Bandcamp Misanthropy – Volume 18

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 eighteenth installment for your vulgar delectation. Enjoy.

~

Artist: Bovary

Year: 2017 / 2018

Does starting off with an all-female depressive trio from the French Alps sounds good? Good. ‘Mes Racines dans le Désert’ (‘My Roots in the Desert’) is the debut demo from Bovary, and a ridiculously promising debut it is. Queen Thrash‘s hateful, impassioned vocals virtually bleed over Petri Ravn and Gwen de Bovary‘s raw, black misery; which itself is perfectly and liberally adorned with somber acoustic melodies and passages of ambient melancholia they also show a wonderful knack for. The overall effect is one of haunting atmospheres and violent desolation, and there truly are some fascinating moments to be found within. The band are also rather fittingly named after the central heroine of Gustave Flaubert‘s famous work of literary realism ‘Madame Bovary’ (the reasons of which are too numerous to dive into here, but are worth looking into if you have the time and inclination).

This probably deserves more space and attention than I can give in these few short paragraphs. So, let your ears do the work: these women are on to something very good already and I for one can’t wait to see what they do next. Originally released on CD last year from Nar Production (available here), it’s also up for name-your-price download and reissued on gorgeous limited “Edelweiss” cassette edition (containing traditional incense, textile pouch and dried Edelweiss flowers) from the always astonishing Solar Aescetisists Productions.

~

Artist: Snorlax

Year: 2018

Next up: nihilistic black death by a member of Australia’s Siberian Hell Sounds. For a project named after a Pokémon this goes hard as shit; Snorlax‘s debut, unmastered demo wants nothing more than to rip your arms off and beat you to a twitching pulp with ’em, possibly while vomiting blood on you for good measure. The intensity and punishment levels are through the roof with a blatant (and probably intentional) disregard for human safety, while some utterly savage throatwork caps it all off deliciously. And just listen to that drum sound… Ugh.

I really enjoyed this, hope he whips up something else post-haste. Up for one dollar download. What else are you gonna do with that dollar?

~

Artist: Skognatt

Year: 2018

Next up, some mystical atmo-black from Germany’s Skognatt. A one man project seething with mystery and dramatic darkness, debut album ‘Ancient Wisdom’ sounds like exactly that: You’ve stumbled across a hidden room deep in the bowels of the ancient earth where gnarled, hooded figures beckon with crooked fingers, ready to impart the esoteric and long forgotten knowledge of the ages.

There’s a feeling that main man DZ has attempted to pull off something unique here, and for the most part, he achieves it. Unlike the majority of atmospheric releases these days he goes the slow and eerie/menacing melodic approach, peppered with flashes of mid-paced strength and even some solid grooves provided by assistant drum beast Gerileme (of Asche der Welten) creeping in.

The production suits the album well, everything sounds great. Lush eastern instrumentation and melodies lend a mystical vibe and are utilised far more effectively than I’ve heard in a while. I’m not entirely sure of this man’s musical background but he brings some good ideas to the table and has executed his vision convincingly; this is an entertaining and adventurous debut and you’d do a lot worse than to cop this at name-your-price download. Oh, and throwing in a little spoken word of 19th century romantic poet Lord Byron‘s work is a plus for me too. Nicely done.

~

Artist: Woeful Echo

Year: 2018

Howling back at you from the darkness inside, Woeful Echo is one man DSBM from the USA and ‘Dreaming In Eternal Sleep’ is his sophomore EP. Now when you see the DSBM tag and that cover art, for better or worse you automatically have a rough idea of the sound in mind, right? Wrong. Hurl that right out the window.

Opener ‘Sounds of Despair’ begins innocuously enough with fairly familiar sombre melodies and a hefty dose of melancholy. However, you’ll soon notice things start to switch up. There’s a symphonic leaning to proceedings and the layered guitars have a satisfying crunch to them, slightly unusual and very welcome; although still raw-ish it’s apparent a relatively fair amount of production work has gone into this. The vox are also varied, often layered and with a range far from the archetypal howls or shrieks.

All of which will make the astute listener’s ears prick up already, but something small I also noticed while idly researching: on the band Facebook page, the only bands listed in the ‘artists we also like’ section are Ukrainian project Bezmir and Finns Ajattara. Now, this strange (although they’re both great) combination could at first seem inconsequential, but with more thought it’s possibly quite informative as by the time we get to third track ‘Hymns of Sorrows’ he has eschewed completely the traditional trappings of the genre and goes for the throat with Bezmir-like intensity. In a word (or three): It’s fucking excellent. This definitely isn’t your typical ‘tortured wailing into the abyss’ raw misery, this is a furious hurt, lashing out with rage and strength and if he has indeed taken inspiration from the likes of the violent space project then I completely applaud him, he’s pulled it off in spectacular fashion.

The last two tracks then go off on their own equally great tangents but I’ll let you discover that on your own (especially the final/title track). I really dig this, it wasn’t at all what I was expecting. Physical copies are available from Share Your Pain Records or support with name-your-price download. You may just be surprised.

Side note – He also now has a much better logo courtesy of the “Lord of the Logos” himself, Christophe Szpajdel.

~

Artist: Turia / Vilkacis

Year: 2018

Finally unleashing their long awaited split, US werewolf Vilkacis and mysterious Dutch act Turia have generously thrown their respective tracks up on Bandcamp at name-your-price, and PSA: you need to jump on this shit without hesitation.

Vilkacis (the solo project of Michael Rekevics of Yellow Eyes) has already released one of the records of the year with the killer ‘Beyond the Mortal Gate’ and he continues that stellar form here with two absolutely essential tracks. Sorrow-filled and powerful, opening track ‘Into the Night’s Grip’ is worth paying any price for alone before ‘Final March Into Flame’ only becomes even more majestic and agonized. At this rate this is fast becoming one of my favourite projects, I could honestly listen to this all day.

Now for Turia. Are their two tracks any good? If you’ve checked out any of their past work you’ll already suspect the emphatic answer to this: Fuck. Yes. They’re part of the Haeresis Noviomagi collective, who along with many others in the Dutch scene are riding the forefront of the modern metamorphosis in experimental black metal sound. A core of subtle, transcendent rock-influenced melody shimmers within the black fury; this band is much more than appears at first glance and if you’ve never experienced them, then what better place to start than here?

CS and LP are also available through Psychic Violence Records and Altare Productions. Top notch stuff. Do not miss this.

~

Artist: Revelation None

Year: 2018

When Myrdin Cerphas of US cosmologists Synodic isn’t blasting through the vastness of space and hailing Sagan, he’s plundering the depths of hell and throwing infernal hails at Satan with solo project Revelation None. ‘Feasting Upon The Cosmos’ is his irresistible new single and this time around some fresh blood has been injected directly into the black vein via the capable throat of Harslingoth from Maeskyyrn, who proves himself a great fit for the Rev None sound and seems to understand well what Myrdin has been trying to achieve. Good phrasing accentuates the riffs and he has a surprisingly solid clean voice to boot; the two men appear to work well together so here’s hoping this is the merely the genesis of a long and heretical partnership.

Some good news too, for those who like their black metal a little more vivid: when compared to previous album ‘Blasphemy & Pain’ a bolder production style has also come into play. This is thanks to Noctis of Nachteule/Alkymist/Maeskyyrn fame, who has done some killer mixing and mastering work on this particular track. The tremolo leads are clearer for example and shimmer almost crystalline over a more physical bottom end. The whole thing ‘pops’; less kvlt, more power and it works well. There’s an irrepressible rhythmic/almost industrialised pulse to the track that’s catchy as fuck too, so be prepared to find yourself humming this one for hours after, which seems to be a phenomenon attached to much of Myrdin‘s work.

The B-side of the single is ‘The Mirror’s Pale Reflection’. An atmospheric instrumental number, it’s a solid, almost melancholy piece and I kinda hope to hear it complete with vocals on a future album. Those who have purchased the single also get two additional versions of it in a solely acoustic run-through and the original 2015 demo recording of the track. Both are interesting inclusions, with the original recording especially giving you a good idea of the evolution of a composition before it ends up the final product. I actually strangely dig the beefy, raw sound on this one myself; definitely a nice little bonus for paying supporters who sling them the required $1.50 and help them get the next album done. Support.

~

Artist: Maeskyyrn

Year: 2018

“Thoughts of Shattered Dreams is about sight, blindness, self-elevation and denunciation of modern society.”

…And following on from Revelation None, it would be remiss of us to not check out ‘Thoughts of Shattered Dreams’, the debut three track EP from Harslingoth‘s main project Maeskyyrn.

Kicking off with ‘Tainted Shores’, you’re immediately struck by the sound: this is some heavy stuff from the Canadian trio. Despite still semi-adhering to traditional black metal ideals the riffs have some meat to them, low tuning and a few palm muted chugs creating a memorable point of difference while thankfully keeping just the right side of the border to deathcore-town. It’s a good track, but the following ‘My Path (No Longer Linked)’ is where it’s at for me and contains both my favourite and least favourite moments of the EP; my least favourite being the first couple of minutes (it isn’t bad, however something about that early mournful guitar noodling just doesn’t sit quite right for me and the track could easily start at 1:50 or so and still be equally as impactful) and my favourite being Harslingoth‘s clean harmonizing with himself over the acoustic break. It’s exactly what the song needs and ties the whole composition together, providing both brilliant contrast and startling emotional connection to the fury and melancholia that permeates the rest of the track.

Aptly-named final piece ‘Wretched Sounds from Below’ takes us out on an ambient/noise inspired note, disembodied screams echoing from planes unknown and capping off a neat first offering that leaves you suitably intrigued to hear more.

Worth the $3 asking price. Anti-human, anti-life, anti-innocence. Hails.

~

Artist: Himelvaruwe

Year: 2018

Warped, ancient and almost tribal vibes waft fuzzily from your speakers as this offering from enigmatic Dutch (see what I mean about the Dutch scene?) maestro T begins its 16 minute journey. But Zwaluwenvesting doesn’t stay there; before you know it everything has descended into a beautiful, washed out and trancelike rhythmic drone that reaches in and caresses your deepest soul. As always, the devil is in the details as each subtle movement in the immersive piece is stunning, the overall intended effect less cosmic than his main project Kaffaljidhma but not an ounce less devastating.

I know it seems I spurt effusive praise all over the place whenever this man so much as sneezes, but he really does take black metal to wonderful places and if you have any interest at all in how far the boundaries of this incredible genre can go, you need to give this project (and his many others) your attention.

EDIT: Because I am extremely slow at wading through submissions and compiling these things the prolific genius released another great track while I was writing this; listen to the equally as compelling ‘Het Onkenbarehere.

Both releases at name-your-price.

~

Artist: No Lower Place To Fall

Year: 2018

Tasty fresh post black/blackgaze from the talented Tasmanian Sam Dishington of Départe. Inspired by seeing a news report on a little girl named Malak who was orphaned in the Syrian conflict, he picked up a guitar and thus the solo project No Lower Place to Fall was born. Written and recorded over the space of four cold evenings, debut single ‘Lost in Sinai’ is a beautiful, sincere piece filled with heart and spirit. Everything about this is sublime; if he can knock something out at this level in just four days I really hope he continues with it and there’s a full-length somewhere on the horizon. Or new Départe. Or both, I wouldn’t complain.

Up for name-your-price and because he is a genuinely great guy proceeds from all paid downloads will also be donated to the Preemptive Love Coalition to aid in their work providing emergency food, water, and medical care on the frontlines of conflict and disaster. A wonderful and much needed cause. Support.

~

Artist: SVRM

Year: 2018

Another favourite here at BMD, Ukrainian S. Tkachenko has done it again with his latest release ‘Лихиї вітри стогнуть без упину’ (‘The Wicked Winds Moan Without Incline’). Longer than his usual efforts at five tracks and an intro, few artists do this type of melancholic autumnal fury as effortlessly well and songs like the title track are simply exquisite, demanding replay after replay. You’ve heard me bang on about this project more than enough already, so if you’re even remotely a fan of the elemental Ukrainian atmospheric style… Why the fuck are you still reading this? Hit that name-your-price download below. Total support.

~

Artist: My Deathbed

Year: 2018

And finally, a new/old offering from Greek raw depressive artist My Deathbed. You may remember I covered the project’s last self-titled album ‘My Deathbed’ a short time ago and gave particular praise to the album’s mesmerising final piece ‘Sleep Paralysis’, which was a unique and powerul journey achieved with only one guitar. Well the shadowed creature behind it all (known only as Void) has just released ‘Disease’, a two-track preview of sorts for that piece; he originally recorded these tracks at the same time as his first demo ‘Sickness’ and they’re more of the same harrowing, experimental, single-guitar horror.

I asked him about his inspirations for the tracks: “There is only one inspiration behind My Deathbed, and this is my own struggle with my demons. The demos are how I feel at the moment I am recording.” he says.

“Have you ever been lost in your own thoughts? When you get lost, you don’t hear good sounds. I mean, you get drowned in your thoughts. You can’t stop thinking about things. That’s why My Deathbed is Monotonous Black Metal. It’s like a stucked head.”

Listening to the two tracks on offer here, this makes perfect sense. Both are a challenging and rewarding listen, one that it’s easy to spiral down into if you’re of the right (or wrong) state of mind… But be careful, you might not know where you’ll end up. Name-your-price download and as always, check out the rest of his superb output while you’re there. Hails.

~

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

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Bandcamp Misanthropy – Volume 17

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 seventeenth installment for your vulgar delectation. Enjoy.

~

Artist: Blodigel

Year: 2018

Kicking off: I’ll give you one single guess which style of black this is based solely on the cover art. If you guessed melodic post-black, well congratulations for being hideously wrong and I hope your head injury heals soon. Blodigel is a one man war metal wrecking machine and debut ‘Folly Of Abram’ is exactly what it aesthetically says on the tin: Blasphemy and Archgoat worship. If you’re slavering for a quick fix of bestial carnage you can’t go wrong here; great riffs and a short run time mean this thing is a long way off outstaying its welcome. Released by Witchcult Records on 3rd April in a limited run of 30 tapes, it’s also available at name-your-price download. Bring all your black goats.

~

Artist: Bròn

Year: 2017

Next up, a one man atmospheric/ambient project created by Krigeist, who you may recognise from the great Barshasketh and Belliciste. ‘Where the Leaden Dawn Meets Iron Shores’ is both the project’s sixth release plus my first exposure to his solo work; and I have to say, as a belated introduction, it’s more than impressive.

If you like the sort of immersive ambient worlds conjured up by Ukrainian maestro Severoth for example then you’ll find lots to like here. Unhurried songwriting, three 20 – 30 minute tracks and strong ambient synth blood flowing in its veins; it’s incredibly easy to get lost in this tryptich of grandiose compositions. And you will, opening epic ‘Nebula Burial’ alone is a superb astral-tinged journey that begs several repeat listens before you can even move on to the stirring soundscapes and surging blasts of ‘Through Obsidian Teeth’. Each track is a rich vein of shimmering black gold, meticulously crafted and emotionally affecting.

Up for name-your-price download, while digipack CD’s have just released through Wolfspell Records and Sigillvm Tenebrae Records this past February (with a nice cover art update too). Very worth your time, and I’ll definitely be checking out the rest of his discography.

~

Artist: Entropy Created Consciousness

Year: 2018

Next level avant-garde black doom madness. Released back in February, the intriguing ‘Impressions of the Morning Star’ is the product of one man, but no other information has seeped out into the infinite void as yet.

Which is almost a shame as I’d love to know who to give due respect to; this is up there with the most compelling albums you’ll wrap your ears around this year. Masterfully weaving together an immense cosmic miasma with alien constructs and the furious vacuum of a black hole, the end result is a gargantuan, oppressive yet strangely hopeful exploration of every corner of the internal and external universes. Blistering speed seamlessly becomes otherworldly beauty at will. The album shifts forms incessantly, constantly transmuting and reshaping, in a necessary state of flux yet always perfectly and unwaveringly coherent.

A track-by-track breakdown of this would result in thousands upon thousands of words; so just download this at name-your-price below and experience it for yourself. Well-deserved vinyl also coming soon through Throne Records. Take the journey.

~

Artist: Dark Habits

Year: 2018

A brief moment of static heralds the impending carnage… before ‘Scaphism’, the second EP of blackened powerviolence from Scottish four piece Dark Habits, tears from your speakers. Five short tracks like blows to the face with a blunt object while having a knife held to your throat, there’s good news and bad news about this project: The incredibly shithouse news is they released this EP as a parting shot and are currently split up. The good (well, consolation) news is you can pick this up at name-your-price download below (alongside their other violent stab of an EP ‘Cave Paintings’) and all donations from the sale of this will be passed along to Glasgow Womans Aid. Nice.

Pure Hm-2 powered annihilation. Destroy everything.

~

Artist: Aludra

Year: 2018

A new project straight from the interstellar oven. US duo Aludra play raw cosmic black metal, have a debut album on the way entitled ‘Moons’, and present the first teaser single ‘Enceladus’ freshly prepared for your consideration.

With all music/production taken care of by Taryck (ex Rituals of a Blasphemer) and the lyrics, vocals and overall concepts by Imber (ex Synodic), ‘Enceladus’ is science-based cosmic black metal with a twist: instead of the dense and droning fury often associated with the style, the track largely comes at you from a stripped back and depressive angle. The sparse production and desolate riffing took me by surprise at first but provides a great eerie backdrop for Imber‘s trademark rasps; given that the subject matter is Saturn’s sixth-largest moon the solitary, distant harshness is perhaps fitting. The final act of the track then sees it explode into more familiar territory and it’s all far more than enough to pique your inquisitive curiosity as to what may possibly come next.

I personally hope they explore more of the raw angle; keep an eye on their Bandcamp or Facebook for further release info and snap up this worthy single at name-your-price download.

~

Artist: Valaraukar

Year: 2018

Scottish hostile black metal power summoned from the abyss. Don’t let the Tolkien referencing name throw you off; this isn’t an epic journey through lands of might and magic, oh no. ‘Harnessing Hostile Forces’ is the debut EP from Valaraukar and as the name suggests it’s two tracks of storming, rearing and crackling black might.

Expertly wielded by the duo of Vagath and Sovereign, some slivers of thrash or chunks of Venom-esque heaviness may lash at your skin as the maelstrom moves through, but that only adds to the convincing strength of this offering. Both tracks are wonderfully accomplished, equally as good as each other and seething with electric atmosphere, but I’m personally going with ‘Conquering the Void’ as my pick of the two. Can’t get enough of those galloping riffs.

Released in conjunction with Rat King Records it’s also up on both the label and band’s Bandcamp pages as name-your-price download, so grab yourself a digital at the very least and get these men even more motivated for the full length that’s apparently rearing its head later this year. Killer stuff.

~

Artist: Raat

Year: 2018

And here we have the latest EP from Raat, the post-black/blackgaze project of S.R. from Nightgrave, featured in the last Bandcamp Misanthropy. Based in Delhi, India and with almost no black metal scene around him he’s been forced to create his own, churning out releases at a startling rate between his projects.

‘Ethereal Twilight’ is the second from Raat so far and straight off the bat continues his immediately recognisable lush-yet-raw sound with opening track ‘Ataraxia’. A gorgeous, dreamlike instrumental that shimmers and builds, everything then really shifts into gear with second track ‘Intemerate’. Hitting a more depressive note through the use of his tortured, echoing vocals and darker riffs the track still posesses deceptively intricate instrumentation, layers of beautiful sound effortlessly drawing you in and wrapping you in a comforting warmth, despite the melancholy.

However, don’t get too cosy. That comforting, warm blanket of vague mamelancholia begins to constrict as the first half of ‘Stygian’ plunges into the blackest and most disturbing material on the EP, shaking you from any pleasant dream. Icy, warped tremolo slithers through the mix before descending into sludge and attempting to crush you… then the black clouds part, dawn arrives and one of the nicest acoustic passages on offer here finally caresses you back into peace, having weathered the nightmare. The ultimate track ‘Wash Away’ is just that; a cleansing of your soul as all sins, all hurt, all sadness and anger is gently washed away as you dream. Or… is it? A creeping realisation, too late. Perhaps it is you who is being washed away? Has the dream always been your death?

A wonderfully composed and dynamic EP that really ‘tells a story’ to the listener, so to speak. The more I hear of this man’s work the more I like it. Available at name-your-price download.

~

Artist: Brood In Black

Year: 2018

You may recall I checked out the first Brood In Black demo ‘Arrival of Death’ back in Bandcamp Misanthropy Volume 14, said it was “raw, totally primitive, black-fucking-metal” and was extremely interested to see how the project would develop. Now the time has come for a second serving of unholy fury: sophomore demo ‘Blasfemas’ is here. Well, it was here two months ago. I’m just extremely behind on my listening list as usual.

This time Count Cor’inth has picked up a likeminded collaborator in the mysterious Bulgor, who provides hellish battery on three of the 5 tracks on offer and fits in perfectly to the Count‘s vision. Pressing play, you’re hit with a gloriously broken and lo-fi introduction before the title track hisses venomously from your speakers. Thankfully, it’s more of the same and even better than the first demo; I fucking love the sound quality on this whole thing. Perfectly terrible and not for the faint-hearted but black metal as fuck. The first two tracks are smashers, but I’m going to skip forward a little and say one thing: ‘Journey Into the Shadows’. This third rite and demo centrepiece absolutely nails it in every way for me. Perfect classic vibe, if you only listen to one thing on this demo, let it be this.

Which isn’t saying the rest of the songs aren’t great, ‘Evil Lives’ is an uptempo ripper and ‘Abyss’ closes out proceedings like nobody does anymore. The whole thing feels like the last bastion of the necrotic old-school; as long as bands like Brood In Black exist in the deepest shadows then the raw spirit of black metal will never die.

With a handful of physical copies left this isn’t up for name-your-price, but this man does everything DIY, from the music to the hand drawn and photocopied artwork. Even tape duplication. Total dedication to the cause, total respect. Show your support.

~

Artist: Vonlaus

Year: 2018

Three tracks of raw, raucous Icelandic decay released back in January. Vonlaus is Icelandic for “Hopeless”, but this first demo proves anything but and seems to be the embryonic stirrings of another great project.

The only information I can find about this is it was recorded, mixed and mastered by a certain K. Wntl. So, it’s lucky the music speaks for itself and every one of the three tracks on offer is a masterful display of biting guitars, devastating, languid darkness and a little rock thrown in for good measure. Superb vocals and great riffs too, check the brawny dissonance in second track ‘Mein’ and the excellent, harrowing howl/hollering at the end of ‘Í blindbyl ótta og haturs’.

Tape out now through Mystískaos and Vánagandr, name-your-price download from their Bandcamp. More please.

~

Artist: Benthik Zone

Year: 2018

As usual, we save the strangest until last. Over the course of their four releases to date the experimental Portuguese duo of Benthik Zone have been on another world entirely, crafting bizzare and high-concept albums that follow a tale about underwater worlds, alien sharks and leaving the planet for one of Jupiter’s moons. About latest release ‘Causa Modicum Temporis Spatium’, they simply say this: “We ceased to be matter. By achieving enlightenment we became something that transcends both space and time.”

What does that mean? That you as the listener are now on the frontline of a metaphysical journey as they tear through dimensions along pathways never before dreamed of. Through the course of two gargantuan, seemingly infinitely expanding compositions the two men shatter both your mind and space-time into millions of pieces and reassemble them together, as a new form of superconscious reality. Black annihilation, ambient sounds of the universe being torn apart, instrumentation and melodic twists that attempting to describe with mere words would be doing a disservice to are all apparent in equal measure. You become the void. The void is all.

All wordy hyperbole aside: This is stellar experimental black art. Available for a mere dollar along with all their other outstanding releases, just download for yourself. Experience. Appreciate. Evolve.

Hails.

~

Submissions for possible inclusion in future Volumes are welcome.

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Email: blackmetaldaily@outlook.com

Bandcamp Misanthropy – Volume 15: Holiday Edition

As I’ve been slacking off a little with these and in an attempt at keeping with the spirit of the season, here’s the very first holiday edition of Bandcamp Misanthropy: Twenty artists, all name-your-price download so you can bag yourself a load of fresh sounds either free or supporting the artist however you like. Due to the sheer amount of releases I’ve kept my word count to a minimum; I also ran out of time and had plenty more releases to put in than this, so expect another Volume soon. Anyway, here’s the fifteenth and final 2017 installment of Bandcamp Misanthropy for your vulgar delectation. Enjoy. 

~

Artist: Chaos Moon

Year: 2017

Kicking off proceedings in the best way possible, USBM masters Chaos Moon have returned with their fourth full length ‘Eschaton Mémoire’ and without any fucking about with unnecessary words: it’s incredible. 

Created by men whose pedigree includes KriegManetherenSkapheMartröđ and more with superbly symbolic cover art by Jef Whitehead of Leviathan, this release is utterly bewitching and the haunting fury of it will affect you for days. The band have this to say about it: 

Eschaton Mémoire is finality: from invocation to ruin. It spans each phase of this death from multiple perspectives and through various planes. Each passage further opens the cosmic wound, weaving other realms into the present; bloodletting the metaphysical plague. The end consummated, may the mists of Niflheim shroud forevermore.”

This really is ultimate quality USBM and the fact that it’s up for name-your-price download simply blows me away. Many thanks to the excellent Blood Music (who will also be stocking the CD and vinyl versions) for that. 

You know way back at the beginning, when you first heard black metal? The magic it had? Well, this release is the physical manifestation of that feeling. Seriously. If you don’t already own it: download this now.

~

Artist: Entheogen

Year: 2017

And in a neat segway from Chaos Moon we have another related project, this time Alex Poole handles all vocal intonations/strangulations while fellow Mooner Steve Blackburn is the main songwriter. Both of these men have clearly struck creative gold this year. ‘Without Veil, Nor Self’, the otherworldly debut of US experimentalists Entheogen, will split your mind off into several simultaneous perceptual tangents allowing reality to become both an entirely new proposition and completely inconsequential all at once. 

Bleak, delicate and furious; this exercise in dissonance and metaphysical catastrophe is making a shitload of end-of-year lists for good reason, and for a sneak peak if I ever get around to posting it: it may just be on mine. Pick this up at name-your-price download without hesitation. LP coming next year through Fallen Empire Records and cassette through Mystískaos.

~

Artist: LVTHN

Year: 2017

A blazing occult orthodox rite from the Belgian LVTHN. Two tracks, twenty five minutes; a conceptual mini-album about Arachnidia Lilith, the spider goddess of Sitra Ahra. 

Is it good? Yes. This time around they aim to honour the arachnid aspects of The Dark Mother and those aspects come across in the music well. Shifting, sliding guitars skitter in anxiety laden mania as the infernal power rises. “Power from the living, power from the dead” are some of ZD‘s vocal intonations on opening track ‘Arachnidia’ and that proves a sinister omen, as by the end of the vehemently venemous, irresistibly devotional and downright monolithic ‘Akkawbishia’, everyone and everything has been sacrificed for the life and glory of The Queen. 

A strong release that reminds me I need to spend more time with this often overlooked band. Worship through name-your-price download, or pick up physical tools of ritual from Fallen Empire RecordsAmor Fati Productions and Rat King Records – UK. Oh, and the cover art is nice.

~

Artist: Jassa

Year: 2017

Fog and stillness; the True God resides in The Abyss, where there is no past and no future.

Toiling away in the darkness, subterranean Russian black death esotericists Jassa continue to produce higher works of such ferocious alchemy they could transmute flesh into black gold. With deranged riffs, skin-searing vocals, tribal flourishes and streaks of creative experimentalism surging throughout their ritual offerings, it may lean more heavily on the ‘death’ part of their descriptor than previous efforts but I’m still slightly taken aback that ‘Incarnation of the Higher Gnosis’ isn’t popping up on at least the deep end of a few end of year lists. It probably would if more people had heard it, who knows. If you haven’t yet, be ashamed and rectify this at once with a name-your-price download below and/or snap up an LP from Fallen Empire Records if there’s any left.

~

Artist: Aura Mortis

Year: 2017

Next up, a quick fix of hatred and the voice of Satan himself from Serbian duo Aura Mortis. ‘Proclamation of the Sardonic Flame’ is two stirring tracks devoted to extinguishing all life in the name of the Dark Lord and acting as an audial vessel for His will.

The first paean is composed of an intro and the title song itself (‘Tartarus Rising/Proclamation of the Sardonic Flame’); and whilst it’s more dynamic and the riffs and atmosphere are undoubtedly top notch, in my opinion it’s the b-side ‘In Being Engraved’ that’s an absolute fucking stormer. A fire hit of full blistering orthodoxy, this emanates the glory of Satan in wretched obesiance before lurching into a morbid, mid-tempo outro hymnal filled with awe and rotting reverence.

Good songwriting, savage vocals and the guitars have that satisfying buzz. You can’t go wrong at name-your-price download; tape out through Zły Demiurg with a CD version coming soon. Total death. 

~

Artist: Sol Lustitiae

Year: 2017

And lo, we witness the birth of something beautiful. The instrumental raw demo recordings for what is apparently an upcoming full-length, this could easily be left as-is and would still be pretty great. Sol Lustitiae (‘Sun of Righteousness’) hail from Italy and play liturgic black metal; equal parts stunning bleakness, ephemeral dissonance, bright atonal intricacies and brilliant post-scapes. The compositional skill on display here is nothing short of dazzling and it will unquestionably be something truly special once polished up, but for now, immerse yourself in what our forsaken souls can reach of the light shining from ‘Iam, Christe, Sol Lustitiae’. Name-your-price download.

~

Artist: Agonie

Year: 2017

Some Canadian black metal done the old way. The duo of Agonie summoned their sophomore slab of death worship way back in January and ‘Culte Funèbre’ sounds exactly how you’d want it to. A sombre soliloqy from the crypt in six parts, this drinks deeply from the veins of masters past and each ode stands alone as a grim piece of dark art. Sepulchral and vampyric atmospheres are conjured with ease, dripping in blood; while special mention must be made of the dual throat attack containing some killer variety from hopeless, agonized howls to demonic low growls. And I’m not usually a fan of ambient closing tracks, but absolutely satanic final ambient piece ‘Funérailles d’un monde’ is a suitably horrifying and theatrical way to close out proceedings, pitch-shifted vocals and all.

It’s up for name-your-price download, as well as their first release. Oh and if you purchased the tape from Solar Asceticists Productions it came with a vial of real bone ash and a handwritten French poem on parchment scroll, which is a lovely touch. Hails.

~

Artist: Eskapism

Year: 2017

A neat little pair of new tracks from Ukrainian atmospheric duo Eskapism. The first is single ‘Lost Land’; a masterful and marvellous example of how these men manage to pack so many emotions into one track. From the lush synth intro to the epic finish this track is a dynamic rollercoaster and gold star testament to their songwriting abilities; if you don’t want to press play again immediately after hearing it you may be dead. The only thing that may stop you from flogging that one track on repeat for hours is the B-side: a killer rendition of Swedish act Skogen‘s track ‘Aska’, that captures and may even improve upon the feeling and power of the original well. 

Free download, but it’s a little tricky; you’ll have to pay $3 to grab both tracks together (well worth it, support if you’ve got the coin) or you can download each track separately for free. 

~

Artist: Kaffaljidhma

Year: 2017

‘Alphecca of the Northern Crown, Sequestered in an Alcove of Lustrous Spires’ is the evocative title of the single 12 minute expression of raw Dutch anti-cosmic transcendentalism that comprises one man project Kaffaljidhma‘s fourth emission, ‘IV’.

Spectral melodies, drum patterns and howls echo around inside a cavernous wall of sound, although “cavernous” isn’t really the right word. It’s more a space inside a higher plane of existence created by the music itself, drawn from the mind of the enigmatic (AKA: Olibanum) who also brings us Himelvaruwe and other wonders. It’s haunting stuff; one track isn’t nearly enough but luckily he also has another three exemplary Kaffaljidhma releases all up for name-your-price, with a new one coming early 2018. Fingers crossed for an eventual full-length.

~

Artist: Hyperborean Skies

Year: 2017

US artist Ben Stire released an exceptional full-length for his solo atmo-black project Hyperborean Skies back in June, and to tide you over until the next album of melodic mastery, he’s dropped a surprising little curio: a cover of ‘Walking In The Air’, originally by Howard Blake and featured in the 1982 short animated film ‘The Snowman’.

Now I unashamedly/unironically love that song so I was extremely interested to see what he’d done to it; and what he has done is completely fucking nailed it whilst totally making it his own. Translating the entire song into blasting black metal would have been almost predictable, instead he works the dynamics of the original composition perfectly and even aces the clean vocals.

If he’s going to cover obscure and unexpected songs this well, part of me hopes his next full-length is a covers album. Superbly done. Name-your-price download.

~

Artist: Witch Trail

Year: 2017

Belgian three-piece Witch Trail have cooked up a delicious brew of sludgy post-black post-punk goodness, just for you. On latest EP and 8th release overall ‘Thole‘, they effortlessly genre-hop at will in a breathtaking display of raw talent and somgwriting capability. 

Every track on this is a winner. Riffs with attitude, the vocal attack roared from a place of power. The black metal influence may be buried deep sometimes, but it’s never far away and always ready to pounce back and grab you by the throat at any second. Couple this with a frequently raw, careening punk vibe that threatens to either derail or lash out with kicks to the head and you have one of those tense albums that sounds gloriously dangerous even in the quieter moments. Of which there are many, often tightly wound and seething with barely hidden intent. 

For those feeling a little more adventurous than your standard black, get in here and grab a name-your-price download now; this is some seriously rocking shit. They’ve been through nine levels of hell trying to get vinyl properly pressed so if they ever successfully manage that you’ll be able to pick up some wax too, but in the meantime you can also purchase physical support in the form of a CD through Babylon Doom Cult Records.

~

Artist: Macerie

Year: 2017

And now an Italian blackened crust post-hardcore trio that revel in slow-burning yet manic wretchedness. When Macerie‘s two track EP ‘To K***’ gets moving it absolutely crushes your bones to dust; but almost absentmindedly, as though either unaware or uncaring. Bleakness and brutality in equal measure.

Good news and bad news. The good: If you like what you hear, they have another four track release also available at name-your-price, that was also once released on tape through Sentient Ruin Laboratories and may still be available from a few select distros. The bad: I’m not entirely sure they’re still active, so these may be the last releases you hear.

~

Artist: Ovnev

Year: 2017

A year after the release of his debut album ‘Cycle of Survival’ which popped up way back in Volume 3, one man USBM wilderness walker West returns with another excellent offering inspired by the harshness and grandeur of the natural world. 

‘Incalescence’ is a solitary and emotional album, but not in a depressive sense. No, West is instead adept at implanting feelings that ebb and flow naturally betwixt a sense of awe, introspection and quiet wonder. An improved production gives new power to the compositions, the layered guitars take on almost elemental force while the frequent acoustic breaks remain an atmospheric highlight. I’ve previously mentioned this already but Ovnev remains very much a project with deep artistic integrity; you’ll be drawn in with ease, totally believing in his vision and feeling it. 

A perfect accompaniment for your own trip into the wild unknown, be it physical or a mental flight of fancy whilst curled up on the couch at home. Grab a name-your-price download or a physical copy from Naturmacht Productions today.

~

Artist: Funeral Harvest

Year: 2017

Raw Norwegian Satanic occult death rituals. Interested? You should be. ‘Bunker Ritual Rehearsal’ is the debut demo from the shadowy Funeral Harvest and for an embryonic first effort, it definitely shows a hefty amount of potential. 

Listening to this is like the last thirty years of genre progressions never happened; it’s simply nothing less than raw, live-recorded black metal played with spirit like days of yore. Scandinavian riffs abound (the main one on opener ‘Nihil Sub Sole Novum’ is a sinister scorcher) and they balance out and enhance that approach quite well with an obscure tone that permeates all. The guitars are often in a slightly lower register than you might be expecting, packing more body blows and menace whilst the vocals are ripped straight out of the early ’90s playbook. Then there’s the even rawer fourth track ‘☧’ which takes things to abrasive new heights but remains no less compelling, as all foul ingredients swirl together to create an intoxicating breath of fresh but ancient air from the crypt. 

Pure black metal. Available at name-your-price download, or grab a slice of evil in cassette form from Iron Bonehead Productions.

~

Artist: Deadwood Lake

Year: 2017

You may remember UK atmo/melodic fellows Deadwood Lake from the ancient times of Volume 2 when we checked out their debut EP ‘Remembrance’, based on the tragedy of vocalist Bruce Powell losing his brother in an accident. The band itself was formed in tribute to him and it’s a theme they intend to continue; which they have done surprisingly well on first full-length ‘Forest of Whispers’.

Continuing the same theme, no matter how well-meaning and honest, could still easily feel like rehashing the same material. This avoids that by means of being a step up from the EP in just about every aspect and Bruce himself possibly going through a kind of gradual evolution as the days pass. I’m loathe to even imagine what he must still be going through so I don’t want to be presumptuous, but it feels somehow different. Whereas it was mesmerising and heart-wrenching to hear the raw pain on the EP, now it’s still there but seems almost tempered in a way and the songs feel more vital overall. He still speaks of it all from many different angles but I find that this time around it’s when he fights back or gives in to rage that the songs are their strongest. ‘Forest of Whispers’ has some great moments and when he screams “Eye for an eye, life for a life” in ‘Vengeance Will be Mine’, you fucking believe it.

Not that the rest of the album isn’t great. All performances have stepped up a notch and the songwriting taking some bold steps; the first time I had the album playing in the background I had to stop and check it at one point that it hadn’t somehow skipped artists to an old Steven Wilson demo or something, so make of that what you will.

A solid listen and at name-your-price it’s worth your support. I still admire what these gents are doing. 

~

Artist: Voidsphere

Year: 2017

I don’t know how the hell I missed posting about ‘To Call / To Speak’ a couple of months ago when I first heard it, so luckily it slots nicely in here. I only even remembered to actually purchase it when I was writing this article which is frankly fucking inexcusable as it’s easily one of the greatest EPs to drop this year. Featuring the same anonymous person(nel) as the excellent Arkhtinn, prepare yourself for a raw 40 minutes of total USBM abyss worship over two expansive, savagely grandiose tracks. 

Opening with ambience that indeed sounds like the maw of the Void beginning to split open in the vacuum of space, before you know it the universe rends apart and the horror begins. The lo-fi cosmic howl hits you; you’re done. There is no escape. This EP has its own hypnotic gravitational pull and will rend you limb from limb once you’re helplessly lost in its violent magnitude.

I could wax lyrical about this one for ages, but just download the thing and let the music speak for itself. Released through the umbrella of Prava Kollektiv with physical copies also available from Fallen Empire Records and Amor Fati Productions.

~

Artist: SVRM

Year: 2017

I don’t believe this man has ever released a dud note let alone a bad song, but the unsung master of autumnal atmospheres is back with what may somehow be his strongest material yet.

I first covered Ukrainian solo artist SVRM back in Volume 9 and on his fifth EP he’s still not wasting a single note; push play on any of the three tracks on offer throughout ‘Останнє Сонце’ (‘The Last Sun’) and you’re immediately swathed in gorgeous, perfectly placed layers of spine-chilling melodies, driving percussion and his roaring, impassioned vocals.

Boasting a slightly cleaner sound than previous efforts, everything honestly feels just right. Have you heard a similar kind of thing before? Likely. But (barring the already established masters), seldom done this well. I listened to it ten times in a row when it was released the other night and you should too, this project deserves far more exposure than it gets. Up for name-your-price download with all his other great releases. Support.

~

Artist: Inner Suffering

Year: 2017

This release (which isn’t even his latest) by prolific Ukranian solo artist Inner Suffering was recommended to me by Kimberlee of the now defunct Synodic, who gave an eloquent description of what ‘It’s All The Same In The End’ means to her:

“I’ve listened to this album countless times and it conveys a melancholic emotion that I was able to apply to my life situation which suited my mood perfectly. This is an instrumental album so it’s easy to get lost in the music and interpret it the way you see fit. I love it because of that fact. Most everything from Inner Suffering takes me to a place within myself that is very real.  Perfect ambient depressive black metal.”

Perfect ambient depressive black metal it is. It doesn’t even depress you, just makes you numb. We could delve deeper into technicalities like the interesting dissonance between the 7 string rumble and the etherial melodies, but over-analysing would take away the magic so just grab it and experience it for yourself. Lithium in audio form.

~

Artist: My Purest Heart For You

Year: 2017

Unearthing gems like this is both why I love Bandcamp and why the Bandcamp Misanthropy Volumes began in the first place. On third release ‘Isolation and the Ward of Internal Abuse’, US experimental DSBM Artist My Purest Heart For You effortlessly creates a unique and captivating atmosphere through the oddly perfect duality of gorgeous, choral keys and hyper-raw distorted DSBM that occasionally borders on noise. Melancholy guitar work, throat shredding screams and magical, almost peaceful synth layers; it’s incredibly easy to lose yourself in this release and it may be quite unlike anything you’ve heard before. 

Highly recommended. A beautiful, zen-like flower in the darkness. 

~

Artist: Krampusnacht

Year: 2017

And to wrap things up poorly like your drunk parents pretending to be Santa on Christmas eve, I don’t delve into pure dungeon synth very often on these pages but in the spirit of the season (and because it’s actually pretty great), here’s a name-your-price Christmas dungeon synth covers album.

Fuck Christmas, enjoy the holidays. Hails.

~

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 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.

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Email blackmetaldaily@outlook.com

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.

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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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Email: blackmetaldaily@outlook.com 

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. 

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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.

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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.

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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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