Profound Lore Releases (COMPACT DISC)

The debut collaboration album from doom metal giants BELL WITCH and AERIAL RUIN, the solo folk project of singer/songwriter Erik Moggridge, under the moniker of STYGIAN BOUGH is a culmination of the work of both artists as witnessed previously on BELL WITCH’s three full-length albums where Moggrdige has contributed guest vocals. With each succeeding BELL WITCH release, we have seen Moggridge’s involvement with BELL WITCH developing, growing and getting more elaborate. “Stygian Bough: Vol 1”, produced by Randall Dunn, follows up BELL WITCH’s colossal “Mirror Reaper” opus with Moggrdige actually being involved in the creative and writing process with the BELL WITCH duo of Dylan Desmond (bass/vocals) and Jesse Shreibman (drums/synthesizers/vocals). Not only does STYGIAN BOUGH expand and broaden the alliance of BELL WITCH and AERIAL RUIN, but with AERIAL RUIN contributing to the songwriting of this dedicated collaboration and incorporating his signature and alluring style of emotionally driven folk, along with taking the lead vocal position on this, to BELL WITCH’s caliber of unearthly towering doom, STYGIAN BOUGH becomes its own singular doom metal entity unparalleled.

1. The Bastard Wind
2. Heaven Torn Low I (the passage)
3. Heaven Torn Low II (the toll)
4. Prelude
5. The Unbodied Air

Pacific Northwest’s CAUSTIC WOUND (featuring members of MORTIFERUM, Cerebral Rot, Fetid, and Magrudergrind) play unrelenting and punishing brutal death-grind that captures the aesthetic and palpitations of the classic old-school era of the genre (not exceeding 1992). Their debut album, “Death Posture” (out April 10 on CD/LP/Digital) which follows their 2018 “Grinding Terror” demo, sounds like that foul relic that could have been produced somewhere around ‘88-91 while upholding a powerful, dark, murky yet unyielding production, all while eschewing and laying waste to the clinical, plastic and ornamental trappings of what comprises the majority of the grind scene today.

CAUSTIC WOUND are:
Clyle Lindstrom (vocals)
Max Bowman (guitars)
Chase Slaker (guitars)
Tony Wolfe (bass)
Casey Moore (drums)

1. Invisible
2. Foto On Wire
3. Love Is A Devil
4. Up Above the World
5. Hold Me in the Night
6. Never Fall Out of Love
7. Expulsion from Paradise
8. Blue Smoke
9. Chaos & Cosmos
10. Tough Skin

Comprised of founder Dana Schechter (Swans) and now joined by drummer Andy Patterson (SubRosa), INSECT ARK have been crafting uncomfortable soundscapes that feel both intimate and icy cold since 2011. Nightmarish horror film-like visions, outer space travel, and gritty noir textures were explored in their previous offerings — the much-praised “Portal / Well” (2015) and “Marrow Hymns” (2018) — but now, something far greater is coming with “The Vanishing”.

Not a work for the faint of heart, “The Vanishing” is INSECT ARK’s most harrowing and punishing record to date. Though many parts of it veer off into mind-expanding outer realms territories, the interplay between the bass, lap steel guitar, synths and drums is tighter and closer to song format than ever before, and that’s essentially what “The Vanishing” really represents – a strong and defiant collection of songs that demand your exclusive forceful attention. “The Vanishing” is heavier, darker and denser than anything INSECT ARK have ever done, yet without losing any of the writing characteristics that have become synonymous with their personality, like the persistent coating of eerie psychedelia, the alien feel of the melodies or the ominous dread the tracks often exhale.

“The album’s title refers to a recurring daydream I had of disappearing completely – floating out to sea alone, and never being found,” offers Schechter of the themes driving the record. “On a much bigger level, it’s about the impermanence of life itself, trying to retain perspective of how small we really are.” Recorded and mixed by Colin Marston (Krallice, Dysrhythmia) and featuring artwork by Sonia Merah, track listing for “The Vanishing” goes as follows:

1. Tectonic
2. Three Gates
3. Philae
4. Danube
5. Swollen Sun
6. The Vanishing

Cult black metal band THE DEATHTRIP have announced their new album “Demon Solar Totem”, their follow-up to 2014’s debut “Deep Drone Master”. Featuring the long-due return of Kvohst (Ex-Dødheimsgard/Code) on lyrics/vocals joining the cold, hypnotic riffs of Host (Thine), the primal drumming of Storm (Ex-My Dying Bride, Blasphemer) and introducing the bass playing of Thomas Eriksen (Mork), THE DEATHTRIP offer tickets to primeval possession and open portals to other dimensions. Demon Solar Totem captures the spirit of ancient Thorns, Burzum, Darkthrone and Beherit imbued with old-English occultism and the chanting of sacred sound formulas. Otherworld Black Metal eeriness for a deep dive into spectral realms.

Formed in Oakland, CA, HEAVEN’S CLUB began as the project of Shiv Mehra during downtime while off tour with his band Deafheaven. It then expanded to include Deafheaven drummer Dan Tracy, Nadia Kury, Chris Natividad, Ross Peacock and Luis Mayorga. Finding ground in introspective lyricism and progressive, ethereal sonics, HEAVEN’S CLUB achieves a careful balance between punching urgency and distant atmosphere.

Recorded at Santo Studios in Oakland, CA, Heaven’s Club producer and engineer Andrew Oswald acts as a seventh member and brings rich texture and nuance to Mehra’s vision.

Of the project, Mehra says: “Heaven’s Club is the fog of memory and insubstantial fantasy. The songs reside in the liminal space between love and the end of suffering. They reach toward an ambiguous desire for peace – a deeply felt longing.”

SANGUINE EAGLE are black metal in its purest essence; trendless, unyielding, and played with absolute conviction. The compositions are marked as much by resolute, stoic, patience as by staggering violence, never pandering to the weakminded and eschewing any shred of the puerile amusement rife in a genre so pilfered by dilettantes.

Both workings were recorded during the same winter and serve as two distinct yet complimentary chapters in the tenebrous unfolding that is SANGUINE EAGLE. “Shores of Avarice” reveals the band taking their discipline to new, even more rapturous heights. An unfaltering and misanthropic vision emblazoned upon the seat of supreme intelligence, pushing their black metal even further into the realm of the ecstatic and ancestral.

Sanguine Eagle are proud luminaries of the House of First Light.
This is black metal as spiritual war.

“Shores Of Avarice” track listing:
1. Bloodborn Veneration
2. By the Breath of Victory
3. Shores of Avarice

SANGUINE EAGLE are black metal in its purest essence; trendless, unyielding, and played with absolute conviction. The compositions are marked as much by resolute, stoic, patience as by staggering violence, never pandering to the weakminded and eschewing any shred of the puerile amusement rife in a genre so pilfered by dilettantes.

Both workings were recorded during the same winter and serve as two distinct yet complimentary chapters in the tenebrous unfolding that is SANGUINE EAGLE. “Storm Mysticism” was written initially and serves as a declaration of intent; displaying the sprawling ambience and storming black metal that defines their craft, as well as establishing the band’s conceptual path; numinous struggle elevated to a surmounting triumph, as reflected by the title.

Sanguine Eagle are proud luminaries of the House of First Light.
This is black metal as spiritual war.

“Storm Mysticism” track listing:
1. Tormento de la Nieve
2. Siete Rayos
3. Bride of the Blizzard
4. Twin Flame
5. Exile

“From the shores of Eden we were cast, and to sufferance condemned. Yet in the Act of Defiance the cosmic libido injected incandescent fire into the world. To the eye of man this was the uncoiling of the serpent. Now bereft of paradise, a true gift unfolds – for in suffering is found power and the coming of truer dawn. In the image of the Fallen Angel, man usurped an earth defined only by his will, a sphere shaped in his own image. Throughout millennia, one enters through the cosmic womb to display dominance above all. The Great Solar Hunter spreads the gift of fire to initiate the new aeon.”

CONSUMMATION is the brainchild of vocalist/guitarist Craig Young (ex-Impetuous Ritual) who is joined by drummer David Hayley (Psycroptic) and bassist/guitarist Joel Rademaker. Alongside the central CONSUMMATION trio, “The Great Solar Hunter” also features guitarist John Gossard (Dispirit/Asunder/The Gault/Weakling) among its ranks.

“The Great Solar Hunter” track listing
1. Ophidian Crown
2. The Great Solar Hunter
3. Phosphor Libation
4. Apotheoses
5. The Eminent Fires Of Sacrifice

For their fourth full-length album “Emergence”, Denver, Colorado doom-prog band DREADNOUGHT follow-up their 2017 “A Wake In Sacred Waves” acclamation with an album that takes their singular multiplex and pictorial sound to new sonic realms even more heavily textile, complex, and vastly designed. “Emergence” sees the four-piece, consisting of vocalist/guitarist/flute player Kelly Schilling, drummer/sax player Jordan Clancy, keyboardist/vocalist Lauren Vieira, and bassist/mandolin player Kevin Handlon, delving more into heavier and darker sonic territory as well, an aspect that was evident with “A Wake…” but has become fully realized with “Emergence”.

There are a multitude of layers that establish DREADNOUGHT’s sound, making them one of the more unique sounding bands in today’s doom/dark/progressive metal circles. Consisting of a myriad of influences that seamlessly sew their sound together, from prog, doom, folk, jazz, classical/chamber, avant-garde, and even a little bit of black metal managing to find its way into DREADNOUGHT’s audial tapestry, “Emergence” is the culmination of the band’s continued development and evolution, one that began with 2013’s “Lifewoven” LP followed by 2015’s “Bridging Realms” and the aforementioned 2017 LP “A Wake…”.

Thematically “Emergence” resonates with elements of flame, tying together similar structures between the ancient connection of nature’s most destructive yet purifying forces and the human condition. Through the four searing tracks comprising “Emergence”, the realities of this age-old cycle of rebirth, beginning with chaotic annihilation of what is, and leaving behind nourishing ash to enrich what is to come. A new being arises from the smolder, forged by the fires of self-destruction and trials of every lifetime before it.

With the ferocity of a wildfire, DREADNOUGHT opens the album with “Besieged” painting the connections of the catastrophic events of life with witnessing the Earth ablaze. In memoir of the countless losses in the immolation, “Still” is an interlude that pays tribute to the mourning of fleeting life and memories. “Pestilent” speaks to intense struggle that we as humans battle to choose reality in moments of tribulations as we attempt to escape and resist the decimation left in the fire’s wake. Wisdom granted through the labours of rebirth leaves who was once seen as the victim, the true victor by their willingness to witness a broader perspective of transformation.“Tempered” captures the essence of this enlightened perspective, named by the process of strengthening metal tools using fires, the once destructive flames are seen as a purifying method to cultivate new life.

The dust settles upon a masterful being, one that has endured a renaissance with struggles of hellfire and gained a wealth of worldly knowledge. As we enter the final track, “The Waking Realm”, DREADNOUGHT leaves us with this universal pattern of nature to reflect on as the final echoes of the album fade. No matter what cycle of rebirth we are currently in, nature’s perfected design lends comfort to those embarking on the journey of transformation as light from the fires of our own hell will guide the path forward.

Engineered and mixed by Andy Patterson (SUBROSA) and mastered by James Plotkin, “Emergence” features art and design by Mark Facey and follows this track listing:

1. Besieged
2. Still
3. Pestilent
4. Tempered
5. The Walking Realm

The ever-evolving quartet VAURA follows up their 2013 album “The Missing” almost six years later with “Sables,” their most refined and contemplative release yet. Introspective and somber, “Sables” finds the band shedding most of its post-metal heaviness in favor of experiments with brooding kosmische musik and the more avant-garde elements of new wave. Consisting of Josh Strawn (Azar Swan) on vocals, guitar and synthesizers, Kevin Hufnagel (Gorguts, Dysrhythmia) on guitar, Toby Driver (Kayo Dot) on bass, and Charlie Schmid (Tombs) on drums and electronics, VAURA engage ever more with their UK and German prog/art rock influences to grandiose and eerie effect. While still retaining the distinctive and specific style carved out on the band’s first two releases (“Selenelion” in 2010 and “The Missing” one year later) “Sables” is the all-vital third LP, a concise collection of meditative compositions on endings and extinctions. Brilliantly complemented by the mixing and production work of legendary UK producer Peter Walsh (Scott Walker, Peter Gabriel) VAURA have delivered their best sounding, most intricate and realized album yet.

1. Espionage
2. Zwischen
3. The Lightless Ones
4. The Ruins (Hymne)
5. No Guardians
6. Eidolon
7. Basilisk (The Infinite Corpse)
8. Sables

Following up 2015’s ambitious “Litany” endeavor, “Elegy” sees the septet take their creative spirit to a new apotheosis resulting in the collective’s most focused and moving opus yet. With “Elegy”, DEAD TO A DYING WORLD craft their vast aural landscape in such flourish, one consisting of seamless of sonic textures guided by the likes of apocalyptic dark metal, doom metal, and epic cinematic post rock. With a musical structure that consists of three monolithic central tracks reinforced by three stirring interval segments, “Elegy” presents a new grandiosity in DEAD TO A DYING WORLD’s audial palette. One of the key musical components in “Elegy” are the monolithic melodic surges that thrive throughout “Elegy’s” discourse, whether it’s through the more aggressive post-black metal-ish flourishes that counter with the more melancholic yet immense melodic components that truly begin to define the band’s sound. The dual vocal projection of Mike Yeager and Heidi Moore continues to serve as a defining staple while the band also continue to expand their instrumentation, solidified even more through Eva Vonne’s viola which continues to bridge and become a central element in DEAD TO A DYING WORLD’s sound as well as including outer-sound instruments like expanded experimental percussion, hurdy gurdy, hammond organ/piano, and concert bass.

Once again produced by Billy Anderson, “Elegy” being one of the acclaimed producer’s most riveting productions he’s done in recent times, “Elegy” once again sees the band welcoming a small cast of guest musicians. Featuring guest appearances by Thor Harris (ex-Swans) on four tracks alone, along with guest vocals by Jarboe (ex-Swans), Dylan Desmond (Bell Witch), Emil Rapstine (The Angelus), along with contributions from Pablo C. Urusson (Sangre de Muerdago) and cello contributions from Tim Duffield (ex-Sans Soleil), the new contingent of guests helps elevate the narrative of “Elegy” to a new plateau.

——

“Elegy”, a foretelling of a post-human world, explores themes of loss, grief, and the dawn of a new ecology through the eyes of a lone wanderer. The last human grieves the end of humanity, reflecting on the temporal insignificance of man and the sixth extinction caused by the Anthropocene – the end of our kind brought about by our own hubris, greed, and desire for power over one another. “Elegy” marks the third chapter in the trilogy, which explores our relationship to our world by reflecting on our past, present, and impending future.

Dead To A Dying World was formed in 2010 by a collective of musicians with the purpose of harnessing their collective creative spirit and varied musical backgrounds into a project that sought to captivate impassioned musical and emotional duality. In 2011, the band released their self-titled debut studio album and demonstrated their lofty ambition and tremendous creative spirit that would set the tone for years to come. After the release of “Dead To A Dying World,” the band would spend the next several years regrouping and immersing themselves in writing the defining opus that became 2015’s “Litany”. This monolithic album defined a turning-point for the band as “Litany” was awarded high praise for best new music from NPR, Spin Magazine, Noisey, and others, sending the band touring across the United States and Europe. In 2016, Dead To A Dying World would release their “Live at Roadburn” album in accolades to the notorious and honorable Roadburn Festival, comprised of material from “Litany”. After returning home, the band would again search for higher meaning in new sounds, and would subsequently record their cover of Leonard Cohen’s “Dance Me To The End Of Love,” released conjointly with the band’s reimagined self-titled reissue entitled “Reprise” in 2018. Poised to make their most poignant, diverse, collaborative, and concentrated statement to date, Dead To A Dying World proudly present “Elegy”.

Featuring artwork and design by Samantha Muljat, track listing for “Elegy”:

1. Syzygy
2. The Seer’s Embrace
3. Vernal Equinox
4. Empty Hands, Hollow Hymns
5. Hewn From Falling Water
6. Of Moss And Stone

Exhaling the ashes from acrimony, TOTALED materialized in 2017 and recorded it’s ferociously blackened-hardcore debut album “Lament”. While lyrically ruminating in the abstract emptiness of an impervious void and grappling with paradoxical duality, the audial gloom of “Lament” conjures sorrowing burial strings that furiously discharge into an onslaught of punishing resonance wrought with crushing despair, depression, and scavenging hopelessness. Pummeling blasts and d-beats pound into peripherally orbiting shadows of the pixelated black, beneath the pulverizing density of nihilistic bass distortion in a mournful offering of somber funeral strains; The digested celestial nothingness of the eaten, frozen in dimensions of cyclical nooses and gnawing bacterial ether. Conceived incarnations of sorrowful mists from the harvest – Bereaving the morbid light in which we suffer.

“Lament” track listing
1. Deplete
2. As Below
3. Eclipsed
4. Transience
5. Hypnosis
6. Desolate
7. Ominus
8. Bereft

EVOKEN’s new full-length album “Hypnagogia” is the band’s sixth LP, their first in six years since their landmark “Atra Mors” album, and is a towering monolith that develops and redefines the band’s sound that will only strengthen their position within the death/doom metal hierarchy where EVOKEN have always reigned.

“Hypnagogia” is an expression of doom metal artistry where the listener will bear witness how EVOKEN can create a new and even more daring expression with a monument that will be recognized as a landmark. This tends to happen regardless with every EVOKEN release, but “Hypnagogia” sees the band expand their musical dynamics even more through the meticulous care and discrimination of the band’s song writing process, “Hypnagogia” being a listening experience through a multitude of varying yet flourishing emotions. Pushing both their penchant for grandiose melodicism and their trademark aura of pulverizing supreme unparalleled heaviness even more, it is the base of this repercussion that makes “Hypnagogia” one of the most intense, compelling, and soul crushing EVOKEN listening experiences yet; one of euphoria, desperation, and hopelessness. As drummer/lyricist Vince Verkay says, “As we do on every record we definitely wanted to avoid repeating ourselves. We wanted to keep it EVOKEN of course, but go a little deeper with melody and arrangement and also try new things; to present the listener with an emotionally exhausting record.”

“Hypnagogia” also sees EVOKEN delve into their first concept album. As Verkay describes the themes and lyrics “Hypnagogia” is, “Based around WWI and its physiological impact on those who fought. It’s used metaphorically about events that impacted me the past three years, which I will keep to myself. But the story behind this WW1 theme is based on a soldier who was so bitter about being lied to and is losing his life. He’s wounded in battle and decides to write a journal of his final hours, describing what he sees and what he feels as his life is slipping away. Feeling cheated, he makes a pact with a sadistic god that he can leave a part of his soul, which contains all of his suffering, within this journal. To feel some sort of vengeance, anyone who reads this journal releases that part of his soul and it attaches itself to the reader like a host. Each emotion being experienced as if they too where there. As the reader descends into a deep despair, they cannot handle this suffering, deciding to take their own life. Once gone, that part of their soul, containing all the misery is taken by the writer’s misery-laden soul and attaches itself to this journal again, increasing its powerful grip onto the next reader and each time its read with its power increasing.”

Once again recorded, mixed and mastered at Sound Spa studios in New Jersey by Steven DeAcutis and featuring artwork by Adam Burke, track listing for “Hypnagogia” goes as follows:

1. The Fear After
2. Valorous Consternation
3. Schadenfreude
4. Too Feign Ebullience
5. Hypnagogia
6. Ceremony Of Bleeding
7. Hypnopompic
8. The Weald Of Perished Men

Seattle, Washington’s HISSING engage in dark, dissonant, cacophonous, inverted death metal noise and with their debut LP, “Permanent Destitution”, the three-piece have created a nihilistic vision of deranged otherworldly audial pandemonium. A soundscape of pure enveloping darkness and unrelenting chaos, “Permanent Destitution” deconstructs and builds itself through the walls and layers of pummeling audial turmoil and disarray generated through twisted angular guitar work and fretboard annihilation, surgically cold yet constructed and calculated death march drum ornamentations and monolithic bass pulsations that become interspersed with an overall dark overbearing ambience. With already being at the mercy of HISSING’s punishing sound fabric, that added touch of droning noise segments, also crucial to HISSING’s sound, mixed with the doomy industrial components become that final element to make “Permanent Destitution” a towering monument of primal avant-deathnoise.

Formed in 2014, HISSING had already made quite the reputation as a force to be reckoned with on the West Coast through various live appearances (which included a major US tour with Sunn 0))), impressions made with their 2015 demo, and most notably with their 2016 self-titled 7” EP released by Southern Lord along with last year’s massive split with Sutekh Hexen (Flenser).

“Permanent Destitution” track listing:
01: Backwards Descent
02: Pablum Abundance
03: Eulogy in Squalor
04: It Without More
05: Cascading Failures
06: Perdurance

Formed within the last year and initially begun initially as a simple experiment between the two producers, BLISS SIGNAL sees Kelly return to making harsher and heavier music with a guitar for the first time since the last and final groundbreaking Altar Of Plagues album “Teethed Glory & Injury”. While not a direct continuation from Altar Of Plagues, the music enveloping the BLISS SIGNAL debut album captures the vibe and essence of the more ambient and experimental moments found in Altar Of Plagues, most notably on the final Altar Of Plagues album, almost as an extension of those moments in what would be have been further explored if Kelly were to continue developing the Altar Of Plagues sound through the expansiveness of what he could create for his former musical output.

BLISS SIGNAL though is a different a new musical expression coming from Kelly’s musical repertoire. Teaming up with Mumdance, throughout the album’s eight tracks, one hears Adams and Kelly trace a line between blackened metal, driving club music, and ethereal atmospherics.

The expansive sound fabric of BLISS SIGNAL is one awash with a massive wall of unrelenting sound, intense atmosphere, and shimmering enveloping ambience, ultimately, a sonic reflection of the very moniker that Kelly and Mumdance conjured for their new musical venture.

Produced by Kelly and Mumdance, with tracking, overdubs and mixing done at Orgone Studios by Jaime Gomez-Arellano (Paradise Lost, Grave Miasma, Cathedral), the BLISS SIGNAL self-titled debut will be a co-release with True Panther (vinyl and widespread digital) and Profound Lore (CD and digital/Bandcamp).

Track listing for the BLISS SIGNAL debut LP goes as follows:

1. Slow Scan
2. Bliss Signal
3. Surge
4. N16 Drift
5. Floodlight
6. Endless Rush
7. Tranq
8. Ambi Drift
9. Swarm (CD bonus track)
10. 4AM Drift (CD bonus track)

Combining elements of horror-film soundtracks, psychedelic doom, and atmospheric noise, INSECT ARK is comprised of Dana Schechter (bass, lap steel guitar, synthesizers) and Ashley Spungin (drums, synthesizers). INSECT ARK’s intensely visual music weaves interludes of fragile beauty with crushing passages of swirling doom, spinning like a backwards fever dream. “Marrow Hymns” is a wordless song, a hypnotic voice that screams and whispers from a place deep in the furrows, from the bones, from the blood. Defying easy categorization, INSECT ARK’s uncommon sound is in part the amalgamation of these two women’s passions: Schechter’s sinister bass lines and unconventional use of lap steel guitar (and her complete omission of electric guitar), and Spungin’s lucid, exacting drumming and synth work with her own hand-built analog noise pedals (Ormus Electronics).

“Marrow Hymns” was recorded and mixed with engineer Ethan Donaldson at Mozart St Studios in Brooklyn, NY, over the course of eighteen months. With the two halves of INSECT ARK residing on opposite coasts, the album was largely skeletal in form upon commencement of recording. Overdubs and further writing/arrangements were done after Spungin’s return to Portland in the isolation of Schechter’s home studio. The sense of distance and vast emptiness remained intact in the songs, built out over many long nights.

“Marrow Hymns” song themes of displacement, loss, and isolation are personal journals of that time period, as both members found themselves simultaneously experiencing existential crises. However, the album also tells a story of strength and determination, made from the marrow of these two women, a song for all things that struggle to survive.

Formed in 2011 by Schechter (who has also been part of bands such as M. Gira’s Angels Of Light, Bee and Flower, Zeal & Ardor, Gnaw, and cult Bay Area math rock band Gifthorse which was Jef Whitehead of LEVIATHAN’s first active band!) as a solo project, from its inception Insect Ark has been about creating work that transports, both physically and psychologically. Spungin (Taurus, Purple Rhinestone Eagle, Negative Queen) joined in 2015 for touring support of “Portal/Well” and over the next year, Insect Ark became something much greater than the sum of its parts. Both women have roots firmly in making work with no borders – they are DIY makers, multi-instrumentalists, gearheads, and visual artists. Spungin studies live sound, studio recording, programming and analog electronics; Schechter composes music for film and is a video maker/animator for film/TV. A full-length video counterpart for live shows is to come shortly, integrating sound and visuals to build immersive sonic landscapes that echo in the empty spaces where the earth divides, offering the listener – and the band themselves – utter sensory submersion.

Track listing for “Marrow Hymns” goes as follows:

1. Thelema
2. Arp 9
3. In the Nest
4. Skin Walker
5. Slow Ray
6. Sea Harps
7. Tarnish
8. Windless
9. Daath

Progressing from last year’s “The Capsule”, “Overland” presents itself as a different observation, more dynamic and layered than its predecessor.

Formed in London 2007 by Matthew Rozeik and AJ Cookson, the duo that comprise NECRO DEATHMORT create a intriguing and alluring blend of electronic-based music seamlessly intertwining dark ambience, noise, synth-driven beats, cinematic soundscapes, and heavy drones. “Overland” expands their sonic palette introducing further acoustic instrumentation and exploring new territory. The duo have amassed and already impressive and prolific catalogue to date of which “Overland” appears as full-length number eight.

With artwork and design by Thomas Neulinger, “Overland” track listing goes as follows:

1. Poliz
2. Cath Hedral
3. 80,000
4. Vortex
5. Gu
6. Obey
7. Meddle

With their new album “Never Forever” France’s cult extreme doom metal band MONARCH continue their singular style of punishing ritualistic drone doom and take it even more towards melancholic territory with their new LP. Even more ghostly, atmospheric, and haunting than its predecessor, 2014’s “Sabbracadaver”, “Never Forever” sees MONARCH take even more form and shape with their songwriting while still harnessing that plodding, down-tuned, and crushing low-end that has become their signature rhythmic backdrop to vocalist Emilie Bresson’s enchanting and spellbinding vocals. With the more melancholic tone and vibe of “Never Forever”, Bresson adapts her vocals in a more ethereal and delicate manner likewise, while still juxtaposing them with her otherworldly harsh shrieks.

Track listing for “Never Forever”
1. Of Night, With Knives 2. Song To The Void 3. Cadaverine 4. Diamant Noir 5. Lilith

The cover of Sannhet’s third album, So Numb, features a mother shielding her son’s eyes with her hands – an allegory depicting the protection one receives from their parents, but it isn’t meant to be sentimental. As the mother shelters her child, she inadvertently creates a false sense of safety. The child, in turn, spends it’s life seeking comfort and escape in temporary solutions.

Though Sannhet meditate on life’s imperfect escapes, So Numb’s nine songs showcase the band facing life’s pain and joy with their eyes wide open. The collection’s emotional landscape is one of existential dread, melancholy, and loss – ammunition for escapists. Despite these existential conundrums, So Numb has an uplifting, euphoric feel.

The collection was recorded and produced by Peter Katis, who’s known for his work with Mercury Rev, Interpol, the National, and Oneida among others. Working with Katis, the production illuminates a more open sound for the band. While Sannhet’s second album, 2015’s Revisionist, was bigger and harsher than their 2013 debut, Known Flood, they offer a more wistful, melodic approach here.

The first track, “Indigo Illusion,” opens with Christopher Todd’s eviscerating, but anchoring drums locked in with AJ Annunziata’s driving bass and John Refano’s clamoring, unexpectedly coaxing guitar melodies—the song, a muscular anthem that mixes feedback and space, ends up sounding like a million crystals shattering in a dark room. Alternately, the heavier, more solemn and cavernous “Fernbeds” finds added pathos from guest guitar leads by one-man shoegaze-metal artist, Planning for Burial’s Thom Wasluck.

As on past Sannhet albums, the song titles are evocative (“Sapphire,” the churning “Sleep Well,” “Fernbeds,” “Way Out”), but not prescriptive. By the time you’ve gotten to the drifting, airy “Salts,” it’s clear Sannhet has become a more patient, painterly band. The collection ends with the massive “Sleep Well” followed by the eerie, ambient “Wind Up.” Those two songs offer a good example of what the band does well: moving between extremes to create a dynamic that feels both climactic and anticipatory, dramatic and comfortably calm.

Sannhet have always been hard to classify. Since 2010, the Brooklyn trio’s played instrumental music that’s heavy and light, cinematic and intimate, dense but minimal. You could call them “post” something, “experimental metal,” or “math rock,” but none of that’s quite right and the band has thrown another wrinkle into the mix with So Numb. While they don’t write lyrics, they do write subtexts. They pen love letters, extended epistles, and suicide notes, all without words. With So Numb, Sannhet create a new world out of very few ingredients.

Track listing for “So Numb”
1. Indigo Illusion
2. Sapphire
3. So Numb
4. Fernbeds
5. Salts
6. Way Out
7. Secondary Arrows
8. Sleep Well
9. Wind Up

1. Elegy
2. Convoluting Unto Despondent Anachronism
3. Coalescence Of Entropy
4. Ceremonial Disembowelment
5. Destitution
6. Inexorable Blasphemies
7. Unhallowed Ascendance Into Impurity
8. Ritual Of The Crypt
9. Dirge

FUOCO FATUO was born in 2011, in the middle of the ghastly lakes of Varese, Italy. Starting out as an occult and oppressive death/doom band with an eerie and gloomy atmosphere, their debut LP “The Viper Slithers In The Ashes Of What Remains”, which followed several EPs, was an exploration of the darkest and most desolate spaces through a sickened development of sound, making it like a flood of impenetrable black magma.

Their new album “Backwater” is a massive and suffocating funeral doom opus, the distressing awareness of the nothingness, transcending in the oblivion, and feeding on the black void. The relationship between state of mind and nature, the desolation and vast sense of distance are the main themes. An introspective, mournful journey, deeply rooted into the unknown.

“Backwater” Track Listing
1. Sulphureous Hazes
2. Rainfalls Of Debris
3. Perpetual Apochaos
4. Nemesis

With their third LP Oakland’s WORM OUROBOROS have brought into existence their deepest and most moving work yet. The follow-up to 2012’s “Come The Thaw” the band’s sophomore release, the trio of bassist/vocalist Lorraine Rath (ex-The Gault/Amber Asylum), guitarist/vocalist Jessica Way (Barren Harvest), and drummer Aesop Dekker (Vhol, Extremity, Khorada, ex-Agalloch/Ludicra) have taken the WORM OUROBOROS sound to a new level of sophistication through their amalgam of morose 4AD-esque doom, death rock, dark ambient, and enchanting chamber music. Through obsessive bass lines, ambient guitar movements, layers and overtones, the alluring vocal intertwining between Rath and Way, along with Dekker’s subtle yet procession-like percussion parts “What Graceless Dawn” is a sonic vision of tragedy and despair, one of the saddest, crippling, and gut-wrenching releases in the realm of heavy, dark, introspective music that will bring the curtain down on the year.

Vancouver, BC based death metal band AUROCH have slowly been gaining recognition as one of Canada’s most active death metal bands since their release of their “Taman Shud” LP from 2014. Since then the death metal power-trio, comprised of vocalist/guitarist Sebastian Montesi (who is the bassist/vocalist of MITOCHONDRION), vocalist/bassist Shawn Haché (who is the vocalist/guitarist of MITOCHONDRION) and drummer Zack Chandler, have been active on the live circuit consistently (through various shows, tours and festivals in the US and Canada, including a recent US tour and an appearance at this year’s Maryland Deathfest, and a European tour under their belt likewise with appearances at such festivals as Killtown and Incubate), had their debut album “From Forgotten Worlds” re-issued earlier this year via 20 Buck Spin and most-recently had their split/collab 7”EP with their co-conspirator sister band MITOCHONDRION come out via Dark Descent.

Now the enveloping shadow of dark death metal chaos looms with AUROCH’s new album “Mute Books” which will reveal itself as the band’s darkest, most brutal, complex, and musically virulent release to date, carrying the innovative Canadian death metal tradition laid down by the likes of Gorguts, Cryptopsy (nothing past “None So Vile”!), Kataklysm (nothing past “Temple Of Knowledge” of course!), and more recently through the likes of MITOCHONDRION and CHTHE’ILIST respectively.

With the songwriting on “Mute Books” reaching a new plateau in technicality and over-the-top dynamics along with a new achievement in production and sound courtesy of producer/engineer Arthur Rizk (PRURIENT, PISSGRAVE, Inquisition, Black Twilight Circle, Power Trip), AUROCH have cast their most ferocious undertaking yet; one of the darkest, most violent, whirlwind-like bizarre monuments of alchemic death metal of the year.

Featuring artwork by Cold Poison, track listing to “Mute Books” goes as follows:

TREFOIL IS THE GRAIL OF PERDITION
1. Billowing Vervain
2. He Wreaths The Cross
3. Say Nothing

A MOST EXCELLENT SPELL FOR TRANSMUTATION FROM THE TEACHINGS OF THE CURRENT 137
4. Tipharethagirion

PASSAGES TO TOPHET
5. The Keeping
6. Her Bidding
7. Cup Of Hemlock

Having established themselves as one of the most notable progressive and unique instrumental metal bands since their inception over 15 years ago, NY-based (originally Philly-based) power-trio DYSRHYTHMIA reflect their musical expression in mirroring the definition of their moniker.

Through six full-length albums, DYSRHYTHMIA (Kevin Hufnagel/gutiars, Colin Marston/bass, and Jeff Eber/drums, Hufnagel and the ever prolific Marston also comprising one-half of GORGUTS and were specifically recruited by Gorguts mastermind Luc Lemay to join his band when he resurrected the legendary technical death metal wonder several years ago) have shown the ultimate in musical fortitude and expression through wondrous jaw-dropping musical compositions that go beyond the mere definition of jazz-infused avant-garde technical extreme metal.

With their new album “The Veil Of Control”, the band’s seventh full-length and their first since their Profound Lore Records debut in 2012 “Test Of Submission” (the band released their previous albums on Relapse Records), DYSRHYTHMIA have once again created a new expression within their jaw-dropping repertoire (Hufnagel solely using a 12-string guitar on this latest LP) that will go unparalleled within the niche genre of “instrumental progressive metal”, proving once again they are an untouchable entity within the scene.

1. The Veil Of Control
2. Internal_Eternal
3. Black Memory
4. Selective Abstraction
5. Severed And Whole
6. When Whens End

With their sophomore album “Stranger to Violence”, New York’s Psalm Zero takes the aesthetics, poetics, and spirit established with their 2014 debut, “The Drain”, and blows those elements up into an epic work of wide-screen drama. After two years of anticipation built by the gradual episodic release of the Birthright Trilogy of video/cassette singles, as well as a series of personnel shifts, the Queens NY-based outfit led by songwriter/vocalist/producer Charlie Looker finally delivers the next installment of a wholly unique vision of heavy music. Pummeling drum machine, lush swirling synths, razor-sharp guitar (courtesy of former member Andrew Hock), and grinding bass, all provide the dramatic backdrop for Looker’s crooning baritone voice. Comparisons as diverse as Godflesh, Katatonia, and Depeche Mode have all been used in attempts to describe Psalm Zero’s completely singular brand of art-metal.

While “Stranger to Violence” retains, and in some ways even strengthens, Psalm Zero’s roots in extreme metal, these seven new songs feature massive pop hooks, soaring choruses catchier and more emotionally direct than any of the band’s prior work. With harsh vocals now less frequent and only reserved for the highest ecstatic peaks, these melody-driven songs embody an accessible song-craft seldom heard in today’s metal landscape. The production style has evolved dramatically as well. In contrast to the band’s original murkier, more lo-fi texture, this album is a far more crisp, detailed, colorful, three-dimensional sound world of synths, samples, and percussive electronics.

Psalm Zero has also expanded lyrically, with Looker extending the scope of his writing outside of the purely personal and existential realm, into a more social, global, real-world critical engagement. Without preaching a strict political agenda, and without constituting a unitary “concept album”, the new record is tied together by several different thematic strands: drug addiction, global financial crisis, Western imperialism, and Jewish identity. All of these themes are interwoven throughout all seven of the songs, interrelating and overlapping differently at different times. The album’s single “Not Guilty” features a video directed by Zev Deans (whose many other credits include Portal and Behemoth), filmed around the alleyways and courthouses of the band’s hometown of New York.

“Stranger to Violence” is a monolithic, cinematic, start-to-finish musical experience with immense crossover potential, which blurs genre boundaries at every turn. As demented as it is socially relevant, this album promises to bring together fans from across multiple different scenes and orientations, and further proves that there is truly nothing out there like Psalm Zero.

Track listing
1. Stranger To Violence
2. Pay Tomorrow
3. Real Rain
4. Not Guilty
5. Stolen By Night
6. White Psyche
7. Oblivion’s Eye

Conceived in New Jersey from its emerging DIY scene from the late ‘90s, cult hop-hop trio DÄLEK were known as pioneers over the last fifteen years or so of an intriguing sound which fused a blend of progressive hip-hop artistry supported by a rhythmic backdrop consisting of sonic experimentation through noise music, shoegaze, and dark ambient. Their singularity would be highlighted in four defining milestone full-length albums released on Ipecac Recordings along with live actions where the band would support and play with the likes of Tool, Mastodon, The Dillinger Escape Plan, De La Soul, and The Melvins to just name a few, and even collaborate with the likes of artists such as Faust. In Spring 2015 mastermind MC Dälek (a.k.a. Will Brooks, with the blessing of ex-member/co-producer Oktopus) revived DÄLEK after a hiatus with a new lineup which now includes DJ rEk and Mike Swarmbots. “Asphalt For Eden” is the first official DÄLEK release since their last full-length, 2009’s “Gutter Tactics”.

Track Listing for “Asphalt For Eden”

1. Shattered
2. Guaranteed Struggle
3. Masked Laughter (Nothing’s Left)
4. Critical
5. 6dB
6. Control
7. It Just Is

Solely through bass guitar, drums, and vocals, GERYON conjure a singular vision through complex layers and meticulously crafted tones where dissonance and melody maintain that equilibrium though the band’s chaotic sound. Taking from the blueprint through the duo’s experience in Krallice and Astomatous (the band bassist/vocalist Nicholas McMaster and drummer Lev Weinstein had years before joining Krallice while they were Chicago-based), GERYON while seemingly stripped down to the bare minimum without any electric guitars in the mix whatsoever, the sounds that conjure from the duo’s new album “The Wound And The Bow” (which follows 2013’s self-titled debut) present an enveloping and overwhelming sound picture.

Track listing for “The Wound and the Bow” goes as follows:

1. Silent Command
2. Dawn
3. Lys
4. Skein
5. Legion
6. The Wound And The Bow
7. Dioscuri

Led by mastermind and multi-instrumentalist Erik Wunder and featuring new vocalist Charlie Fell (ex-LORD MANTIS), the duo of COBALT forge onwards where “Gin” left off seven years ago, with what could very well be their most ambitious album to date. Forged as a double-album clocking in at 86-minutes, “Slow Forever” is epic in the traditional COBALT sense of progressive and forward-thinking apocalyptic wasteland outlaw metal. On “Slow Forever” the listener will be taken on a journey (akin to the metal soundtrack to Cormac McCarthy’s The Road) through an experience where an overwhelming sonic barrage presents itself as COBALT’s most challenging, hypnotizing, and time-stretching material yet. While at the same time “Slow Forever” also presenting some of COBALT’s most straightforward and catchiest material within its scope along with that touch of gothic Americana alchemy lending its tone to the sound canvas likewise.

Once again recorded/mixed/and mastered by longtime COBALT producer Dave Otero in his Flatline Audio Studios in Denver, CO, and featuring art and design by Jimmy Hubbard, tracklisting for “Slow Forever” goes as follows:

Disc One:
1. Hunt The Buffalo
2. Animal Law
3. Ruiner
4. Beast Whip
5. King Rust
6. Breath
7. Cold Breaker

Disc Two:
8. Elephant Graveyard
9. Final Will
10. Iconoclast
11. Slow Forever

The new VHOL album “Deeper Than Sky” created via the collective of Mike Scheidt of YOB, John Cobbett of Hammers Of Misfortune/ex-Ludicra, Sigrid Sheie of Hammers Of Misfortune/ex-Ludicra, and Aesop Dekker of Agalloch/Worm Ouroboros/ex-Ludicra, goes aeons beyond what these four accomplished musicians delivered with their self-titled debut. With a clearer sound and production (courtesy of San Francisco’s Light Rail Studios) and more focused songwriting and execution (resulting in Mike Scheidt’s most versatile and insane vocal performance ever), “Deeper Than Sky” sees VHOL’s take on old-school speed metal mixed with classic traditional metal and otherworldly prog go a new distance in solidifying them as one of the most singular sounding bands in metal today.

Packaged in a nicely designed six-panel digipack courtesy of artwork and design by Brandon Duncan, tracklisting for “Deeper Than Sky” goes as follows:

1. The Desolate Damned
2. 3AM
3. Deeper Than Sky
4. Paino
5. Red Chaos
6. Lightless Sun
7. The Tomb

With only their third album (as the album title implies) in their almost-15 year history, London, UK’s INDESINENCE once again prove why they are, and always have been, one of the UK’s most prominent doom/death metal bands over the last decade. And likewise with their new album, INDESINENCE also prove themselves singular and stand-alone from all the other bands in the UK metal scene respectively.

With “III” INDESINENCE have created their mightiest and most musically advanced opus to date by seamlessly weaving their signature style of funeral-esque death/doom with elements of prog, dark metal, and ambient/experimental music that layers and fuses itself within the band’s massive vision. Sound and production wise, the capturing of “III” at Greg Chandler’s (of Esoteric) Priory Studios along with mastering by Brad Boatright at Audiosiege has also enabled INDESINENCE to sonically sculpt a new milestone that sounds heavier and darker than their previous album “Vessels Of Light And Decay”.

Along with featuring a guest appearance by Robert Roth of Seattle cult rock band Truly and a striking cover of The Third Bardo’s “Five Years Ahead”, tracklisting for “III” goes as follows:

1. Seashore Eternal
2. Nostalgia
3. Embryo Limbo
4. Desert Trail
5. Mountains Of Mind/Five Years Ahead (Of My Time)
6. Strange Meridian
7. III

The follow-up, as PYRAMIDS on their own and not a collaboration with another artist, to 2008’s most-intriguing self-titled debut (Hydra Head Records), “A Northern Meadow” sees PYRAMIDS take their exceptional sound paradigm to an all new realm of sonic coldness and beauty via a seamless mix of experimental music, shoegaze, black metal, martial ambient, and industrial music.

Throughout the years, by collaborating with such notable musicians as Simon Raymonde of shoegaze legends Cocteau Twins, along with other respected bands/artists as Horseback, Nadja, Faith Coloccia/Mammifer, and Albin Julius (Der Blutharsch), PYRAMIDS have networked their sound amongst an array of musicians. On “A Northern Meadow” joining the main core of the PYRAMIDS lineup (comprised of R. Loren, M. Dean, D. William, and M. Kraig) is Vindsval of Blut Aus Nord, Colin Marston (Gorguts, Dysrhythmia, Krallice), and William Fowler Collins.

Tracklisting to “A Northern Meadow” goes as follows:

1. In Perfect Stillness, I’ve Only Found Sorrow
2. The Earth Melts Into Red Gashes Like The Mouths Of Whales
3. The Substance Of Grief Is Not Imaginary
4. Indigo Birds
5. I Have Four Sons, All Named For Men We Lost To War
6. I Am So Sorry, Goodbye
7. My Father, Tall As Goliath
8. Consilience

One of the greatest musical entities to befall mankind return with their new albums “The Ape Of God”. The simian worshipping collective of Aaron Turner (Isis, SUMAC, Mamiffer), Nate Newton (Converge, Doomriders), Caleb Scofield (Cave In), and Santos Montano deliver triumphant works of amazement and wonder with their new albums “The Ape Of God”. The new OLD MAN GLOOM albums will indeed be looked upon in complete awe, just like how the apes became mesmerized when they looked upon the monolith in the first act of the movie 2001.

Tracklisting for “The Ape Of God” goes as follows:

1. Burden
2. Predators
3. A Hideous Nightmare Lie Upon The World
4. Aarows To Our Hearts

By creating a singular and defined sound that culls from ‘70s prog, classic ‘80s goth and death rock, and classic traditional metal, OCCULTATION have taken things to the next plateau with “Silence In The Ancestral House” on pretty much every sonic and aesthetic level.

Conjuring a very haunting, alluring, and perplexing sound picture, OCCULTATION’s challenging and next-level sound is one that defines itself in its own distinct vision astray from what many of their contemporaries in whatever kind of doom-infused retro-whatever rock tree the many dwell and lie within.

OCCULTATION’s unique vision was displayed with their “Three & Seven” debut and with “Silence In The Ancestral House” OCCULTATION (which features guitarist E. Miller of Negative Plane amongst its collective) have taken their cinematic canvas of sound into further realms beyond.

Recorded/engineered and mixed by CONVERGE guitarist Kurt Ballou in Godcity Studios and mastered by Audiosiege, tracklisting for “Silence In The Ancestral House” goes as follows:

1. Intro
2. The First Of The Last
3. Laughter In The Halls Of Madness
4. All Hallow’s Fire
5. The Place Behind The Sky
6. The Dream Tide
7. Intermission
8. Forever Hereafter
9. Silence In The Ancestral House

One of Europe’s most recognized extreme doom metal bands, “Sabbracadaver” is the band’s most immense album to date, a ritualistic and enchanting work of down-tuned amplifier worship doom.

With “Sabbracadaver” MONARCH unearth a frightening nightmarish vision through a three-track 46-minute soundscape that torturously and painfully crawls yet at the same time enchants and seduces through its ethereal beckoning atmosphere. Forged by a heaving earth rumbling low-end rhythm section being harnessed by the plodding riffs of despair, and all held within the grips of the harsh and spellbinding vocals of Emilie Bresson, MONARCH have continued to raise the bar and push their own threshold with every succeeding release they unleash amongst their already expansive repertoire.

Beautifully presented in a 4-panel embossed digipack and booklet, tracklisting for “Sabbracadaver” goes as follows:

1. Pentagrammes
2. Louves
3. Mortes

With their third full-length album “Clawing Into Black Sun”, WOLVHAMMER up the ante even more from their 2011 full-length predecessor “The Obsidian Plains” and easily deliver their most crushing and musically accomplished album to date. While still harnessing the raw filth and debauchery inherent, “Clawing Into Black Sun” sees the band develop their sound even more, dare we say even more mature. With the black metal and punk influenced elements still in the picture, “Clawing Into Black Sun” focuses more towards the growth of the band where influences from death rock, classic goth, and industrial become even more explicit yet still finding said influences fitting in seamlessly within the sonic pillage.

Tracklisting for “Clawing Into Black Sun” goes as follows:

1. The Silver Key
2. Clawing Into Black Sun
3. Slaves To The Grime
4. The Desanctification
5. Lethe
6. In Reverence
7. Death Division
8. A Light That Does Not Yield

What will be one of the most frenzied and maniacal death metal experiences of the year, “Taman Shud” is a vicious and dark, yet sophisticated and intellectual death metal chaos ritual that embodies the classic Canadian death metal spirit (that doesn’t exceed the year 1996!) all while harnessing a classic death metal aura reminiscent of the more artistic edge of the Florida death metal scene of the early ‘90s.

The co-conspirator band of the infamous MITOCHONDRION (where MITOCHONDRION vocalist/guitarist Shawn Haché lays down the pulse in AUROCH while AUROCH vocalist/guitarist Sebastian Monetsi commands the pulse in MITOCHONDRION respectively), the incestuous relationship both bands carry is a reflection of the creative energy and triumphant flow of metaphysical death metal chaos that defines the real Canadian death metal spirit; distinct, individualistic, and triumphant.

“Taman Shud” which is the follow-up to AUROCH’s impressive “From Forgotten Worlds” debut, hones this death metal trio’s skills to the point where they will be recognized as one of the most musically proficient bands in death metal today (“Taman Shud” was recorded pretty much all live, no click tracks, digital editing or any of that studio trickery nonsense was used during the album’s recording session at Rain Room Studios in Vancouver, BC), all while upholding the dark brooding atmosphere that is essential to real death metal.

Featuring artwork by Cold Poison, tracklisting for “Taman Shud” goes as follows:

1. Villainous
2. 8vo – Swirling in Capricorn
3. Noxious Plume
4. Taman Shud
5. Voice of Gemini
6. Death Canonized
7. Defixio
8. Novemportis
9. The Balkan Affair

With their visceral and progressive take on raw black metal, ALRAUNE have already built some awareness in their short existence as a band which will gain more notoriety with their debut album entitled “The Process Of Self-Immolation”. Hateful, twisted, and dissonant with complex compositions, yet also maintains that melancholic fervor with a sense of real songwriting through the harsh time-stretching soundscape the band present. A new treasure unearthed within the deep dark crevices of the U.S. black metal scene has emerged.

Tracklisting for “The Process Of Self-Immolation” goes as follows:

1. Intro
2. Exordium
3. Simulacra
4. Kissed By The Red
5. The Process Of Self-Immolation

Chicago, Illinois THE ATLAS MOTH have always been a hard band to fully categorize simply because of the myriad of elements and influences that seamlessly amalgam together to create one of the more distinct sounds in the American heavy music scene today. Over the years through the band’s endless touring jaunts and putting out releases that display the band’s crushingly heavy yet beautiful take on their style of progressive crushing psychedelic metal, THE ATLAS MOTH have made quite the name for themselves.

Now with their third full length album “The Old Believer”, THE ATLAS MOTH are prepared to unleash their most glorious and riveting work yet. An album in which sees the band exceeding all previous efforts in a work which takes the entire ATLAS MOTH musical paradigm and brings it to new levels unparalleled with more advanced and focused songwriting, production, and overall execution and presentation.

Produced by guitarist/keyboardist Andrew Ragin at Chicago’s Wall To Wall Studios and mixed and mastered by Kyle Spence of Harvey Milk/Kurt Vile (in cooperation with Ragin) in Athens Georgia, “The Old Believer” features guest appearances by Gojira vocalist Joe Duplantier (as well as “gang vocals” from the other Gojira members) as well as guest appearances from SUBROSA violinists Kim Pack and Sarah Pendleton. The art and design for “The Old Believer” was created by Invisible Creature (Kendrick Lamar, Foo Fighters, Norma Jean etc.) and features a water resistant water-reveal insert where once immersed in water, the album cover changes and morphs into a new image revealing the art that lies beneath the surface. The insert then dries up to its original state and you can immerse it in water over and over again.

To officially be released June 10th, tracklisting for “The Old Believer” goes as follows:

1. Jet Black Passenger
2. Collider
3. The Sea Beyond
4. Halcyon Blvd
5. Sacred Vine
6. The Old Believer
7. City Of Light
8. Wynona
9. Hesperian
10. Blood Will Tell

“Postsocial consists of five works, each denoting a point of the inverted star. The opening pieces, ‘Throwing Star’ and ‘Inner Space Infirmary’, respectively deal with exterior and interior violence. ‘Five Points’ and ‘Spiral Star Inversion’ are themed around an exploration of the five-pointed star metaphor, culminating in ritualistic conjuration and copulation of the hag. ‘Sapphire Sect of Tubal Cain’ provides further reflection. There are many other aspects to Postsocial, from within, which, Wold does not wish to disclose.”

Adding…

“I believe this new Wold CD is going to hurt more feelings and lacerate. I also believe Wold’s cult of weirdos will rejoice and grow in number and power. We’ve never felt more complete as artist. Postsocial is Wold’s strongest release.”

Fortress Crookedjaw,
Worshipful Master Eternal,
Grand Lodge of Internal Masonry

Following the deranged “Pervertor” album, with “Death Mask” LORD MANTIS have created a nightmare even more greater in scope. Musically, “Death Mask” showcases the true intention of the band creating an album that’s much darker, more disturbing and more grand in its sense of psychosis than its predecessor. Sonically more violent, doomier, and more importantly more experimental, “Death Mask” expands the band’s musical canvas where more traces of industrial music and more noise, synth and sample layering begin to dominate even more. Nevertheless “Death Mask” is an album in which forces you to confront the void.

Produced, engineered, and mixed by honorary LORD MANTIS member Sanford Parker (who also provided synth work on “Death Mask”) and featuring prominent involvement from Indian vocalist Dylan O’Toole (who provides lead vocals and lyrics on the track “Negative Birth” as well as being the co-lyric writer of “Death Mask” with vocalist/bassist Charlie Fell, henceforth O’Toole like a fifth member of the band) “Death Mask” also features even more guest synth work by Indian’s Will Lindsay respectively.

Packaged in a four-panel digipack with a foldout poster-insert all featuring artwork by Jef Whitehead, tracklisting for “Death Mask” goes as follows:

1. Body Choke
2. Death Mask
3. Possession Prayer
4. You Will Gag For The Fix
5. Negative Birth
6. Coil
7. Three Crosses

One of the most dense, complex, twisted, and amoral metal albums to be released this year, “Obsian” is sonic madness and dementia personified. The soundtrack to your ultimate mental breakdown.

Taking their sound and plunging further towards the depths by creating a much more layered and intricate opus than the band’s cult “Mounds Of Ash” debut, CASTEVET (now featuring KRALLICE bassist Nicholas McMaster who joins the comradeship alongside vocalist/guitarist Andrew Hock and drummer Ian Jacyszyn) once again will take the listener into a world of pain and personal hell through the six tracks that encompass an album unlike anything else going on in the metal scene today. “Obsian” is a dark, bleak, uneasy, and ominous album crafted through meticulously constructed musical counterpoint via waves of dissonant progressive tones and rhythms laced with melodic shape-shifting song structures. Almost like a 20th century classical opus filtered through the lens of blackened avant-garde prog metal. It then climaxes in full-on anxiety-filled glory with “The Seat Of Severance”, featuring the vocals of Extra Life drummer Nick Podgurski. The album also features a guest horn section courtesy of Amy Mills and Tim Byrnes.

Tracklisting for “Obsian” goes as follows:

1. The Tower
2. Cavernous
3. The Curve
4. As Fathomed By Beggars And Victims
5. Obsian
6. The Seat Of Severance

Montreal, Canada’s GEVURAH portrays a virulent and aesthetically potent vision of lacerating black metal chaos and utter death worship through their hymns of plague and glorification.

Their debut release “Necheshirion” captures that moment of genuflection to give honor and praise to the reign of Lucifer during the inevitable dark aeon. Five songs spanning 33-minutes of virulent religious black metal malevolence (one song being a homage to legendary Swedish black metal horde Malign) which signify the process of spiritual rebirth of the enlightened Self which rises from the ashes through fire and ultimately liberates itself through death.

Packaged in a gloriously designed 4-panel digipack with the booklet directly attached within the packaging, tracklisting for “Necheshirion” (Hebrew for snake-like) goes as follows:

1. The Essence Unbound
2. Flesh Bounds Desecrated
3. The Throne Of Lucifer
4. Divine Ignition
5. Entering Timeless Halls (Malign)

Formed by guitarist Jeff Wilson (WOLVHAMMER, Chrome Waves, ex-Nachtmystium), vocalist Adam Clemans (Wolvhammer), bassist/synth player Jim Adolphson (Mourner) and drummer/synth player Peter Clarke (Iron Thrones), the music that LIAR IN WAIT indulge is influenced by the classic goth, darkwave, and post-punk movement of years past. The sound of drowning and falling, “Translations Of The Lost” is the initial snapshot from this band where four tracks (one being a Fields Of The Nephilim cover) of despair and tragedy subtly weave themselves through a sonic reflection of dejection and despondency.

Limited to 1000 units (CD version), nicely packaged and specially priced at a discounted rate, tracklisting to the “Translations Of The Lost” EP goes as follows:

1. Faithless
2. Conversations In Violet
3. Fall With Me Now
4. And There Will Your Heart Be Also (FotN cover)



Never stop the sadness.

You can stream “Translations Of The Lost” here



And check out the video for “Fall With Me” here:

Conjured by guitarist John Cobbett (Hammers Of Misfortune, ex-LUDICRA) and drummer Aesop Dekker (AGALLOCH, WORM OUROBOROS, ex-LUDICRA) to create music together again post-Ludicra fallout, it wouldn’t take long to round out this new band’s lineup with YOB’s Mike Scheidt joining on vocals and bassist Sigrid Sheie (Hammers Of Misfortune, Amber Asylum) completing the contingent.

It was natural of course that speculation would surface as to what the musical direction of VHOL will entail because of its membership’s musical repertoire already at their disposal. And it became the finality that VHOL’s sound is unlike anything one would end up expecting; a sound that didn’t end up being the sum of its parts. But greater. Far from it actually considering it’s not remotely doom metal, not black metal and not even close to being Ludicra part II (even though some traces have leaked and crossed over to VHOL due to Cobbett’s signature guitar playing, where even traces of early Hammers Of Misfortune rear their head on slight occasion).

What VHOL have created is a whirlwind of upbeat raw, un-polished vicious cross-pollination where old-school hardcore, dbeat fury and punk collide with classic old-school metal (‘70s era Judas Priest meets “Show No Mercy” era Slayer/”Kill Em All” era Metallic). All topped with Schedit’s most versatile and jaw-dropping vocal performance to date which will easily solidify him as one of the greatest vocalists in metal today.

Recorded at Earhammer Studios in Oakland by Greg Wilkinson and mixed in Seattle by Randall Dunn, and presented in a lavish 6-panel digipack designed in conspiracy with Cobbett, Aesop, and Viral Optic, tracklisting for “Vhol” goes as follows:

1. The Wall
2. Insane With Faith
3. Plastic Shaman
4. Grace
5. Illuminate
6. Arising
7. Songs Set To Await Forever

With “Ritual Of Passing”, Portland’s ATRIARCH have developed into a revelation beyond measures. With their mere beginnings, at a time where the band were slowly discovering, honing, and defining their sound, one in which amalgamates the likes of classic ‘80s deathrock and goth along with doom and a bit of black metal, ATRIARCH would indeed create a bit of a local/West Coast buzz (the band, at the time, also featured ex-members of Graves At Sea and Trees respectively) through their live actions and inevitably their acclaimed “Forever The End” debut which was released last year. The vibe and uncanny atmosphere the band would evoke would be one reminiscent of the short-lived Bay Area cult band The Gault and said band’s phenomenal and only-release ever, “Even As All Before Us”.

With a recent split 12” ATRIARCH did with their like-minded musical comrades in Alaric this past year, said split was a revelation in its own right, a hint of what ATRIARCH would inevitably deliver with “Ritual Of Passing” (which also features guest vocals from Jessica Way of WORM OUROBOROS on the closing outro); more focused songwriting and taking their sound even further through a harrowing, haunting, obsessive and possessive sermon-like offering drenched in vitriolic atmosphere and flourishing washed-out reverb/wall-of-sound epicness that carries that ancient vibe and tradition found in classic deathrock, goth, and doom metal.

Gorgeously packaged and presented, with artwork by Stevie Floyd and design and artwork respectively by vocalist Lenny Smith, tracklisting for “Ritual Of Passing” goes as follows:

1. Parasite
2. Prayer
3. Altars
4. Altruist
5. Offerings
6. Crused
7. Outro (Lucifer Speaks With Death)

For just over a decade, the UK’s most promising death/doom metal band have been known to create some of the most enveloping, meticulously crafted, and all-encompassing death doom metal of our time. From their 2003 “Ecstatic Lethargy” demo (which we heard upon its release and which literally blew us away) to their “Noctambulism” debut three years later, INDESINENCE were always a band to behold, even though they were not one to always be thrusted into the spotlight of the UK metal scene, they are undoubtedly one of the truly elite bands to hail from said metal scene. With a sound culled from such reference points as Disembowelment, the very early/old-school days of the Peaceville Three, and Celtic Frost, INDESINENCE would inevitably carve their own unique identity within the death/doom metal movement. And with their new album, six years after their last full-length (and only their second full-length album), INDESINENCE (which features members involved with such respected bands as Grave Miasma, Cruciamentum, Code, Pantheist, Binah, Esoteric, and Adorior) have created a death/doom masterpiece unlike any in the genre. As the band describes in their own words, they characterize “Vessels Of Light And Decay” as a “full frontal assault of Celtic Frost, Swans, Demoncy, and Barclay James Harvest”.

Packaged in a gorgeously designed thick and somewhat-weighty hardcover digibook (the only edition you can buy “Vessels Of Light And Decay” in) with an expansive 28 page booklet glued in, tracklisting for “Vessels Of Light And Decay” goes as follows:

1. Flux
2. Paradigms
3. Vanished Is The Haze
4. Communion
5. La Madruaga Eterna
6. Fading (further beyond)
7. Unveiled

Continuing on the path laid down by the storming “Of Seismic Consequence”, a milestone for the Chicago avant-garde progressive metal cult, its follow-up “Beyul” continues in the unique artistic expressionistic way that YAKUZA have always been known to deliver; a volatile and progressive miasma of controlled chaos where the fusion of progressive metal, jazz, and experimental pillage metal collide.

With “Beyul” YAKUZA have followed-up “Of Seismic Consequence” with another storming and moving triumph that will even bring more recognition and respect to YAKZUA, the recognition they should have been getting since the beginning of their career. Led once again by renaissance musician and band vocalist/saxophone player Bruce Lamont, “Beyul” continues to see YAKUZA’s revolutionary style that they’ve always known to carry come to the fore. While at the same time the band taking it to the next level with a stronger sense of straightforward more-accessible songwriting and melody that finds its way within the storming chaos, which has only heightened the YAKUZA listening experience that much more.

Tracklisting for “Beyul” goes as follows:

1. Oil And Water
2. The Last Day
3. Man Is Machine
4. Fire Temple And Beyond
5. Mouth Of The Lion
6. Species
7. Lotus Array

Entitled “Test Of Submission”, this is the sixth full-length album in DYSRHYTHMIA’s repertoire and the band’s most-intense and accomplished album to date. Already going on a decade-plus career, DYSRYHTMIA were one of the first prominent bands to bring awareness to the instrumental progressive metal movement in America, in an age where there were not even a handful of bands attempting to do what DYSRHYTHMIA were doing in music; setting new standards and helping to create a new movement within extreme metal all on their own. The band would gain even more prominence as part of the Relapse Records roster where not only members from DYSRYHTMIA (them of course being guitarist Kevin Hufnagel, bassist Colin Marston, and drummer Jeff Eber) would also be defined by their musical and playing fortitude, but said members would continue to make a name for themselves even further within such bands as Gorguts, Krallice, Vaura, Byla, and …Behold The Acrtopus.

Nonetheless, such accomplished musicians have once again come together to make a new album at a time where there seems to be a overbearing glut of bands attempting to prove their worth in some rat-race to see which band can outdo themselves in technical prowess or whatever. DYSRHYTHMIA’s “Test Of Submission” will singlehandedly prove this trio’s superiority. With ease.

Tracklisting for “Test Of Submission” goes as follows:

1. In Secrecy
2. Test Of Submission
3. The Line Always Snaps
4. Running Towards The End
5. In The Spirit Of Catastrophe
6. The Madness Of Three
7. Like Chameleons
8. In Consequence

Undoubtedly the most musical and most ambitious DAWNBRINGER opus to date, Chris Black and co. have definitely raised the bar that was set with 2010’s acclaimed “Nucleus” album. An album in which finally defined and solidified this veteran American cult heavy metal band as one of the most important American heavy metal bands today.

With “Into The Lair Of The Sun God”, DAWNBRINGER’s heavy metal glory comes full-force. A concept album that follows the story of a naïve assassin and his bizarre journey that inevitably leads to its tragic end, “Into The Lair Of The Sun God” is the most epic and traditional metal-sounding DAWNBRINGER album and one where the bands’ ‘70s influence is even more prominent.

Revealed in nine untitled parts founded in the key of H (“Headless Cross”, “Heaven Forbid”, “Hammerheart”, “Hail To England”, and “Holy Diver”).

The literal follow-up full-length album to the band’s cult “Dwellers Within The Twilight” debut, and the follow-up to last year’s “Buried Beneath Aeons” EP, “Embracing The Lightless Depths” is the height of ALDEBARAN’s musical oeuvre, easily the heaviest and most searing work they’ve delivered. It is the most powerful monument in their repertoire that will seal ALDEBARAN’s fate as one of the mightiest and most important death/doom metal bands today. Emerging from their beginnings which leaned more towards a sludgier and more vitriolic breed of volatile doom, “Embracing The Lightless Depths” is the result of a threatening culmination that the Portland, Oregon cult have been building towards. One that has revealed itself as a monstrosity of apocalyptic proportions.

Recorded by legendary producer Billy Anderson, tracklisting for “Embracing The Lightless Depths” goes as follows:

1. Occultation Of Hali’s Gates
2. Forever In The Dream Of Death
3. Occultation Of Ocular Tauri
4. Sentinel Of A Sunless Abyss
5. Occultation Of Dim Carcosa

An excerpt of ‘Forever In The Dream Of Death’ can be heard here:

Featuring EMM (aka Nameless Void) of Negative Plane (vocalist/drummer V, and bassist/backing vocalist MAL complete the OCCULTATION triumvirate), “Three & Seven” is a psychedelic vortex of audial terror. A true sonic nightmare where references from ancient horror soundtrack, ‘70s prog, classic ‘80s dark rock, classic cult metal (Mercyful Fate, Death SS), and post punk (Mighty Sphincter) bleed together to create one of the most surreal, intriguing, and intimidating releases of the year. While also at the same time, serving as the fist in the face to the female-fronted occult-doom/rock movement.

Tracklisting to “Three & Seven” goes as follows:

1. The Sea of Snakes and Souls
2. The One Who Sleeps
3. Shroud of Sorrows
4. Dreamland in Flames
5. Living Portrait
6. Double Walker
7. Three & Seven

Hailing from Little Rock, Arkansas, PALLBEARER have already generated a huge buzz within the doom metal scene in their short existence as a band. And never before has a new band within doom metal gained such a reputation as quickly as PALLBEARER have. All this done with their mind-blowing three-song 2010 demo which in itself, made a big impact within the doom metal scene worldwide.

By encompassing the more traditional metal style of doom, PALLBEARER’s sound takes cue from such legendary doom metal bands as Candlemass and Trouble along with a classy ‘70s prog vibe and even an inkling of influence taken from “Gothic”/old school Paradise Lost that finds its way into the band’s epic yet sorrowful odes. Through powerful melodies, epic and somber passages of gloom, and with the stand out soaring vocals from vocalist Brett Campbell (who also made a guest appearance on the LOSS song ‘Silent And Completely Overcome’ from their “Despond” masterpiece), PALLBEARER’s debut album will not only be hailed as 2012’s traditional doom metal triumph, but it shall immediately herald the four-piece right into the doom metal echelons as one of America’s mightiest exports within the genre.

Tracklisting for “Sorrow And Extinction” goes as follows:

1. Foreigner
2. Devoid Of Redemption
3. The Legend
4. An Offering Of Grief
5. Given To The Grave

Nonetheless, the Worm Ouroboros debut is probably the closest thing we’ll ever hear to a follow up to The Gault’s incredible album “Even As All Before Us”, the only album they ever put out, mainly because Worm Ouroboros bassist/vocalist Lorraine Rath was one of the main songwriters responsible for The Gault right alongside her former songwriting partner, namely John Gossard of WEAKLING and ASUNDER fame (and we all know of Gossard’s musical pedigree and genius). Hence it would be natural that Rath’s songwriting foundation, ever so evident in The Gault, slithers its way with ease into the immaculate sound picture that Worm Ouroboros conjure. It is also noteworthy that Lorraine Rath was one of the main composers that took part in Amber Asylum’s “Still Point” masterwork, and the soothing dark sounds that encapsulated said release also find their way into the dreamy and brooding soundscapes of Worm Ouroboros.

The review from Decibel magazine tells it like it is:

WORM OUROBOROS – Worm Ouroboros (8/10) By Adrien Begrand

“We don’t have to tell you about just how male-dominated metal music has been over the last 40-odd years, but while the presence of women in the genre continues to grow these days, the question of whether or not clean female vocals on a metal album can yield results that remain true to everything the music is about remains a contentious issue. No matter how capable the singer, if it’s too delicate, too operatic, too damned melodic, for every fan, there’ll be two or three skeptics waiting to lampoon it. It’s a tricky line for a female metal singer to walk, but Lorraine Rath does so brilliantly on this debut, looking past the usual metal influences and drawing from some of the more avant-garde sounds of the past quarter century. Musically, the San Francisco trio evokes the best qualities of doom, drone and dark ambient, drawing heavily from Rath’s legendary former band the Gault; but it’s when Rath enters the fray with her understated vocals that the album takes on a tone rarely heard in extreme music. It’s like Kate Bush sitting in with Asunder, Alison Goldfrapp fronting Atavist, murky, disturbing guitar and bass offset by tender singing that somehow feels more unsettling than your usual growling dude. As a result, this stunning record leaves an instant impression, whether it’s the mellow mood piece “Goldeneye,” the dreamy “A Birth a Death” or the imperial riffing of “Riverbed.” Sure, its feminine quality is more than apparent, but it packs a unique wallop that no testosterone-fueled dummies can ever match.”

Dreamy, doomy, martial, delicate, and powerfully ambient and atmospheric, where the bridge between such genres as doom metal and dark chamber rock becomes penetrated, the tracklisting for “Worm Ouroboros” goes as follows:

1. Through Glass
2. A Birth A Death
3. Winter
4. Goldeneye
5. Failing Moon
6. Riverbed
7. Brittle Heart
8. Pearls
9. A Death A Birth

Worm Ouroboros are:
Lorraine Rath – bass/vocals/flute
Jessica Way – guitar/vocals
Aesop Dekker – drums

1- The dragon in Revelation 12:1-17 should be read as denoting greatness. He is even called “great” in scripture. It is written: And the great dragon was cast out, that old serpent, called the Devil, and Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him. (12:9)

Biblical deception is in actuality enlightenment. The war in heaven between Michael and the dragon symbolizes the nihilistic triumph of Michael’s heavenly nothingness faction: Therefore rejoice, ye heavens, and ye that dwell in them. Woe to the inhabiters of the earth and of the sea! For the devil is come down unto you. (12:12)

Christ and his angels deem earthy existence as evil and cursed. Death is valued more than life. Holiness and death are promoted over fitness and life. Heaven and nothingness are elevated to supreme status. The dragon as the hated outsider fights against Jesus and Michael. The dragon attempts to reverse the lie and invert their herd system. He is isolated because of his own spirit and nobility which are in conflict with Jesus’ herd mentality.

2- The Archangel Michael is the successful leader of a slave army who have adopted their principals from Babylonia, Egypt, Hebrew tribes, and the Hellenistic world. The dragon attempts to baptize the winged women as to purge her of Christ. It is written: And the serpent cast out of his mouth water as a flood after the woman, that he might cause her to be carried away of the flood. (12:15)

Through his forceful baptism the dragon attempts to reverse the nihilistic curse created by his defeat at the hands of the slave driver Michael and his fall from nothingness into action on earth. But the winged-woman has been controlled to the point of siding with her captors. The dragon turns his campaign for civil liberty towards the children: And the dragon was wroth with the woman, and went to make war with the remnant of her seed, which keep the commandments of God, and have the testimony of Jesus Christ. (12:17)

His holy war on the children is for their freedom. The dragon becomes a cultural physician with humanistic motivations. His motivation becomes one of liberation for the enslaved children of Michael’s faction.

3- The great dragon has carried out the will of screech owl through many incarnations throughout the biblical text. In scripture he is an agent of freedom policing the activities of Michael’s missions. Early on when the Archangel held Moses in his grasp the dragon reasoned with Michael about the harmful motivations of Moses and his cult. According to Jude the dragon as Satan shed light on the murderer but the commander for Christ would hear none of it: Yet Michael the archangel, when contending with the devil he disputed about the body of Moses, durst not bring against him a railing accusation, but said, The Lord rebuke thee. (1:9)

The dragon as the devil tried to educate Michael about the black magic that Moses usurped from Egypt. The dragon attempts to deprogram the infected agents of Christ and the priest god.

WOLD – Freermasonry
I. Opening
II. SOL
III. Free Goat of Leviticus
IV. Annex Axe
V. Dragon Owl Didacticism
VI. Dry Love
VII. Working Tools for Praxis
VIII. Free Eyes
IX. Freermasonry

Following up their “Black Marketeers Of WWIII” debut and simply leveling anything previous within their repertoire, “The Obsidian Plains” sees this American pillage machine take their musical pedigree to a whole new level. With several shifts in the line-up for the band’s benefit (the band now ranks ex-Nachtmystium guitarist Jeff Wilson), the final result that has become “The Obsidian Plains” (once again produced by Sanford Parker) is a hateful vision fueled by an indulgence within a world of destruction, blasphemy, decadence, drug and alcohol abuse, misanthropy, occultism, and pure fucking nihilism.

Being the kind of album which one would feel the elation and ultimately the need to pillage, defile, and ultimately desecrate the nearest ground of all that is holy and pastoral, tracklisting for “The Obsidian Plains” goes as follows:

1. The Gleaming
2. Writhe
3. Bones Of The Pious
4. Ghosts In The Water
5. Shadowhorn
6. A Defined Aesthetic
7. The Sentinels

What is easily and by far the band’s most accomplished work to date, the Chicago psychedelic sludge/progressive metal quintet have delivered an album where the three-pronged guitar/dual vocal machine have deployed a stronger focus on their songwriting and delivering nine solid hard-hitting, pummeling, catchy yet moving and atmospherically lush songs that comprise the observation known as “An Ache For The Distance”. Production wise, the band have also stepped it up in this department likewise, delivering a more professional and grand sounding album, one produced by the band’s guitarist/keyboardist Andrew Ragin along with the monstrous mastering job provided by James Murphy.

With the band setting the mark with their “A Glorified Piece Of Blue Sky” debut, and already having done a plethora of touring alongside the likes of such bands as Helmet, Crowbar, Eyehategod, Coalesce, St. Vitus, Kylesa, Nachtmystium, Harvey Milk etc. the band will be likewise hitting the road hard for “An Ache For The Distance”, to bring you one of the most accomplished albums of 2011 on the live front.

Easily the most all-encompassing and dynamic work the duo of guitarist/vocalist Stevie Floyd and drummer Rob Shaffer have delivered, “Surrender To All Life Beyond Form” finally captures the essence of DARK CASTLE the way it was meant to be portrayed; through the vast energy and uncompromising heaviness of their highly praised live show.

Recorded and produced by Sanford Parker, who has given DARK CASTLE their best sounding output to date, DARK CASTLE’s brand of doom metal is unique in a way that the songs don’t depend on long, plunging drawn out pieces to create the effect the duo harness, but instead create an overwhelming sense of heavy dark atmosphere through a series of vicious, pummeling, and progressively structured songs that bleed together seamlessly to create an opus that will unforgivingly take hold of the listener without mercy. By combining a sense of deep spirituality and a very dark bludgeoning monolithic doom metal aesthetic at this album’s core, “Surrender To All Life Beyond Form” will serve as one of the most intriguing doom metal albums of the year.

Featuring guest appearances by Mike Scheidt of YOB, Blake Judd of NACHTMYSTIUM, Nate Hall of U.S. CHRISTMAS, and Sanford Parker himself, along with the album being adorned by some of the most beautiful and stunning artwork courtesy of Stevie Floyd herself, tracklisting for “Surrender To All Life Beyond Form” goes as follows:

1. Surrender To All Life Beyond Form
2. Stare Into Absence
3. Create An Impulse
4. Seeing Through Time
5. Heavy Eyes
6. Spirit Ritual
7. To Hide Is To die
8. I Hear Wind
9. Learning To Unlearn

Formed by accomplished musician/artist Josh Graham (also a member of NEUROSIS and formerly of such acclaimed acts as BATTLE OF MICE and RED SPAROWES), A STORM OF LIGHT (in which their previous preceding albums were released by Neurosis home-base Neurot Recordings) have developed into quite the unique contingent in their fairly short career span.

By initially combining elements of sludge and doom metal, post metal, and epic ambient soundscape experimental music, with their third album, “As The Valley Of Death Becomes Us, Our Silver Memories Fade”, A STORM OF LIGHT have developed even further into a much more potent and cohesive unit with what ultimately is easily their strongest release to date.

By embracing musical templates more associated with traditional metal (i.e. mid-era Metallica) and traditional rock (i.e. AC/DC, QOTSA), while still maintaining the band’s forward thinking progressive vibe, “As The Valley Of Death Becomes Us…” presents a more song-oriented A STORM OF LIGHT while at the same time, a band that has incorporated a heavier, harder-hitting, and ultimately darker and more crushing vibe to their music. Out of all of his musical and artistic endeavors Graham has been involved in the new A STORM OF LIGHT album will stand as one of his most prominent accomplishments.

Featuring a guest appearance by SOUNDGARDEN lead guitarist Kim Thayil, along with featuring guest-appearances by Jarboe (ex-SWANS), Kris Force (AMBER ASYLUM), Nerissa Campbell, and members of SLEEPYTIME GORILLA MUSEUM, BOOK OF KNOTS, and U.S. CHRISTMAS, “As The Valley Of Death…” is packaged in a gorgeously designed thick 8-panel wallet digipack (one of Graham’s best designs ever) with a protective CD sleeve. Tracklisting for “As The Valley Of Death…” goes as follows:

1. Missing (feat. Kim Thayil)
2. Collapse (feat. Jarboe)
3. Black Wolves (feat. Kim Thayil and Nerissa Campbell)
4. Destroyer
5. Wretched Valley
6. Silver
7. Leave No Wounds
8. Death’s Head
9. Wasteland (feat. Jarboe and Kris Force)

At 77-plus minutes in length, “Dimensional Bleedthrough” sees the band initially conceived by guitar wizard Mick Barr (OCRILIM, ORTHRELM, OCTIS etc.) and Colin Marston (DYSRHYTHMIA, BEHOLD… THE ARCTOPUS, GORGUTS etc) take their sonic progressive blackened shroud and make it even more involving, where surreal and hypnotizing guitar acrobatics swirl through a meticulously constructed template of dizzying sonic chaos and structured counterpoint, solidified by the pounding and precise rhythm section provided by bassist/vocalist Nick McMaster and drummer Lev Weinstein.

Nonetheless, “Dimensional Bleedthrough” proves that the band’s initially conceived sound goes much beyond the initial conceived regard as Krallice being the “black metal band of Mick and Colin”, and into its own league of being one of the most challenging and progressive bands in “extreme metal” today.

Presented in a nice six-panel digipack with artwork from bassist/vocalist Nick McMaster and Karlynn Holland, tracklisting for “Dimensional Bleedthrough” goes as follows:

1. Dimensional Bleedthrough
2. Autochthon
3. Aridity
4. The Mountain
5. Intraum
6. untitled
7. Monolith Of Possession

The new KRALLICE album is not only their darkest, most dense, and heaviest release to date, but the masterpiece they’ve threatened to deliver upon their inception.

Tracklisting for “Diotima” goes as follows:

1. –
2. Inhume
3. The Clearing
4. Diotima
5. Litany Of Regrets
6. Telluric Rings
7. Dust and Light

Easily delivering their most crushing and devastating release in their ten-plus year career, “Venerable” will serve as mere proof that KEN MODE are one of the most prominent and elite acts within the landscape of today’s hardcore/noiserock crossover scene. Considering that “Venerable” will solidify KEN MODE as Canada’s premiere and most important hardcore band today, “Venerable” will also be the album in which will create more awareness for the Canadian trio, and allow KEN MODE to get the recognition they deserve. This will be proven, not only with the pillaging material on “Venerable” (captured, recorded, and produced by Converge guitarist Kurt Ballou), but also with KEN MODE’s unrelenting and jaw dropping live show in which the band are pretty much gonna glorify all year round during endless tour jaunts.

We recently read if Voivod and Cursed had kids and they formed a noiserock band, that KEN MODE would be it and basically we’ve always assessed that KEN MODE could very well be one of the bands within Canada today that are qualified to help carry on a band like Voivod and Cursed’s legacy. Just imagine this scenario: Voivod, Cursed, Unsane, and The Jesus Lizard had a fisting orgy. And that’s some idea what “Venerable” will offer. But along with such other elements as post rock/metal and even a touch of sludge and a bit of doom, KEN MODE’s sound canvas is as diverse and colourful as it is punishing and destructive.

Packaged in a gorgeously designed 6-panel digipack and featuring artwork courtesy of Julie Anne Mann and Josh Graham (A Storm Of Light/Neurosis/Soundgarden/Shrinebuilder etc.), tracklisting for “Venerable” goes as follows:

1. The Book Of Muscle
2. Obeying The Iron Will
3. Batholith
4. The Irate Lumberjack
5. A Wicked Pike
6. Flight Of The Echo Hawk
7. Never Was
8. The Ugliest Happy You’ve Ever Seen
9. Terrify The Animals
10. Mako Shark

GRAYCEON’s third album, “All We Destroy”, is the album the eclectic Bay Area trio have been threatening to make since their inception.

Comprised of cello (Jackie Perez Gratz), guitars (Max Doyle), drums (Zack Farwell), and vocals (Perez Gratz and Doyle), GRAYCEON are a band unlike anything that has been procured in heavy music. Known to create elongated time-stretching odes by combining progressive metal, neo-classical/chamber music, and down-tuned baroque-esque sludge doom, “All We Destroy” is already being heralded as the band’s masterpiece. Heavier, more ferocious, yet more elegant and beautiful, “All We Destroy” is the musical soundtrack to a frantic journey filled with tales of deceit, revenge, and broken hearts, all weaved through the scope of modern-day tragedy.

A quick background check on the accomplished musicians that comprise GRAYCEON:

– Jackie Perez Gratz is also the vocalist and cellist for aquatic doom metal outfit GIANT SQUID and was once a part of chamber neo-classical masters AMBER ASYLUM. She has also has served as the recording cellist for such bands as NEUROSIS, CATTLE DECAPITATION, OM, TODAY IS THE DAY, and most recently appeared and composed all the cello parts featured on the latest AGALLOCH album “Marrow Of The Spirit”

– Max Doyle and Zack Farwell are also members of one of the most underrated thrash bands in the U.S. today, namely the VOIVOD-influenced band WALKEN. Come to think of it, WALKEN are pretty much the only thrash band we like today.

Tracklisting for “All We Destroy” goes as follows:

1. Dreamer Deceived
2. Shellmounds
3. We Can
4. Once A Shadow
5. A Road Less Traveled
6. War’s End

What is easily one of the most punishing time-stretching doom metal albums of the year, “Terminal” is an album which treads the fine line of doom metal minimalism and expansiveness simultaneously. Where an introverted claustrophobic and very stripped-down plodding assault on the senses is complimented with a vast and open sound picture, “Terminal” is an album that provides that glimpse into an apocalyptic cleansing, where downfall, destruction, rebirth, and resurrection all become imminent. Such a scenario was captured by the amplifier abuse of guitarist Rob Moore, the thunderous ritualistic doom-hammers of Aaron Deal, and the intense guttural flesh tearing vocals of Kat. A scenario that separates SALOME as one of the most distinct and intense extreme doom metal acts today.

Packaged in a gorgeous six-panel wallet digipack comprised of haunting yet very minimalistic artwork (along with featuring artwork by Fade Kainer) tracklisting for “Terminal” goes as follows:

1) The Message
2) Terminal
3) Master Failure
4) Epidemic
5) An Accident Of History
6) The Witness
7) The Unbelievers

Four years after the bizarre and strange (in a good way of course) and extremely addicting “In Sickness And In Dreams” album, DAWNBRINGER (masterminded by multi-instrumentalist Chris Black, also of Superchrist, High Spirits, Nachtmystium, and Pharaoh fame) return strong with “Nucleus”, an album that continues to uphold the unique character of DAWNBRINGER by showcasing an album of infectious and triumphant heavy metal glory. Metal that is of course inspired by the glory days of the NWOBHM (Di’Anno era Iron Maiden, ‘70s Judas Priest etc.) and classic progressive metal and rock (Blue Oyster Cult etc.) while at the same time “Nucleus” pushes the state of today’s heavy metal genre forward simply by giving it that much more class and substance. Overall, “Nucleus” is pretty much one of the most forward-thinking true heavy metal albums you’ll hear today.

Recorded by Sanford Parker (who has gone on record to say that this is one of the best albums he’s ever recorded) at Semaphore Studios, tracklisting for “Nucleus” goes as follows:

1. So Much For Sleep
2. You Know Me
3. The Devil
4. Swing Hard
5. Cataract
6. Like An Earthquake
7. All I See
8. Old Wizard
9. Pendulum

COBALT multi-instrumentalist Erik Wunder returns, this time with a new venture that goes under the moniker of MAN’S GIN, the singer-songwriter project he initially spawned in 2005 when he was living back in Denver, Colorado.

Since re-locating to Brooklyn, NY last year Wunder decided to take MAN’S GIN to the next level while riding on the critical acclaim that was befalling COBALT’s “Gin” album. What initially started as a project where it was pretty much Wunder and a friend in Colorado wielding their acoustic guitars, along with endless bottles of whisky and Wunder putting his soulful voice to good use, Wunder would create what is now known as “The Rum Demos”, which were the initial MAN’S GIN recordings that were merely passed amongst solely to close friends in Wunder’s circle (with the odd backyard gig ensuing).

Once Wunder moved to Brooklyn, he then decided to round up two accomplished local musicians, namely Josh Lozano (also of Inswarm and part of Jarboe’s live band) on upright bass and guitarist/pianist Scott Edward to make MAN’S GIN a proper and a real band. Wunder would of course round off the band on vocals, guitars, and drums respectively and begin to slave away at new music until the band would inevitably enter Colin Marston’s (KRALLICE, Gorguts etc.) Thousand Caves Studio in the bellowing month of January 2010 where during three weeks of labor and uncertainty, MAN’S GIN’s debut album “Smiling Dogs” would eventually manifest.

In what can be best described as an album which takes an intimate singer-songwriter approach to its odes which serve as a suitable soundtrack to the desolate and ghostly underbelly of America, “Smiling Dogs” can be referenced through several genres like Americana folk and Southern Rock, and is reminiscent of the vibe that such acts as Woven Hand, 16 Horsepower, Dax Riggs, Nick Cave, and “Nebraska” era Bruce Springsteen portray through their art likewise.

Nonetheless, tracklisting to “Smiling Dogs” goes as follows:

1. Smiling Dogs
2. Free
3. Stone On My Head
4. Solid Gold Telephone
5. Nuclear Ambition Part 1
6. Nuclear Ambition Part 2
7. The Death Of Jimmy Sturgis
8. Hate.Money.Love.Woman
9. Doggamn

Musically, “Indoctrine” incorporates the trio’s experiences throughout the underground and the culmination of the 30 or so combined releases Nemtheanga, J. Read, and C. Ross have claimed their names to. Those familiar with Nemtheanga’s soaring vocal approach with PRIMORDIAL, J. Read’s pummeling chaos with REVENGE/CONQUEROR, and most notably C. Ross’ tactical music manipulation with AXIS OF ADVANCE, should find common ground with “Indoctrine”. But most importantly, “Indoctrine” presents a platform where each member of BLOOD REVOLT can present new ground with their repertoire. What some are claiming as the next continuation of where AXIS OF ADVANCE left off and ended with their final release (the “Purify” EP), the primal, raw, stripped down, and ultimately ferocious character of “Indoctrine” is unlike anything being released today in extreme metal. Where the chaotic nature of the music, which was captured without the use of any kind of studio manipulation whatsoever, clashes with the mighty vocal attack of Nemtheanga, that sense of unease will tend to surface with these two conflicting musical forces in conspiracy with each other. Ultimately, such a combination becomes a daring undertaking unheard of in extreme metal.

Delving further within the concept of BLOOD REVOLT, vocalist A. A. Nemtheanga states, “In an age of compromise Blood Revolt is genuine rebellion. Pushing the boundaries of what is accepted in ‘extreme’ metal, Blood Revolt is metal with teeth, like it should be. Genuine violence and aggression mixed with the kind of very real and very dark subject matter that would make other bands heads spin. No cartoon imagery or fantastical pseudo religious hocus pocus, this is the sniper filing down the pin before picking off innocents, this is the suicide bombers sweaty greasy hand on the ignition, dead bodies piled in the politics of the mass grave. Unforgiving and unrelenting elitism…”

Like the lone wolf ready to attack, tracklisting for “Indoctrine” goes as follows:

1. Salvation At The Barrel Of A Gun
2. Dead City Stare
3. Bite The Hand, Purge The Flesh
4. God’s Executioner, Praise Be
5. My Name In Blood Across The Sky
6. Indoctrine
7. Year Zero
8. The Martyrs Brigade

In what is already being praised as the band’s best album to date (as noted in the latest issue of Decibel magazine), especially considering it’s quite a feat in itself to top YAKUZA’s last two albums, “Samsara” and “Transmutations” respectively (said two albums building YAKUZA’s reputation as one of the most unique and creative bands in metal today), with “Of Seismic Consequence”, YAKUZA have taken a slightly different approach to their already distinct style of eclectic songwriting. An approach that is much darker, brooding, heavier, more primal, and ultimately rawer than ever before. This of course is highlighted with vocalist/saxophonist Bruce Lamont’s use of his clean vocals which become one of the more dominant factors on “Of Seismic Consequence” along with the heightened use of melody and elegance which only strengthens the vibe that reflects the dark night of the soul. When YAKUZA go for the throat with their all-encompassing heaviness, it becomes unrelenting, bringing YAKUZA’s sound even closer to that really dark enveloping realm.

Recorded by Sanford Parker between two studios (Electrical Audio and Semaphore) and presented in a very nicely designed six-panel digipack, tracklisting for “Of Seismic Consequence” goes as follows:

1. The Ant People
2. Thinning The Herd
3. Stones And Bones
4. Be That As It May
5. Farewell To The Flesh
6. Testing The Waters
7. Good Riddance (The Knuckle Walkers)
8. The Great War
9. Deluge

By combining elements that range from Voivod-esque progressive metal, along with aesthetics taken from progressive/post-hardcore and dissonant avant-black metal, “Mounds Of Ash” is an album that will align CASTEVET alongside the creative aura that lurks within New York’s underground metal scene, one in which finds company amongst such luminaries as Krallice, Unearthly Trance, Tombs, The Howling Wind, Bloody Panda, Negative Plane, Black Anvil, Batillus, A Storm Of Light, Hull, Liturgy, Malkuth etc. With “Mounds Of Ash”, CASTEVET will immediately be recognized amongst the elite of NY’s extreme metal underground.

Conjured within The Thousand Caves studios by Colin Marston of Krallice/Gorguts/Dysrhythmia fame, tracklisting for “Mounds Of Ash” (in which Marston has claimed to be one of the best albums he’s recorded) goes as follows:

1. Red Star Sans Chastity
2. Mounds Of Ash
3. Grey Matter
4. Red Aura
5. Stones
6. Wreathed In Smoke
7. Harvester

In conspiracy with drummer Tim Call (of ALDEBARAN), Ryan Lipynsky’s vision for THE HOWLING WIND incorporated the very essence of old school black metal (i.e. BATHORY, CELTIC FROST, old-DARKTHRONE) along with Lipynsky’s blood born doom that he’s known to unleash with Unearthly Trance.

With “Into The Cryosphere”, Lipynsky and Call nonetheless take the sound initiated by “Pestilence & Peril” even further into a more violent, virulent, and experimental territory. Captured by Colin Marston (KRALLICE, GORGUTS etc.) at The Thousand Caves Studio, “Into The Cryosphere” is an unforgiving and chilling soundtrack that takes the listener within the desolate, cold, vast, and lifeless realm known as Antarctica. Through an occult-like cosmic vision, the vision of Antarctica that THE HOWLING WIND present with “Into The Cryosphere” is an unholy realm where the fall of mankind is reflected through a kingdom of ice.

Bring on nuclear winter, tracklisting for “Into The Cryosphere” goes as follows:

1. The Seething Wrath Of A Frigid Soul
2. Teeth Of Frost
3. Obscured Pyramid
4. Ice Cracking In The Abyss
5. Will Is The Only Fire Under An Avalanche
6. Impossible Eternity
7. A Dead Galaxy Mirrored In An Ice Mirage

Following their acclaimed “Great Bringer Of Night” demo, which was one of the most hailed demos of last year, and most recently following the destruction and debauchery they left in the wake of this year’s SXSW (where COFFINWORM caused quite a scenario), “When All Became None” is a blasphemous testament to the downfall of humanity. A diabolical offering where demented amplifier worship sludge doom and black metal form an unholy alliance to offer an album which literally sounds like death, doom, and destruction, and is inspired by imminent death, poser disposal, and the destruction of Christ.

Summoned by Sanford Parker at Semaphore Studios, “When All Became None” is a sonic ritual to invert 2000 years of Christian teaching in a 45-minute span.

Tracklisting for “When All Became None” goes as follows:

1. Blood Born Doom
2. Start Saving For Your Funeral
3. Strip Nude For Your Killer
4. Spitting In Infinity’s Asshole
5. High On The Reek Of Your Burning Remains
6. The Sadistic Rites Of Count Tabernacula

Indeed WTFOP is a unique Wold listening experience not for the faint at heart or stomach, and definitely not for the weak of mind. And those who suffer from hallucinations or those prone to hearing voices, for better or worse, might find listening to WTFOP dangerous.

Wold mastermind/high priest Fortress Crookedjaw had this to say concerning WTFOP:

“‘Working Together For Our Privacy’ consists of three compositions; sound created within Wold’s thought lodge. The songs can induce harsh trance aural formations and hallucinations. We sent out transformations through the sound ideas which manifested the transgressive waves. Priestly insignificance and reversal religiosity is diabolically executed in your tight virgin ears. The spies in the wires sparkle through like hoarfrost on machine pumps which distribute unconscious aural chemical reaction. The death machine ejaculates toxins but also provides a psyche sanctuary of sorts, but ultimately the inevitable takes hold. Death is the factor.”

Along with the hypnotizing and mesmerizing artwork provided by artist Pippi Zornoza (www.dirtpalace.org/pippi) that graces the physical canvas of WTFOP, artwork that you will be beckoned to stare at while listening to WTFOP, it is advised to approach WTFOP with caution.

WTFOP has potential to cause mental dependency, severe psychological trips, latent dream states, and trance-like inducement.

Recorded in Regina, Saskatchewan Canada, tracklisting for WTFOP goes as follows:

1. The Secret
2. Death Spiral
3. Lovey Dovey

Featuring bassist Danny Lilker (BRUTAL TRUTH etc.) and guitarist John Gallo (of US doom lords ORODRUIN), Crucifist’s debut album was a long time coming until finally, after several opportunities fell through for the band, Profound Lore came in to help the band finally get this album of theirs out, after we pretty much salivated after hearing the material that inevitably would grace this head/fist banging feast.

A sinister mix of old school blackness that reference such elite acts as CELTIC FROST/HELLHAMMER, VENOM, BATHORY, AUTOPSY along with a slight NWOBHM feel that can’t help but bleed from John Gallo’s awesome guitar riffs (especially seeing that Gallo is one of the great guitarists of doom metal today).

Along with such acts as Aura Noir, Nifelheim, Midnight, and Villains, Crucifist are one of the very few bands today that can deliver such a vibe that brings that ancient spirit back from such glory days. A definite rarity these days especially considering all these other bigger and newer bands getting praised for bringing back or “reviving” that elusive era of years past, bands like Crucifist will pretty much serve as the fist in the face to all these other bands.

Tracklisting for “Demon Haunted World” goes as follows:

1. Pursuit Of The Pious
2. Putrid Mother Lode
3. Skull Smashing Face Ripping Death
4. Honor
5. Curse Of The Plasma Hound
6. Tumefaction
7. Neon Corpse
8. Demon Haunted World
9. Witchgrip
10. Angel Of Death
11. Anus Mundi

They made a good impression with their “Five Pointed Tongue” debut several years ago, but with their new masterwork “Acrid Plains”, Saros will simply display that there is such thing as creativity within the U.S. metal scene. Just that it dwells within the underground, naturally.

With a myriad of styles and influences that make their way amongst the Saros musical canvas, Saros still manage to carve out a distinct identity that puts them alongside the elite, which comprises of such acts as Hammers Of Misfortune, Ludicra, Asunder, and Amber Asylum respectively.

Featuring members from revered acts as BASTARD NOISE, Amber Asylum (mastermind Kris Force also makes a guest appearance on “Acrid Plains”, along with Saros also being known as Amber Asylum’s sister metal band), and the legendary Weakling, Saros meld influences that can be reflected with such genres as extreme progressive metal (later era DEATH), traditional epic metal (“…And Justice For All” era METALLICA), aristocratic metal (Hammers Of Misfortune), with a splash of Ludicra-esque black metal, chamber music (Amber Asylum), along with the neo folk sensibilities found within artists like DEATH IN JUNE and AGALLOCH.

Tracklisting for “Acrid Plains” (PFL 042) goes as follows:

1. Acrid Plains
2. As The Tyrant Falls Ill
3. Coriolis
4. As The Tyrant Falls Ill (Reprise)
5. Devouring Conscience
6. Reversion
7. The Sky Will End Soon