging the depravity of humanity howling and thrashing into the sunlight so you can witness it melt and decay in horrifying violence. Second track ‘Piss Covenant’ takes a different approach, blasting drums smash you senseless at maximum velocity while atonal meandering melodies and tortured screams wind around with discordant abandon. It’s effective, but I can’t help but wish he’d relaxed or humanized the drums a little more; as is true for the rest of his discography he always nails it more when going for diseased misanthropic atmosphere than when attempting to beat the shit out of you.

Now onto Nowhere: A militaristic dungeon synth-esque introduction leads into some super raw black-thrash styled carnage with ‘Summoning’. Riffs are in abundance here with great chaotic solos enhancing the frantic vibe; aggression and annihilation are the order of the day. ‘I, Theist’ continues the assault in admirable fashion as the hateful energy never lets up for a second; the thrash elements take a backseat to more traditional second wave blasting. My only qualms here are I wish the vocals were fuller and the production a touch more beastly, get those great riffs out there and tear my fucking face off with your bare hands.

Aside from the couple of small things I mentioned, overall, it’s a solid split (up for name-your-price download) and a great place to start with these two artists. If Dead and Grey is the rotten fallacy of human existence, then Nowhere is the artillery razing it all to the ground. As a side note Wojtek from Nowhere is also doing some stellar work promoting underground artists; as well as his latest releases on his Bandcamp you’ll find a great compilation of bands from all over the world that deserve more exposure. Check that out here and support. Hails.

~

Artist: Névrose

Year: 2017

Frenchmen Névrose are painting a picture, and it’s a disturbing one. Beginning their career as blackened death then switching it up, debut EP ‘In Vitro’ deals with themes of madness, misery and the decay of the mind by means of raw, melodic black metal with unhinged from-the-asylum vocals and avant garde-isms rife throughout.

Unfortunately I haven’t kept up my French since high school (and I was shit at it anyway), so whatever lunacy being said in the lengthy introductory track is lost on me, and it suffered slightly for it. The atmosphere is solid, but seven minutes of incomprehensible spoken word eventually begins to wear thin and makes you reach for the skip button, itching to hear what’s really in store… Which thankfully, does not disappoint. Showing that they haven’t completely left their past behind, a great blackened death riff recurring throughout the song’s avant-garde theatrics is enjoyable on the first proper track, but it’s when ‘Eulogie Défaillante’ kicks in that the EP really hits its stride. Brilliantly emotive melodic atmo-black with agonized vocals howled from the darkest corners of delirium and dementia, you can feel your mind unravelling and when a ripping solo appears it’s a testament to their compositional skill that it doesn’t distract in any way and only adds to the crazed vibe.

From there the EP only dissolves further into madness and melody with excellent final track ‘Temple Amorphe’, but I’ll leave that for you to discover. Depraved and despairing, it’s a great EP that only mildly suffers from communication breakdown; mental illness speaks a wordless language and traverses all barriers. Up for name-your-price download.

~

Artist: Hands That Lift The Oceans

Year: 2017

And finally: It’s great when you connect with an album. When you feel it, when it gets into your head. German post-black experimentalists Hands That Lift The Oceans go one better: debut album ‘Impetus’, in its deepest moments, becomes your thoughts. 

What the hell are you on about, you may ask. Well, one of my favourite things about this album is its excellent use of space; sounds hang like delicate yet violent explosions in an endless cold void. Every instrument has room to breathe and each note rings off into infinity. Couple this wall-of-black production with nuanced, patient songwriting and this album can become so captivating it instills a mental quiet; you become so immersed it melds with your mind and the sonic space blends with the black infinity of thought. 

But it’s not all transcendental meetings of sound and cerebral cortex, the atmospherics and ambiance are perfectly balanced out with a cavernous, aggressive roar. The album plays through like a single piece, tracks all creating a fascinating, incredibly dynamic larger work that holds your attention from atonal opener ‘Furrows’ to stunning final track ‘Spectral Attitude’. Admittedly, the vocals may take some getting used to but once they sink in they only add to the distant, disaffected quality also present throughout proceedings.

If post-black is your thing, these gents have created an enjoyable album that verges on breathtaking at times. Up for name-your-price download, snap up this little gem and drift away.

~

Submissions for possible inclusion in future Volumes welcomed.

Like Black Metal Daily on Facebook for more kvlt sounds and tonal blasphemy.

Email: blackmetaldaily@outlook.com 

Bandcamp Misanthropy – Volume 8

The bottomless wellspring of Bandcamp is overflowing with great shit just waiting to be discovered. This series aims to shine light on the freshest emanations and foulest incantations from its darkest corners, a few artists at a time. Here’s the eighth installment for your vulgar delectation. Enjoy. 

~

Artist: Anhedonic

Year: 2017

First up, that cover image is immaculate. Credit to Mitchell Nolte Art, truly astonishing. Now to the music: Anhedonic is the blackened death brainchild of US artist Chase Funk and he’s just unleashed his debut EP ‘Metanoia’ to terrorise your eardrums. This is the stuff I like, blackened death that doesn’t just claim the title from some rasps and blasts but actually goes for a grim black metal atmosphere. The first track ‘I Belong to Chaos’ is the perfect mood-setter, an ominous cloud of negative energy slowly latching its tendrils into you before the universe caves in with the onset of ‘Stargazer’. The heavens open, transcendence takes hold; you can almost feel yourself rising up into the void as the music swirls around you, lifting you up on morbid cadence. 

As it’s a rather short EP and consists of just another quick interlude and a final track ‘A Dead Life Into A Living Death’, I won’t kill all the mystery by going into a blow-by-blow about it. I’ll just leave you with this: this EP is great. Dynamic, violent and refreshing; I haven’t heard so much done with two songs in a while. Head to his Bandcamp and support, the EP is at name-your-price but he’s doing it all independently so any donations go towards getting physical copies and merchandise printed. Hails.

~

Artist: Ploughshare

Year: 2017

Australian black/death/doom trio Ploughshare released their debut EP ‘Literature of Piss’ a few months back now and holy fucking shit is it good. They descibe themselves as a “sepulchural din” and that overall nails it; there’s plenty of raw crypt-creeping bleak dissonance here but it’s balanced out with a savage, unhinged cacophony. 

Great riffs, feral atmosphere. Underlying it all is a black core of cruelty, too: this EP will tie you to a chair and beat the shit out of you until you can’t breathe, see or control your own bladder. Four tracks long with the third a monumental 17 minute trip through the spectrum of human despair and depravity; this is outstanding in every way. If you’re lucky there might be a few tapes left on their Bandcamp but either way, do not miss this.

~

Artist: Devourer

Year: 2017

When I say Swedish black metal, what do you think of? Well, that’s pretty much what you get here, which is in no way a bad thing. Two man project Devourer has been at it for fifteen years and it shows. It’s furious and melodic with frequent forays into atmospheric or flat-out heavy deathlike territory. Nothing that reinvents the wheel so to speak, but hey, innovation is not the only way to make a great album. 

Don’t get me wrong, it’s a dynamic and exciting ride within the realm it plays in. From the atmosphere of the title track ‘Across the Empty Plains’ to the glorious attack of personal highlight ‘Deeds of Rancour’ that follows hot on its heels, Devourer take you through everything great about Swedish black metal. And they do it well. 

The project has been total DIY for fifteen years and I really can’t say a bad word about it, so grab a name-your-price download from their Bandcamp and help spread the scriptures of Devourer ever further.

~

Artist: Blyh

Year: 2017

Fresh meat. German duo Blyh have smashed out their debut album ‘Transparent to the World’, and it’s a solid listen. An amalgam of many modern black/blackened styles swirled together and blended until they create a fresh tasty brew; conjuring a cornucopia of negative emotions that only get stronger as the album progresses. The glorious, sprawling title track is where everything really starts to hit home, and that continues until their interesting take on Songs : Ohia’s ‘Tigress’ brings proceedings to a close. It’s great when a band isn’t afraid to cover a song in their own style and they definitely succeed here as they twist and adapt the material to their own devices. 

Also a fair point of difference are the varied vocal samples lifted from what appears to be current sources like Dexter or Ghost Adventures; there’s even what I swear sounds like a sneaky “My Name is Jeff” in ‘So Willingly Dead’, which adds to the whole fuck-it nihilism that also runs through the project. Memes in black metal? Sure. It’s not much weirder than hearing Russell Crowe when you push play on Satyricon’s ‘Volcano’ (which might be a bad example, but that album had some bangers so fuck you).

Great stuff, you’d do well to remember the name Blyh. If everything stays together for them I’ve an inkling you’ll be hearing it many more times in future.

~

Artist: Wounds of Recollection

Year: 2017

The pain of a solitary existence in the modern world has long been a topic of artistic expression, often by necessity. Another man finding cathartic release through isolation in sonic form is US atmospheric/post/depressive solo act Wounds of Recollection, who’s just released his fifth album ‘The Nail in the Meadow’. A yearning, at times savage tug at the heartstrings with some truly beautiful moments hidden within, it’s a creation made from all too familiar feelings of detatchment and dull aches that only gets better the deeper you delve into it.

Misery always loves company, so snap this up at name-your-price download and be embraced by its raw charms. If you dig it the rest of his discography is also well worth a look.

~

Artist: Nokturnal Winter

Year: 2017

And finally, I was alerted to these fine young men by a good friend and I want to show ’em some support. Straight out of high school USBM hellions Nokturnal Winter may be fresh on the scene but they follow the old ways; debut demo single ‘Fall of Man’ is rawer than hell embryonic black metal made for the sake of it. No pretensions or put-on kvltness, just primitive, primordial evil. 

The track itself shows huge potential. Vocalist Abbadon Nokturnus has a fair rasp on him and the whole band will only improve with time; remember, it’s enthusiasm like this that created the genre and made it what it is today. 

I’d love to see these guys go further. Total hails gents, more power to you.

Submissions for possible inclusion in future Volumes welcomed.

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Email: blackmetaldaily@outlook.com 

Bandcamp Misanthropy – Volume 7

The bottomless wellspring of Bandcamp is overflowing with great shit just waiting to be discovered. This series aims to shine light on the freshest emanations and foulest incantations from its darkest corners, a few artists at a time. Here’s the seventh installment for your vulgar delectation. Enjoy. 

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Artist: Time Lurker

Year: 2017

French one-man atmospheric act Time Lurker has recently released what’s sure to be one of my personal favourite atmospheric albums of the year. Dynamic and pummeling, the eponymous debut is seven tracks of incredible rhythmic drumming and superbly unhinged vocals that bellow and howl with the fury of the ages as the guitars surge and fall underneath it all to create a myriad of mesmerising emotion. It sounds like the ebb and flow of the waves of time itself: violent and constructive, calming and crushing; somber melodies swoop into a grand aggression both bleak and hopeless yet as intrinsic and vital as life. It gets into every fibre of your being and won’t let you go.

Believe it or not, it wasn’t even written as an album. It’s comprised of two EP’s (‘I’ and ‘II’) rolled into one; although you’d never guess as the whole thing flows seamlessly from start to finish. Honestly, not one single track on this is a dud. Available through Les Acteurs de l’ombre Productions you can also snap up a digital copy for a mere €1 from their Bandcamp, which is why I’ve snuck it into this Volume. What are you waiting for? Treat yourself.

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Artist: Grimah

Year: 2017

Spanish three-piece Grimah have their debut full length due out later in the year and to whet the appetite of any interested souls have unleashed their first ever track ‘Serpens’. It apparently won’t be on the album proper and was released as a tribute to a struggling friend, with ‘M’ handling vocal duties as a one-off for this particular track, so expect a different oratory style on the album. The music itself is an impassioned take on the epic, emotive and melodic fury that MGŁA do so well; a hard task to match, but they do an admirable job of rising to the challenge. If this is what they’re capable of the debut could be an absolute hidden gem. Available for name-your-price download; check it out and support.

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Artist: Whitewurm/True Love

Year: 2017

I’ve spoken before about how great splits are where the artists involved complement each other perfectly; well, this is another one that fucking nails it. 

USBM one-man projects Whitewurm and True Love are a match made in a hell you’d never dream could exist. Whitewurm kick off proceedings with ‘Sentenced’, an onslaught of majestic, atmospheric hatred that’s filthy yet refined; sorrowful melodies drape almost elegantly atop the malignant savagery within. Breathtaking stuff that will have you searching up the rest of their discography before the track even hits the halfway mark.

But while you’re doing that, True Love arrive to ruin your mojo/day/life. Some severely creepy oscillations begin to emanate from your speakers, demanding your attention before an absolute torrent of raw atonal scorn and sludging depravity spews forth like an unspeakable leviathanic horror forcing its way into this existential plane. Aptly titled ‘Levitating on the Brainwaves of the Insane’, the harsh assault is offset by slithering grooves and interlaced with twisted scratchings designed to snap your synapses beyond all hope of repair. It’s the perfect foil to the atmospheres of Whitewurms’ side of the split, sonically matching it yet the flipside of a dirty coin you found stomped into the muck out the front of a graveyard. 

At ten minutes apiece each track flies by in what feels like three. Released just two weeks ago some limited tape copies were available, but they’ve already sold out; this release is that good. Luckily it’s also up at name-your-price download from Whitewurms’ Bandcamp, so head over there and get behind it.

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Artist: Demiurge

Year: 2017

US occultist Demiurge is currently working on new material for his eponymous depressive project, however he also released his first ever EP back in January. ‘Sitra Achra’ is solid melancholia; mystical, pained and miserable. Just the way it should be, right? Making good use of sombre repetition to create a mood that sticks throughout the whole EP and with a variety of arcane lyrical themes, I’m keen to see what he comes up with next as the project shows a lot of promise in the great ‘Repose of the Gods’ alone. Up for name-your-price download, he’ll keep perfecting his formula and it will only get better from here.

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Artist: Hyperborean Skies

Year: 2017

US solo artist Ben Stiles brings the feels on Hyperborean Skies atmospheric debut album ‘Empyrean Fracture’. Jam packed with majestic emotion and riffs that want to carry you off soaring and wheeling into the night sky, the songs flawlessly segue into each other creating an enthralling tapestry woven with the utmost care and skill. A well thought out and put together album that’s been three long years in the making; you can feel every drop of sweat and sleepless night he’s put into perfecting it, and it’s paid off.

Exceptional melodic guitar layers engage and enthrall while the driving (programmed) drums leap out and power the songs. It’s a varied and dynamic listen that’s adept at shifting moods; by the time the frankly gorgeous synth interlude ‘Mists of Memories’ (that would make Vangelis turn green and ends all too soon) ends you’re totally immersed in the sobering, yearning feel before the thrash-tastic ‘Betrayed by the Stars’ arrives, slaps you around the head and sends you packing on a whole new journey.

You know those releases that are almost fun to listen to? This is one of those. Highly enjoyable for a debut album, head on over to his Bandcamp and support. Oh, and check out the cover he dropped earlier in the year of Burzum’s ‘Dunkelheit’ while you’re there too. Hails.

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Artist: Faunus

Year: 2015/17

Nature inspired atmosphere abounds in this release from Faunus; one man project of Admetos from Elegos, the Hellenic duo I reviewed back in Volume 4. Based on the four Seasons and the cycle of death and Rebirth, ‘Where Everything Begins With An End’ kicks off with Autumn, its raw blasts and solid riffing settling you in for the ride nicely. Winter is up next; this is where the EP really comes in to its own. Epic and sombre, it reaches grand emotive heights before dissolving into eerie menace and is really the centrepiece of the album. Which isn’t to say the quality drops from here on in; the excellent Autumn is ponderous and introspective with evocative guitar work and vocals that almost turn guttural where necessary to add weight, before Summer closes out the album with alternating doom-y vibes and blasting fury.

Originally only self released on Bandcamp a couple of years ago, it’s finally scored an extremely limited run on CD and Tape through Apesxintipotapotis. Only 44 copies will be made of each; so if you dig the digital, snap one up while you can.

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Artist: Winterkyla

Year: 2017

I wasn’t sure if I was going to include this, but I’m throwing it in last minute because I find it quite interesting. Swede Requiem’s one-man project Winterkyla released its debut EP ‘Uppland’ about four or five months ago and for whatever reason I’m just hearing it now. What we have here is a great piece of varied and melodic black metal with some truly excellent, emotive guitar work perfectly in synergy with the bright cover image. Also notable is the vivid production that really leaps out at you… except for the drums, which sound oddly muffled in comparison. A small complaint I guess and one that I’m hoping will grow on me during further listens; it does give the guitars ample room to shine. The rest of the album is far above average and does more than enough to make me keen to hear what comes next (favourite moments: the Enslaved vibes that creep in at the end of ‘Frystad’ and the raucous Kvelertak-esque punk energy of ‘Winter In Bloom’) and at name-your-price download it’s well worth a listen. 

Edit: I’m several listens in and the drums are working more for me now. Definitely check this one out!

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Submissions for possible inclusion in future Volumes welcomed.

Like Black Metal Daily on Facebook for more kvlt sounds and tonal blasphemy.

Email: blackmetaldaily@outlook.com

Bandcamp Misanthropy – Volume 6

The bottomless wellspring of Bandcamp is overflowing with great shit just waiting to be discovered. This series aims to shine light on the freshest emanations and foulest incantations from its darkest corners, a few artists at a time. Here’s the sixth installment for your vulgar delectation. Enjoy. 

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Artist: Baphometic Deathslaught

Year: 2017

What better way to kick things off than some bestial hellfire from Poland/USA? Baphometic Deathslaught is a side project of Grief from the also-excellent Nyctophilia, but on this self-titled debut instead of the grand depression of his main outlet he’s gone straight for the jugular of Christianity in the most unholy and primitive way possible. Six profane hymns of raw satanic assault and death worship prefaced by a suitably evil introduction, the sound of wolves howling over a grim Satanic ritual greets us before the absolutely lethal ‘Smog Obscures the Megalithic Temple of Arcane Fires’ comes slavering forth from the abyss swathed in savage black thunder and you can almost feel the Dark Lord entering your body. From there the aggression and loathing is relentless, rasping hatred and guttural exhortations driving the fury all the way to the somehow-even-more-unclean-than-the-original cover of Profanatica‘s ‘A Fallen God, Dethroned in Heaven’ that closes out the blasphemic proceedings. Kvlt stuff, support with a name-your-price download and contribute to the downfall of Christ.

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Artist: Ungesehen

Year: 2017

If you’ve ever found yourself wanting some classic raw black metal without the pesky vocals, Ungesehen is the band for you. The German’s instrumental compositions are quite good; ‘Unaussprechliches Entsetzen’ reminds me of listening to the old vocal-less Burzum demos if the production was slightly better with more baleful tremolo melodies packed in. At nine tracks long their debut manages to remain interesting throughout, the tunes hold their own and definitely don’t lack in atmosphere or variety. Up for name-your-price download it’s well worth a listen; if you dig it pick up a tape release through Fallen Empire Records, which comes with a bonus cover of Armagedda‘s ‘At the Edge of Negative Existence’.

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Artist: Ljuska 

Year: 2017

Serbian Sifr Shraddha’s one man project Ljuska has just released its debut EP ‘Husks of Light’, and if this one track and an intro is anything go by, it’ll be one to watch. The atmospheric introduction does its job with a suitably evil vibe before the first eerie riffs slither and smash out of your speakers; I say smash because they literally do, this is some great tone and production for a first demo. The intro is almost rendered unnecessary because the song itself is genuinely that good, twists and headbanging turns keep it more than interesting the whole way through as menacing blasts and thrilling, almost catchy melodies ensure it’ll be stuck in your head for days.

A cut above the rest simply by way of solid songwriting and good fucking riffs, keep an eye on this project, it’ll be worth it. Name-your-price download below.

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Artist: Malphas

Year: 2017

Uk duo Malphas have just released their very first demo ‘Brimstone’, describing it as “raw black/doom metal for fans of Blut Aus Nord, Behemoth and Paradise Lost”. Although the project is barely past embryonic stage, this is fucking great, straight off the bat. Crushing blackened doom that splits open to release atonal wails calling forth the misery of the ages; the oppressive production only fuelling the ancient horrors within. Third track ‘Burning in the Shadow of God’ is where it gets blackest; the suffocating swarm and clattering drums eventually collapsing into a solitary guitar that tries to soar like a golden bird from the cavernous maw of the earth caving in on itself around it, struggling to escape its pull before the song ends abruptly, leaving the image hanging and you wanting more.

Support with a name-your-price download, this is epic stuff. More please fellas!

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Artist: Himelvaruwe 

Year: 2017

You may recall the name Himelvaruwe from back in Volume 3, this is the second time we’ve covered the Dutch one man project and now he’s back with an EP just as fascinating as the first.

‘CCIII’ is apparently two tracks that deviated from the theme of other material he’s working on and this time the project drags us in a more Black Cilice styled direction. Bleak and raw, the vocals become barely discernable howls; hypnotic, pulsing drum patterns weave in and out lost in the waves of distortion. The second track ‘II’ is slightly lighter in tone with the whole thing still infused with the projects innate sense of creativity; the continued unique use of unexpected samples popping out and taking the style to fresh new dimensions.

Mesmerising, harsh stuff; this is still one of the more interesting underground artists I’ve stumbled across. One day soon this guy will nail his coherent theme, make an album, release it on tape and it’ll be hailed everywhere. Keep watching until he does, and grab this and the previous EP ‘Gewrocht’ for name-your-price download in the meantime.

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Artist: Chiral

Year: 2016

Italian one man atmospheric project Chiral makes “Music for the Loners”. I’ve just discovered the artist with this release, but it certainly seems to be the case: the warm, organic, folky tones of ‘Gazing Light Eternity’ just invite you to get comfortable and drink in its particular brand of misery. A concept album about time, the vibe is great; the plaintive Cascadian melodies of ‘Part I – The Gazer’ giving a depressive feel, noticeably blackened folk influenced but more aggressive and depressive than that suggests. Soulful guitar solos splash amongst the pallette while other instrumentation like flutes and ponderous keys sit delicately over or amidst everything, giving it an otherworldly feel. ‘Part II – The Haze’ turns introspective, nature sounds and vocal samples like “the moment seizes us” flutter over acoustic guitars. To be honest I can often find these parts unnecessary and distracting, but this goes well with the flow and feels rich and vibrant. 

‘Part III – The Crown’ plunges more into the depressive vibe; which I should note is fairly unique due to the album’s raw yet warm nature, not often does melancholy music have such an immediate and lush sound overall. It’s a great point of difference and is quite enjoyable. As is this track, my personal favourite; repetition can become boring but here it’s quite successful and becomes transcendental, layered with gentle chanting towards the end. And now we come to my only minor qualm, which is frankly nitpicking but I’ll mention it anyway: Part III, after spending so long successfully lulling you into a trance state, decides to abruptly switch to an (admittedly epic) blasting and solo section to finish up. It’s a little jarring; would it be better served to fade out to the then epic short section, or use it as the intro to the water sounds and peaceful vibe of ‘Part IV – The Hourglass’ that close out the album? Who knows. It’s a minor quibble and still sounds ace the way it is, if slightly odd. All in all it’s a great, enjoyable, strangely comforting release well suited to solitary ruminations, that never overstays its welcome and leaves you wanting more. Which is handy as not only is it getting a tape re-release any day now through the excellent Fólkvangr Records, but the entire Chiral discography of 11 releases is available for download from his Bamdcamp at only €1.50, so pick up a bargain and check the rest of them out. I know I will be.

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Artist: Chambre Froide

Year: 2016/17

And to close out proceedings, an orthodox kvlt smasher. French wraiths Chambre Froide’s debut orthodox ritual ‘Rouges Chapelles’ was originally only self-released on 100 tapes last year but is now getting a digi/vinyl run through Fallen Empire Records, with the digital copies available at name-your-price download from their Bandcamp.

Their name means ‘cold room’, but this room is not unoccupied. The stench of death lies thick in the air, their aggressive raw onslaught akin to a decaying corpse screaming in your face through the dark, flecks of fetid flesh spattering you in feral rage. Six tracks with enough variety in their buzzsaw attack to keep you coming back for more, you can even hear some welcome punk elements creeping in, which only increases the danger. A great release, snap one up while you can and support. Hails.

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Submissions for possible inclusion in future Volumes welcomed.

Like Black Metal Daily on Facebook for more kvlt sounds and tonal blasphemy.

Email: blackmetaldaily@outlook.com 

Bandcamp Misanthropy – Vol. 5

The bottomless wellspring of Bandcamp is overflowing with great shit just waiting to be discovered. This series aims to shine light on the freshest emanations and foulest incantations from its darkest corners, a few artists at a time. Here’s the fifth installment for your vulgar delectation. Enjoy. 

~

Artist: Caput Mortuum

Year: 2017

Another project from the unstoppable Mories of Gnaw Their Tongues. Caput Mortuum’s third release ‘Cold Winds on the Bare Mountain’ has just been unleashed and on this occasion we find the Dutch mentalist playing relatively within the realms of straight black metal. However, as you’d expect from a Mories release, all is not so simple: its cold heart is generously swathed in odd electronic and industrial influences. The drums vary wildly at times from standard black metal blasts to electronic skittering and driving industrial pulses, with the occasional sub-bass drone and noise squeals also popping up. All of which only serves to drive the morbid intent of the album home further as tracks lurch unexpectedly from sorrowful ambience to grim, menacing majesty and then uncomfortable headfuckery at the drop of a hat; make no mistake, one of the less weird weapons in his armory it may be, but this is still out to fuck you up. A fantastically strange listen at times due to the juxtaposition of straight/odd styles, at name-your-price download it’s more than worth your time to check out. Keep creating, Mories, and we’ll keep listening.

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Artist: Sertraline

Year: 2017

US post-black crew Sertraline are named after a medication used to treat depression, obsessive-compulsive disorder, panic disorder and anxiety; fittingly, their soothing and heartfelt debut EP ‘Shade’ does exactly that.
A baleful, melodic drone perfectly sets the mood before the EP launches into the first of its two proper tracks. ‘Azalea’ is a wonderful concoction of calming and sorrowful post black metal; its pensive chord progressions and tremolo melancholia slides on like a favourite pair of worn out old slippers on a miserable, rainy day.
Following this another short interlude leads into the title track, ‘Shade’, which somehow lifts the depressive post-rock infused black excellence to even greater heights. For me personally the whole start of the EP is almost an extended intro to this glorious beast. Wonderfully dynamic and progressive, the band’s three guitarists create some great textures and I’m a particular fan of the effective drumming that really drives the song; its eight and a half minutes build and crash into an extended outro that is, quite frankly, gorgeous. The whole EP is so chill, bleak and forlorn; highly recommended. Cop a name-your-price download at the below link and take as needed for pain.

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Artist: ColdWorld

Year: 2017

After taking eight years between his last two releases, German Georg Börner has surprised us all by releasing a new Coldworld single so soon after last year’s superb long player, ‘Autumn’. Only available digitally on Bandcamp with no plans to be released elsewhere as yet, ‘Wolves and Sheep’ finds the project returning to a slightly more archetypal black metal sound: Not as polished as its predecessor, everything from the vocals to the guitar tone is a just a touch rawer, colder and darker. Which is always welcome. Agonizing pick slides over Latin choral hymns open proceedings before everything descends into trance-like depressive waves washing over and over; balanced out artfully with an air of reverence and hope, something this project always does so well. Also worth noting are the unsettling vocal samples fuelling the religious vibe. Excellent stuff.

Apparently takings from the sales of this are being used as funding for his next album too, so grab this quality teaser and help make it happen.

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Artist: Effess

Year: 2017

Bursting from the gates with sinister intent, Effess play no-bullshit black metal like it’s going out of fashion. Formed in 2016 with all members living in different countries yet hailing from the same small town of Potenza in Italy, all lyrics are in the local dialect and are in some way inspired by their hometown. My Italian is a little rusty but the band say they cover themes like emptiness in everyday life, the void of the human condition and wrongdoings of the church with some local rituals and traditions also featuring.
Not taking themselves too seriously thematically (the title of track one literally translates to ‘The Altar of Sausage’ and the song itself is a paean to a local delicacy), the music takes care of that and then some: five tracks of blistering second wave style flame-grilled just the way you like it. With an energetic raw vibe captured on tape it’s a shame distance makes shows a logistical nightmare, this material would be a hell of a good time live. Track three is also an epic Italian cover of Moonspell’s ‘Alama Mater’, a nice touch to the EP that more than does the original justice; I think I actually prefer the vocals on this version. The band are currently searching for a label and recording their first full-length, in the meantime snap up the debut EP at name-your-price download and give them some well-deserved support.

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Artist: Heidnir

Year: 2017

Hailing from the USA is Heidnir, the Slavic themed pagan/folk project of Svjatoslav the Black Wolf. His obscure third release ‘Thunder and Lightning, the Ancient Prediction” is dedicated to the memory of the late Tony ‘It’ Särkkä and therein lies a clue as to what awaits the listener: this is epic black folk with influences in the vein of Opthalamia, Falkenbach and Nokturnal Mortum being run through a filter of Abruptum’s brand of raw auditory evil and cacophonic abrasiveness. However even that doesn’t really do it justice; this is truly a unique and experimental melting pot of styles, and it does it very well. Check the eerie spoken word section exploding into a ripping guitar solo at the end of ‘…I Long for the Winter Frost’, which then heads straight into the staggered groove of ‘Under the Glare of The Eternal Flame’ to see what I mean. Sonically challenging though this album may be for the uninitiated, spend some time with it and all will be revealed. I’ll hand over to Svjatoslav the Black Wolf for some inspiring last words:

“The Abrahamic faiths are antiquated, archaic, and obsolescent. Islam, Christianity, Judaism, and their respective sects… all weeds of the same seeds. 
All deserve antipathy, equally. Dogma rules with an iron fist through the mouths of shepherds with hordes of sheep that live in submission to nonexistent powers conceived by the minds of puppet-masters, swindlers, con artists. To give false hope and reward, through blood that has spread by the sword in the name of mere anthological pieces disjointed and contradictory with each other. 
It’s time the zeitgeist be slain and every atom of it annihilated.” -Свјатослав Црни Вук, 14 November, Anno 2016 CE. 

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Artist: Mizmor

Year: 2017

I’m a bit late with this one, so jump on it quick. Here’s the deal, copy/pasted from the Bandcamp: 

“This Unabating Wakefulness” is a bonus track included on the digital download card of “The Psalter MMXVII – Five Year Commemorative Discography.” It is temporarily available for free download as a single to the public.

Now, down to brass tacks: Mizmor is a one man black-doom-drone project from the USA that plays some of the most punishing, exquisite audio hell that you’ve ever heard in your life. Last album ‘Yodh’ was almost pure agony to listen to, and this will pull your soul out through the very pores in your skin. Fifteen minutes containing every facet of their sound that makes them great and it’s only up for name-your-price download for a very limited time… Which I’ve already burned two weeks of by being so slow off the mark to share it. You know what to do, link below; check out the limited cassette box set discography while you’re there. Absolutely astonishing.

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Artist: Atramentum

Year: 2016/17

And finally to finish off in a blaze of sticky satanic glory: Do you ever find your mind wandering to the thought that black metal needs more dick jokes? Well, Atramentum are the fucking band for you. Hailing from the Phillipines, sole member +Kai,ckul+ has awarded his project the title of “the unsoberest and most perverted as fuck metal band in the world”. Impressive. However, the man can write a tune; this is fortunately much more than just a running gag with some music donkey-slapped around it. His debut album ‘Phallosophy’ is a ripping ride of grim melodies and aggressive rawness with some truly great moments that more than rise to the occasion. Recorded a year ago it’s finally copped a limited CD and tape ejaculation through Erektrifying Produktionz; go pick that or a name-your-price download up from his Bandcamp, whip it out and hail the Atramentum.

Oh and he’s already named his next release: ‘De Clitoriis Cum Sluthanas’.

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Submissions for possible inclusion in future Volumes welcomed.

Like Black Metal Daily on Facebook for more kvlt sounds and tonal blasphemy.

Email: blackmetaldaily@outlook.com