#dhg — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #dhg, aggregated by home.social.
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#teamPerdir, qui parvient à n'utiliser que le module “pré-rentrée” du logiciel #EDT pour faire sa répartition de #DHG ?
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I just remembered that it's the 10th anniversary of the most demanding (so far) Dødheimsgard album this year.
They used to do anniversary concerts for all the albums (at least up to 666 International, I think), but maybe they only celebrate 20th anniversaries.
#Dødheimsgard #DHG #blackMetal #avantgardemetal #metal #nowPlaying
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I just remembered that it's the 10th anniversary of the most demanding (so far) Dødheimsgard album this year.
They used to do anniversary concerts for all the albums (at least up to 666 International, I think), but maybe they only celebrate 20th anniversaries.
#Dødheimsgard #DHG #blackMetal #avantgardemetal #metal #nowPlaying
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Har hørt Black Medium Current tre ganger på rad i kveld. Her er det MYE! Gleder meg til å høre på den i morgen også 😊
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Domain ( #DHG ) has released " Domain enters into Scheme Implementation Deed with CoStar " on Fri 09 May at 09:48 AEST #today #tax #government #Commodity #trading
https://grafa.com/asset/domain-holdings-australia-ltd-1505-dhg.asx?utm_source=asxmktsensitive&utm_medium=mastodon&utm_campaign=dhg.asx -
Roadburn day 3/4.
Talking about have-to-see bands; I was just in time to catch the Dødheimsgard show from the beginning, playing their masterpiece album Black Medium Current. Because of the symphonical tone of the album, this show could have been just a wall of sound, but it was a very clear and impressive performance! Glad to have seen then live.
#Roadburn #Roadburn2025 #Dødgeimsgard #DHG #Tilburg #RedefiningHeavyness
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Not wanting to get stuck in a queue like last year, I already got the 2025 #InfernoFestival wristband on. I even have my trusty old Etymotic plugs ready!
Still have to get there early as this year's opening act is #DHG / #Dødheimsgard.
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It‘s #TuneTuesday and the topic is #2024MusicDiscoveries. Turns out I was way overdue discovering how good Dodheimsgard 🇳🇴 are!
https://www.youtube.com/watch?v=z_RA5rlhyzU
#Dodheimsgard #DHG -
Λίγα λόγια για τη σχέση του Vicotnik με τον ναζισμό με αφορμή τη συναυλία των Dødheimsgard (πού αλλού;) στο Temple.
- Ο Vicotnik έχει τραγουδήσει σε 3 (τρεις) κυκλοφορίες των Naer Mataron του Καιάδα.
- Ο Vicotnik έχει συμμετάσχει σε δίσκο της NSBM μπάντας Slavia.
- Στους DHG και στους Ved Buens Ende παίζει τύμπανα ο Øyvind Myrvoll, ο οποίος για ολόκληρα χρόνια φιγούραρε στο Metal Archives με μπλουζάκι Totenkopf. Πλέον η φωτογραφία έχει αλλάξει, αλλά την επισυνάπτω.
- Οι DHG έχουν παίξει μαζί με ένα σωρό NS μπάντες ανά τα χρόνια (και στα μέρη μας με Naer Mataron προφανώς) και πέρυσι εμφανίστηκαν και στο Steelfest, ένα από τα πιο γνωστά NSBM Festival στον κόσμο.
#NSBM #BlackMetal #metal #DHG #Vicotnik #Dødheimsgard #μουσική -
Hello #MittwochMetalMix
Here's some Dødheimsgard 🇳🇴Randomly walked into their festival show last week and instantly regretted not checking them out earlier. Blew my mind.
The band features Vicotnik of Ved Buens Ende (I didn't know!), and it's the same caliber of avant guarde.
https://www.youtube.com/watch?v=nQreamjZ4jY
#DHG #BlackMetal #AvantGuarde #Norway -
I'll be running a free workshop at the Douglas Hyde Gallery next Thursday afternoon where we'll be playing a collaborative storytelling card game I made about the ability of institutions and individuals to help or hinder political change. It's called THE INSTITUTE and you can sign up to play here: https://thedouglashyde.ie/event/creative-lab-gabriel-coleman/ #mastodaoine #Dublin #rpg #DHG #DescendedFromTheQueen
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I'll be running a free workshop at the Douglas Hyde Gallery next Thursday afternoon where we'll be playing a collaborative storytelling card game I made about the ability of institutions and individuals to help or hinder political change. It's called THE INSTITUTE and you can sign up to play here: https://thedouglashyde.ie/event/creative-lab-gabriel-coleman/ #mastodaoine #Dublin #rpg #DHG #DescendedFromTheQueen
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I'll be running a free workshop at the Douglas Hyde Gallery next Thursday afternoon where we'll be playing a collaborative storytelling card game I made about the ability of institutions and individuals to help or hinder political change. It's called THE INSTITUTE and you can sign up to play here: https://thedouglashyde.ie/event/creative-lab-gabriel-coleman/ #mastodaoine #Dublin #rpg #DHG #DescendedFromTheQueen
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I'll be running a free workshop at the Douglas Hyde Gallery next Thursday afternoon where we'll be playing a collaborative storytelling card game I made about the ability of institutions and individuals to help or hinder political change. It's called THE INSTITUTE and you can sign up to play here: https://thedouglashyde.ie/event/creative-lab-gabriel-coleman/ #mastodaoine #Dublin #rpg #DHG #DescendedFromTheQueen
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I'll be running a free workshop at the Douglas Hyde Gallery next Thursday afternoon where we'll be playing a collaborative storytelling card game I made about the ability of institutions and individuals to help or hinder political change. It's called THE INSTITUTE and you can sign up to play here: https://thedouglashyde.ie/event/creative-lab-gabriel-coleman/ #mastodaoine #Dublin #rpg #DHG #DescendedFromTheQueen
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Stuck in the Filter – November/December’s Angry Misses
By Kenstrosity
It is time for the new year, and yet we spend its initial moments reflecting on works of the past. That’s because the works of the past are clogging up our damn Filter, and we need that to breathe in this hellhole we call a headquarters. We toil in the snow and the slush, freezing as the gunk clings to our definitely OSHA compliant protective suits and face masks. All so that you can maybe like but more likely dunk on the nuggets of treasure we find here.
Regardless of whether you enjoy what we find, we expect payment for our services. You can submit tithes via Venmo, Paypal, Bitcoin, hobo wine, unicorns, and/or goat sacrifices. Anything less will result in summary dismissal from the Hall!
Kenstrosity’s Heaving Husks
Void // Jadjow [December 8th, 2023 – Brucia Records]
Weird shit is my shit. Challenging albums that dare to subvert my expectations of the music held therein will always garner my respect. Enter UK avant-garde black metal outfit Void and their fourth LP Jadjow. A bizarrely short window spanned between this release and their previous record—only two years compared to eight years between albums one and two, ten between albums two and three. Despite the tight turnaround, the quality of the writing here is nothing to dismiss offhand. Opening duo “Fables From a Post-Truth Era” and “Interdaementional” showcase twisted songwriting dynamics, haunting vocals, squealing black metal riffs, woody blasts, and funky transitions. Consequently, they remind me of Ved Buens Ende, DHG, and Khôra. Yet, Void prove that the art of the riff is not lost in a sea of weirdness, throwing in headbangable themes and windmill-worthy whirlwinds left and right (“Only For You,” “Self Isolation,” “Swamp Dog”). Striking this balance between engaging hooks (“Fables From a Post-Truth Era,” “Swamp Dog”), danceable grooves (“Oduduwa’s Chain”), and intelligent songwriting dynamics (“When Lucifer Dies,” “Iniquitous Owl”) is tricky business, and yet Void take on the task with effortless grace and poise. In turn, fifty-six minutes of oddball progressive black metal fly by in a flash. You blink, you miss it. Don’t blink!
Irityll // Schlafes Bruder [November 23rd, 2023 – Self Release]
Do you ever wonder what melodic black metal would sound like if it had the same HM-2 tone as the filthiest Swedeath around? I sure never have. Yet, Vienna, Austria’s Irityll chose that exact combination to craft their debut LP, Schlafes Bruder. Comprising of two musicians with notable experience in the deathcore and brutal death metal worlds (Spire of Lazarus, Monument of Misanthropy), Irityll unexpectedly nail the icy black metal sound which defines Schlafes Bruder, but enhanced by the novel twist of an HM-2 buzzsaw tone. Ominous melodies and vicious blasting abound, as choice cuts like “Leichnam aus Überzeugung,” “Deppade Leit,” and “Sternengeiβel” all demonstrate with aplomb. Written in the same epic style of bands like Immortal or Dark Funeral, Schlafes Bruder succeeds primarily thanks to a tasty combination of minimalist drama and riff-focused intensity. The way it ebbs and flows between soft passages and ripping black metal, blistering speed and militant marches, all feels natural, effortless, and leads to satisfying payoffs across the forty-four-minute runtime (“Schlafes Bruder,” “Reiter des Sturmes,” “Epitaphion”). And yet, it feels like just the beginning for Irityll. With more refinement and tightening of the screws, the duo could take even greater advantage of their novel sound profile with more distinct, individualized songwriting. I’m excited by that prospect, and you should be too.
Dolphin Whisperer’s Unparalleled Uncoverings
Closet Witch // Chiaroscuro [November 3rd, 2023 – Zegema Beach Records]
If you’re familiar with Closet Witch already, or the closely related in sound and style Cloud Rat, then you’ll know that the brand of caustically-styled, emotionally-chiseled grind that they represent wastes no moment. Equally weighted by the slowing churns of powerviolence and piercing tones of screamo, Chiaroscuro, a name taken from the classical art technique of shadow-use/darkness contrast that creates wholeness, depth, and tone in a piece, uses each of its identities to drill eighteen minutes of caustic music to your memory. Unfortunately for newcomers or passerbys to the sonic assault that Closet Witch embodies, either the fuzz-rattled and blackened riffage, the clanging and splashing kit abuse, or the shrill and shrieking throat sacrifice build like a wall of bleeding noise. But in practice, Chiaroscuro contains an uncanny ebb and flow, finding footing in rhythmic refocusing (“My Words Are Sacred,” “Well-Fed Machine”), noise-assisted tip-offs (“You, Me, and the Venus in Decay,” “To the Cauldron”), and pedal-down thrusts (“Haunting,” “Arlington Cemetary”) to dog ear its shifts and landmarks. In this case, a horror-synth “Intro” and de-escalating, crinkled found-sound “Outro” are necessary to respectively set the stage and close the curtains. You don’t want to go into this cold, but Chiaroscuro burns so hot that you need a cooldown.
Exulansis // Overtures of Uprising [November 17th, 2023 – Bindrune Recordings]
You ever sit there and wonder when you’re finally gonna find a melodic black metal album that’s actually cool? No? How about one that at least incorporates vibrant violin melodies, guitar identities outside of tremolo progressions, and actual growling bass presence? Well, if so, look no further than Exulansis, a folk-inspired four-piece who finds just as much home in the creeping doom of the string work that you’d hear in an old SubRosa jam as they do in the forested black metal of Wolves in the Throne Room. But in this case, Overtures of Uprising’s four tracks will require only thirty-two minutes (it’s not enough!!) of your hard-to-earn time, a healthy balance of two standard-length numbers against two longer explorations. Whereas their previous album, 2019’s Sequestered Symphony attempted to meld a lot more gothic folk into their sound, Exulansis went and trimmed that into a whole separate album (Hymns of Collapse) this go, which has left absolutely nothing to stand in the way of the bell-hammering drive of “Of Nature & Hatred” or the eerie and screeching “A Movement in Silence”.1 And when they do slow it down for the fanciful, classical violin melodies that signal the triumphant title track or the lurching doom of “Dawning,” Exulansis finds a way to capture the beat of an anxious heart. Unified by a melodic dread, Overtures of Uprising pushes this act closer to record that’ll grab me by the hand and never let go. Fortunately, I know these strong voices have more to say.
Saunders’ Slippery Subjects
Deathcode Society // Unlightenment [November 24th, 2023 – Osmose Productions]
My end-of-year filter was badly clogged amidst the rush to finalize Listurnalia and absorb the mammoth number of releases that either flooded through late or had been backlogged. Nevertheless, in the end-of-year wash-up, I stumbled across the sophomore platter from French symphonic black metal act Deathcode Society, and their powerful, bombastic LP, Unlightenment. Traditionally, I am incredibly picky with my modern black metal, and much of the overly symphonic variety tends to fall flat or overdo the cheese. Comprised of seasoned players, Deathcode Society balances the elements deftly to craft an intriguing platter, with modern sheen and orchestral flair roughened up by second-wave influences and whiffs of later-era Emperor. The sympho-black formula can sometimes veer too drastically into melodramatic territory, adding too much fluff to soften the black metal bite. Thankfully, Deathcode Society generally nail things just right. Within the style, Deathcode Society exhibit a versatile and confident approach, as their epic, carefully layered sound ebbs and flows through diverse pastures. A technical edge permeates material that blisters and tears with speed and aggression, contrasting these pleasingly vicious assaults with mostly tasteful symphonic layers, a varied vocal palette, and long, twisty arrangements. Highlights include the potent, blasty one-two opening punch of “Scolopendra” and “Shards” dominate with sheer scope, ferocity and memorability, while the stellar “Mazed Interior” and “Scales” offer in-your-face aggression and more ambitious, head-spinning turns with maximum impact.
#2023 #AvantGarde #AvantGardeBlackMetal #BindruneRecordings #BlackMetal #BlackenedDeathMetal #BruciaRecords #Chiaroscuro #ClosetWitch #CloudRat #DarkFuneral #DeathMetal #DeathcodeSociety #Dec23 #DHG #Emperor #Exulansis #Grind #Immortal #Irityll #Jadjow #Khôra #MelodicBlackMetal #MonumentOfMisanthropy #Nov23 #OrchestralBlackMetal #OsmoseProductions #OverturesOfUprising #ProgressiveBlackMetal #SchlafesBruder #SelfRelease #SpireOfLazarus #StuckInTheFilter #Subrosa #SymphonicBlackMetal #SymphonicMetal #Unlightenment #VedBuensEnde #Vøid #WolvesInTheThroneRoom #ZegemaBeachRecords
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Stuck in the Filter – November/December’s Angry Misses
By Kenstrosity
It is time for the new year, and yet we spend its initial moments reflecting on works of the past. That’s because the works of the past are clogging up our damn Filter, and we need that to breathe in this hellhole we call a headquarters. We toil in the snow and the slush, freezing as the gunk clings to our definitely OSHA compliant protective suits and face masks. All so that you can maybe like but more likely dunk on the nuggets of treasure we find here.
Regardless of whether you enjoy what we find, we expect payment for our services. You can submit tithes via Venmo, Paypal, Bitcoin, hobo wine, unicorns, and/or goat sacrifices. Anything less will result in summary dismissal from the Hall!
Kenstrosity’s Heaving Husks
Void // Jadjow [December 8th, 2023 – Brucia Records]
Weird shit is my shit. Challenging albums that dare to subvert my expectations of the music held therein will always garner my respect. Enter UK avant-garde black metal outfit Void and their fourth LP Jadjow. A bizarrely short window spanned between this release and their previous record—only two years compared to eight years between albums one and two, ten between albums two and three. Despite the tight turnaround, the quality of the writing here is nothing to dismiss offhand. Opening duo “Fables From a Post-Truth Era” and “Interdaementional” showcase twisted songwriting dynamics, haunting vocals, squealing black metal riffs, woody blasts, and funky transitions. Consequently, they remind me of Ved Buens Ende, DHG, and Khôra. Yet, Void prove that the art of the riff is not lost in a sea of weirdness, throwing in headbangable themes and windmill-worthy whirlwinds left and right (“Only For You,” “Self Isolation,” “Swamp Dog”). Striking this balance between engaging hooks (“Fables From a Post-Truth Era,” “Swamp Dog”), danceable grooves (“Oduduwa’s Chain”), and intelligent songwriting dynamics (“When Lucifer Dies,” “Iniquitous Owl”) is tricky business, and yet Void take on the task with effortless grace and poise. In turn, fifty-six minutes of oddball progressive black metal fly by in a flash. You blink, you miss it. Don’t blink!
Irityll // Schlafes Bruder [November 23rd, 2023 – Self Release]
Do you ever wonder what melodic black metal would sound like if it had the same HM-2 tone as the filthiest Swedeath around? I sure never have. Yet, Vienna, Austria’s Irityll chose that exact combination to craft their debut LP, Schlafes Bruder. Comprising of two musicians with notable experience in the deathcore and brutal death metal worlds (Spire of Lazarus, Monument of Misanthropy), Irityll unexpectedly nail the icy black metal sound which defines Schlafes Bruder, but enhanced by the novel twist of an HM-2 buzzsaw tone. Ominous melodies and vicious blasting abound, as choice cuts like “Leichnam aus Überzeugung,” “Deppade Leit,” and “Sternengeiβel” all demonstrate with aplomb. Written in the same epic style of bands like Immortal or Dark Funeral, Schlafes Bruder succeeds primarily thanks to a tasty combination of minimalist drama and riff-focused intensity. The way it ebbs and flows between soft passages and ripping black metal, blistering speed and militant marches, all feels natural, effortless, and leads to satisfying payoffs across the forty-four-minute runtime (“Schlafes Bruder,” “Reiter des Sturmes,” “Epitaphion”). And yet, it feels like just the beginning for Irityll. With more refinement and tightening of the screws, the duo could take even greater advantage of their novel sound profile with more distinct, individualized songwriting. I’m excited by that prospect, and you should be too.
Dolphin Whisperer’s Unparalleled Uncoverings
Closet Witch // Chiaroscuro [November 3rd, 2023 – Zegema Beach Records]
If you’re familiar with Closet Witch already, or the closely related in sound and style Cloud Rat, then you’ll know that the brand of caustically-styled, emotionally-chiseled grind that they represent wastes no moment. Equally weighted by the slowing churns of powerviolence and piercing tones of screamo, Chiaroscuro, a name taken from the classical art technique of shadow-use/darkness contrast that creates wholeness, depth, and tone in a piece, uses each of its identities to drill eighteen minutes of caustic music to your memory. Unfortunately for newcomers or passerbys to the sonic assault that Closet Witch embodies, either the fuzz-rattled and blackened riffage, the clanging and splashing kit abuse, or the shrill and shrieking throat sacrifice build like a wall of bleeding noise. But in practice, Chiaroscuro contains an uncanny ebb and flow, finding footing in rhythmic refocusing (“My Words Are Sacred,” “Well-Fed Machine”), noise-assisted tip-offs (“You, Me, and the Venus in Decay,” “To the Cauldron”), and pedal-down thrusts (“Haunting,” “Arlington Cemetary”) to dog ear its shifts and landmarks. In this case, a horror-synth “Intro” and de-escalating, crinkled found-sound “Outro” are necessary to respectively set the stage and close the curtains. You don’t want to go into this cold, but Chiaroscuro burns so hot that you need a cooldown.
Exulansis // Overtures of Uprising [November 17th, 2023 – Bindrune Recordings]
You ever sit there and wonder when you’re finally gonna find a melodic black metal album that’s actually cool? No? How about one that at least incorporates vibrant violin melodies, guitar identities outside of tremolo progressions, and actual growling bass presence? Well, if so, look no further than Exulansis, a folk-inspired four-piece who finds just as much home in the creeping doom of the string work that you’d hear in an old SubRosa jam as they do in the forested black metal of Wolves in the Throne Room. But in this case, Overtures of Uprising’s four tracks will require only thirty-two minutes (it’s not enough!!) of your hard-to-earn time, a healthy balance of two standard-length numbers against two longer explorations. Whereas their previous album, 2019’s Sequestered Symphony attempted to meld a lot more gothic folk into their sound, Exulansis went and trimmed that into a whole separate album (Hymns of Collapse) this go, which has left absolutely nothing to stand in the way of the bell-hammering drive of “Of Nature & Hatred” or the eerie and screeching “A Movement in Silence”.1 And when they do slow it down for the fanciful, classical violin melodies that signal the triumphant title track or the lurching doom of “Dawning,” Exulansis finds a way to capture the beat of an anxious heart. Unified by a melodic dread, Overtures of Uprising pushes this act closer to record that’ll grab me by the hand and never let go. Fortunately, I know these strong voices have more to say.
Saunders’ Slippery Subjects
Deathcode Society // Unlightenment [November 24th, 2023 – Osmose Productions]
My end-of-year filter was badly clogged amidst the rush to finalize Listurnalia and absorb the mammoth number of releases that either flooded through late or had been backlogged. Nevertheless, in the end-of-year wash-up, I stumbled across the sophomore platter from French symphonic black metal act Deathcode Society, and their powerful, bombastic LP, Unlightenment. Traditionally, I am incredibly picky with my modern black metal, and much of the overly symphonic variety tends to fall flat or overdo the cheese. Comprised of seasoned players, Deathcode Society balances the elements deftly to craft an intriguing platter, with modern sheen and orchestral flair roughened up by second-wave influences and whiffs of later-era Emperor. The sympho-black formula can sometimes veer too drastically into melodramatic territory, adding too much fluff to soften the black metal bite. Thankfully, Deathcode Society generally nail things just right. Within the style, Deathcode Society exhibit a versatile and confident approach, as their epic, carefully layered sound ebbs and flows through diverse pastures. A technical edge permeates material that blisters and tears with speed and aggression, contrasting these pleasingly vicious assaults with mostly tasteful symphonic layers, a varied vocal palette, and long, twisty arrangements. Highlights include the potent, blasty one-two opening punch of “Scolopendra” and “Shards” dominate with sheer scope, ferocity and memorability, while the stellar “Mazed Interior” and “Scales” offer in-your-face aggression and more ambitious, head-spinning turns with maximum impact.
#2023 #AvantGarde #AvantGardeBlackMetal #BindruneRecordings #BlackMetal #BlackenedDeathMetal #BruciaRecords #Chiaroscuro #ClosetWitch #CloudRat #DarkFuneral #DeathMetal #DeathcodeSociety #Dec23 #DHG #Emperor #Exulansis #Grind #Immortal #Irityll #Jadjow #Khôra #MelodicBlackMetal #MonumentOfMisanthropy #Nov23 #OrchestralBlackMetal #OsmoseProductions #OverturesOfUprising #ProgressiveBlackMetal #SchlafesBruder #SelfRelease #SpireOfLazarus #StuckInTheFilter #Subrosa #SymphonicBlackMetal #SymphonicMetal #Unlightenment #VedBuensEnde #Vøid #WolvesInTheThroneRoom #ZegemaBeachRecords
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Stuck in the Filter – September’s Angry Misses
By Kenstrosity
Fall is upon us at last. Here at my station, located far far away from AMG HQ due to my various injustices against the Score Counter, taste, and metal credibility over the past five years of writership, I monitor our minions’ progress scouring the headquarters’ overtaxed filtration system. As the leaves and cool mists infiltrate the guts of the machine to mingle with the stagnant refuse which lines the chutes and coats our poor, unfortunate laborers, I use my remote-controlled cattle-prod-equipped drone to motivate and maintain pace. We have a deadline to reach after all!
Ah, who am I kidding?! Deadlines are for poseurs, and we are well-known specialists of the late post. I just like torturing my subjects until they cough up the goods. And cough up they always do! So now, please, sit, and enjoy the spoils of not my labor, the best of the pretty good from September 2023!
Kenstrosity’s Mildewed Masses
King’s Rot // At the Gates of Adversarial Darkness [September 22nd, 2023 – Hypnotic Dirge Records]
It’s been a fairly mediocre year for standard black metal in the House ov Ken. Most of the time, the good stuff hybridized with other things like death metal (Úlfúð), psychedelia (DHG), or power metal (Moonlight Sorcery). Alberta, Canada’s King’s Rot doesn’t quite change that, but they make a valiant effort of it with their sophomore outing, At the Gates of Adversarial Darkness. Its production marks a good start, perfectly straddling the fence between murky rawness and sparkling clarity. This in turn bolsters the quality of the music, which straddles the fence between melodicism and wretchedness. I’m most engaged whenever King’s Rot kick into high gear, evoking bands like Vimur and Imperialist, except this material prefers to revel in the hellish flames of the underworld rather than the coronas of distant stars (“Blazing Winds of Torment,” “At the Gates of Adversarial Darkness,” “Last Dance for the Eternal Flame”). However, they could use more of that perilous verve and swagger in those areas where the band take their sweet time building up to a blistering fury (as with the Cloak-esque “Twilight Breath Incantation” and “Obscure Awakenings”) in order to keep my interest rabid from start to finish. In sum, you could do much worse than At the Gates of Adversarial Darkness for your fiery, but chilling black metal fix.
Aortha // Monolit [September 8th, 2023 – Self Release]
How many vocalists is too many vocalists? International supergroup Aortha bring a new scope and scale to the question with their groovy heavy/thrash/power metal project by employing six individuals for mic duty (Exhorder‘s Kyle Thomas, Adamantia’s Diego Valdez, Voivod‘s Denis Belanger Snake, ex-Temperance’s Alessia Scolletti, Laurenne/Louhimo’s Netta Laurenne, ex-Scar Symmetry‘s Christian Älvestam). Supported by Jacob Umansky on bass, Hannes Grossman on drums, and Predrag Glogovac on guitars, Aortha’s debut LP Monolit boasts insane levels of groove, hook, and swagger. Bangers like “Those That Should Not Exist,” “Last of Our Kind,” “Forging the Locus” and “Divine Future” are guaranteed to kick your ass and take your lunch money, while every vocalist gets their chance to spit in your face (although it can be difficult to pick out who is who with 100% accuracy). It’s nearly impossible not to bob my head along with these tunes, as transitions constantly reveal a new trick up the group’s sleeve, whether that be another ripping verse hook (“Keep the Dream”), a sharp riff that has no business being as fun or interesting as it is (“Last of Our Kind”), or some fancy percussive work that one would expect from the world’s most sought-after drummer. It might be cheesy in places, ESL is everywhere, and some songs can feel a little long after repeat spins (“When All Around You is Madness”), but Monolit remains one of my most fun, compelling, and deceivingly cohesive surprises this year. You owe it to yourselves to try it!
Dolphin Whisperer’s Trench Treasures
SATSURIKU ROBOT // NO THRASH METAL, NO LIFE! [September 8th, 2023 – WormHoleDeath]
No Thrash Metal, No Life!—demanding and straightforward. It’s easy to imagine that the untested Japanese act would have constructed this outing as an homage to the blue-collar hammer-on, hammer-off tunes we all love so dearly.1 And to a certain extent the opening riffs to the Slayer-touched “THRASH NEVER DIE” and the Sodom-grooving “MAD THRASHER” have a normalcy to them. However, that basic appearance dissolves rapidly against a cranked-out, clangy-ass snare and a vocalist who’s channeling both a cat in heat and a pig greased for the chase. Honestly, I have no idea what the fuck he’s doing. On tracks like “殺戮ロボット – SATSURIKU ROBOT ” and “CARRY ON” he drops character for brief moments while channeling a punky bellow akin to fellow countrymen SEX MACHINEGUNS, which gives a little respite to his madness. For the most part though, he squirts and squeals with a rabid conviction while his bandmates do their best to churn out solid sing-along gang shouts amidst mighty solos (“ROBOT IN THE PANDEMIC,” “NO THRASH METAL, NO LIFE!”). Similar to the out-of-place nature of the hokey, nursery rhyme infusions you hear in a Macabre album, much of what SATSURIKU ROBOT accomplishes throughout this thoughtful mess of a debut should not work, but it does and it’s catchy as hell. Though I don’t think these folks could pull it off twice with as much shock value, but that matters little when you can enjoy this sneakily not-thrash ode to thrash. So what’re you waiting for? NO THRASH METAL, NO LIFE!!!
Vibora // Zaldi Beltza [September 29th, 2023 – Zegema Beach Records]
Anthemic, throat-ripping, cathartic as a cold bath with the curtains drawn—Zaldi Beltza (The Black Horse) is the skramz you need in your life. With a bass overdriven for noise rock and a scrapped mic that reminds me of regionally-adjacent sadbois Tenue or ragers Crossed,2 Vibora’s brand of screeching metalcore comes with highlights that swing effortlessly between tough guy throw-downs and major swing crescendos (“Eraikin Zurie,” “Le Fleur”). Though Vibora drops tempo for a few melancholy post-hardcore romps (“DANA,” “La Casa, 20”), the burn through Zaldi Beltza’s nine tracks in twenty-three minutes never feels too long drawn on its less aggressive elements. Appropriate levels of hissing amp feedback and nut-shaking bass (“La Casa, 8,” “Ez Ziguten Maitatzen Irakatsi”) ensure that these Basque core-kiddies never stray too far from a forward-moving path. I gotta level with you though, this is true screamo, and if you’re not accustomed to the fuzz-filtered, nasally, digging yelp that typically accompanies this world, Vibora doesn’t do anything to change that. But Zaldi Beltza, in its close-to-roots expression of bright-chord Daïtro-flavored post-hardcore with extra hardcore delivers a modern sad-ggression that’s building a movement of its own.
Thus Spoke’s Tarnished Trinkets
Ash Prison // Future Torn [September 22nd 2023 – Sentient Ruin Laboratories]
Ash Prison are basically everything you want blackened industrial music to be—or at least they’re everything I want it to be. This weird, warpy, wacky work sees resonant, electrified bass wrap around jittery tempos, accompanied by echoing, snarling croaks, and a plethora of other strange sounds. You’ve taken the pill the shifty guy by the club toilets gave you, that you probably shouldn’t have, and now the gothic electronica is warping around you, and the walls are starting to melt. The come up was a bit aggressive (“Archangel”), but at the same time, incredibly, weirdly danceable, in a jagged sort of way, as is much of Future Torn. And the way groovy, boppy beats slide in out of the noise (“Death Reborn,” “No Return,” “Collapse”) is almost as unsettling as the heavier, actually scary stuff. This mood swing happens whiplash from song to song, “Voidhead,” “Black Horizon,” and “Weep in my Shadow” each smash onto the scene with fast, clipped tempos and a lot of static and distortion. And then there’s “Scorn,” whose skipping, echoing voice sample and scarily low hum create a spine-chillingly powerful sense of dread before the beat picks up to turn it into a mad, unhinged bop. This album terrifies me, and I love it. Why not give it a try?
Steel Druhm’s Seasonal Slashing:
Lord of Shadows // Echoes of Yore [September 1st, 2023 – Meuse Music Records]
Lord of Shadows is the work of one Mike Lamb, and on the debut full-length Echoes of Yore, the multi-instrumentalist tackles the Peaceville sound made famous in the 90s by My Dying Bride and Anathema. And to make sure you know he’s deadly serious about his passion project, he recruited none other than My Dying Bride’s Aaron Stainthorpe to handle vocals for him, alongside Heike Langhans (Remina, Light Field Reverie, ex-Draconian). Over 42 minutes, Lamb and guests paint the night pitch black with effective Gothic doom loaded with drama, pathos, and despondency. The man knows his chosen genre well and appoints it with a captivating array of forlorn riffs, weeping pianos, ethereal female vocals, and booming death croaks. The songsmithing is above average and the lengthy compositions keep you in thrall as they suck all the joy from your downtrodden soul. Cuts like “Faith of Thy Beloved” and “At the End of Our Eclipse” will win you over to the morose cause, and the nine-minute “Through Memories, I Gave Her Life” will carry you off to sadboi glory. Is it derivative of its source material? Naturally, but the adroit blend of My Dying Bride and female-forward Gothic doom like Draconian works well. With Winter banging at the door, this is the optimal time of year for what Lord of Shadows are selling, so stock up now! DOOM!
#2023 #Adamantia #Aortha #AshPrison #AtTheGatesOfAdversarialDarkness #BlackMetal #CanadianMetal #Cloak #Crossed #Daïtro #DHG #EchoesOfYore #Exhorder #FutureTorn #HeavyMetal #HypnoticDirgeRecords #Imperialist #Industrial #IndustrialMetal #KingSRot #LaurenneLouhimo #LordOfShadows #Macabre #MelodicBlackMetal #Metalcore #Monolit #MoonlightSorcery #NoThrashMetalNoLife #PowerMetal #SatsurikuRobot #ScarSymmetry #Screamo #SelfReleased #SentientRuinLaboratories #Sep23 #Slayer #Sodom #StuckInTheFilter #Temperance #Tenue #ThrashMetal #Úlfúð #VIbora #Vimur #Voivod #WormHoleDeath #ZaldiBeltza #ZegemaBeachRecords
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Stuck in the Filter – September’s Angry Misses
By Kenstrosity
Fall is upon us at last. Here at my station, located far far away from AMG HQ due to my various injustices against the Score Counter, taste, and metal credibility over the past five years of writership, I monitor our minions’ progress scouring the headquarters’ overtaxed filtration system. As the leaves and cool mists infiltrate the guts of the machine to mingle with the stagnant refuse which lines the chutes and coats our poor, unfortunate laborers, I use my remote-controlled cattle-prod-equipped drone to motivate and maintain pace. We have a deadline to reach after all!
Ah, who am I kidding?! Deadlines are for poseurs, and we are well-known specialists of the late post. I just like torturing my subjects until they cough up the goods. And cough up they always do! So now, please, sit, and enjoy the spoils of not my labor, the best of the pretty good from September 2023!
Kenstrosity’s Mildewed Masses
King’s Rot // At the Gates of Adversarial Darkness [September 22nd, 2023 – Hypnotic Dirge Records]
It’s been a fairly mediocre year for standard black metal in the House ov Ken. Most of the time, the good stuff hybridized with other things like death metal (Úlfúð), psychedelia (DHG), or power metal (Moonlight Sorcery). Alberta, Canada’s King’s Rot doesn’t quite change that, but they make a valiant effort of it with their sophomore outing, At the Gates of Adversarial Darkness. Its production marks a good start, perfectly straddling the fence between murky rawness and sparkling clarity. This in turn bolsters the quality of the music, which straddles the fence between melodicism and wretchedness. I’m most engaged whenever King’s Rot kick into high gear, evoking bands like Vimur and Imperialist, except this material prefers to revel in the hellish flames of the underworld rather than the coronas of distant stars (“Blazing Winds of Torment,” “At the Gates of Adversarial Darkness,” “Last Dance for the Eternal Flame”). However, they could use more of that perilous verve and swagger in those areas where the band take their sweet time building up to a blistering fury (as with the Cloak-esque “Twilight Breath Incantation” and “Obscure Awakenings”) in order to keep my interest rabid from start to finish. In sum, you could do much worse than At the Gates of Adversarial Darkness for your fiery, but chilling black metal fix.
Aortha // Monolit [September 8th, 2023 – Self Release]
How many vocalists is too many vocalists? International supergroup Aortha bring a new scope and scale to the question with their groovy heavy/thrash/power metal project by employing six individuals for mic duty (Exhorder‘s Kyle Thomas, Adamantia’s Diego Valdez, Voivod‘s Denis Belanger Snake, ex-Temperance’s Alessia Scolletti, Laurenne/Louhimo’s Netta Laurenne, ex-Scar Symmetry‘s Christian Älvestam). Supported by Jacob Umansky on bass, Hannes Grossman on drums, and Predrag Glogovac on guitars, Aortha’s debut LP Monolit boasts insane levels of groove, hook, and swagger. Bangers like “Those That Should Not Exist,” “Last of Our Kind,” “Forging the Locus” and “Divine Future” are guaranteed to kick your ass and take your lunch money, while every vocalist gets their chance to spit in your face (although it can be difficult to pick out who is who with 100% accuracy). It’s nearly impossible not to bob my head along with these tunes, as transitions constantly reveal a new trick up the group’s sleeve, whether that be another ripping verse hook (“Keep the Dream”), a sharp riff that has no business being as fun or interesting as it is (“Last of Our Kind”), or some fancy percussive work that one would expect from the world’s most sought-after drummer. It might be cheesy in places, ESL is everywhere, and some songs can feel a little long after repeat spins (“When All Around You is Madness”), but Monolit remains one of my most fun, compelling, and deceivingly cohesive surprises this year. You owe it to yourselves to try it!
Dolphin Whisperer’s Trench Treasures
SATSURIKU ROBOT // NO THRASH METAL, NO LIFE! [September 8th, 2023 – WormHoleDeath]
No Thrash Metal, No Life!—demanding and straightforward. It’s easy to imagine that the untested Japanese act would have constructed this outing as an homage to the blue-collar hammer-on, hammer-off tunes we all love so dearly.1 And to a certain extent the opening riffs to the Slayer-touched “THRASH NEVER DIE” and the Sodom-grooving “MAD THRASHER” have a normalcy to them. However, that basic appearance dissolves rapidly against a cranked-out, clangy-ass snare and a vocalist who’s channeling both a cat in heat and a pig greased for the chase. Honestly, I have no idea what the fuck he’s doing. On tracks like “殺戮ロボット – SATSURIKU ROBOT ” and “CARRY ON” he drops character for brief moments while channeling a punky bellow akin to fellow countrymen SEX MACHINEGUNS, which gives a little respite to his madness. For the most part though, he squirts and squeals with a rabid conviction while his bandmates do their best to churn out solid sing-along gang shouts amidst mighty solos (“ROBOT IN THE PANDEMIC,” “NO THRASH METAL, NO LIFE!”). Similar to the out-of-place nature of the hokey, nursery rhyme infusions you hear in a Macabre album, much of what SATSURIKU ROBOT accomplishes throughout this thoughtful mess of a debut should not work, but it does and it’s catchy as hell. Though I don’t think these folks could pull it off twice with as much shock value, but that matters little when you can enjoy this sneakily not-thrash ode to thrash. So what’re you waiting for? NO THRASH METAL, NO LIFE!!!
Vibora // Zaldi Beltza [September 29th, 2023 – Zegema Beach Records]
Anthemic, throat-ripping, cathartic as a cold bath with the curtains drawn—Zaldi Beltza (The Black Horse) is the skramz you need in your life. With a bass overdriven for noise rock and a scrapped mic that reminds me of regionally-adjacent sadbois Tenue or ragers Crossed,2 Vibora’s brand of screeching metalcore comes with highlights that swing effortlessly between tough guy throw-downs and major swing crescendos (“Eraikin Zurie,” “Le Fleur”). Though Vibora drops tempo for a few melancholy post-hardcore romps (“DANA,” “La Casa, 20”), the burn through Zaldi Beltza’s nine tracks in twenty-three minutes never feels too long drawn on its less aggressive elements. Appropriate levels of hissing amp feedback and nut-shaking bass (“La Casa, 8,” “Ez Ziguten Maitatzen Irakatsi”) ensure that these Basque core-kiddies never stray too far from a forward-moving path. I gotta level with you though, this is true screamo, and if you’re not accustomed to the fuzz-filtered, nasally, digging yelp that typically accompanies this world, Vibora doesn’t do anything to change that. But Zaldi Beltza, in its close-to-roots expression of bright-chord Daïtro-flavored post-hardcore with extra hardcore delivers a modern sad-ggression that’s building a movement of its own.
Thus Spoke’s Tarnished Trinkets
Ash Prison // Future Torn [September 22nd 2023 – Sentient Ruin Laboratories]
Ash Prison are basically everything you want blackened industrial music to be—or at least they’re everything I want it to be. This weird, warpy, wacky work sees resonant, electrified bass wrap around jittery tempos, accompanied by echoing, snarling croaks, and a plethora of other strange sounds. You’ve taken the pill the shifty guy by the club toilets gave you, that you probably shouldn’t have, and now the gothic electronica is warping around you, and the walls are starting to melt. The come up was a bit aggressive (“Archangel”), but at the same time, incredibly, weirdly danceable, in a jagged sort of way, as is much of Future Torn. And the way groovy, boppy beats slide in out of the noise (“Death Reborn,” “No Return,” “Collapse”) is almost as unsettling as the heavier, actually scary stuff. This mood swing happens whiplash from song to song, “Voidhead,” “Black Horizon,” and “Weep in my Shadow” each smash onto the scene with fast, clipped tempos and a lot of static and distortion. And then there’s “Scorn,” whose skipping, echoing voice sample and scarily low hum create a spine-chillingly powerful sense of dread before the beat picks up to turn it into a mad, unhinged bop. This album terrifies me, and I love it. Why not give it a try?
Steel Druhm’s Seasonal Slashing:
Lord of Shadows // Echoes of Yore [September 1st, 2023 – Meuse Music Records]
Lord of Shadows is the work of one Mike Lamb, and on the debut full-length Echoes of Yore, the multi-instrumentalist tackles the Peaceville sound made famous in the 90s by My Dying Bride and Anathema. And to make sure you know he’s deadly serious about his passion project, he recruited none other than My Dying Bride’s Aaron Stainthorpe to handle vocals for him, alongside Heike Langhans (Remina, Light Field Reverie, ex-Draconian). Over 42 minutes, Lamb and guests paint the night pitch black with effective Gothic doom loaded with drama, pathos, and despondency. The man knows his chosen genre well and appoints it with a captivating array of forlorn riffs, weeping pianos, ethereal female vocals, and booming death croaks. The songsmithing is above average and the lengthy compositions keep you in thrall as they suck all the joy from your downtrodden soul. Cuts like “Faith of Thy Beloved” and “At the End of Our Eclipse” will win you over to the morose cause, and the nine-minute “Through Memories, I Gave Her Life” will carry you off to sadboi glory. Is it derivative of its source material? Naturally, but the adroit blend of My Dying Bride and female-forward Gothic doom like Draconian works well. With Winter banging at the door, this is the optimal time of year for what Lord of Shadows are selling, so stock up now! DOOM!
#2023 #Adamantia #Aortha #AshPrison #AtTheGatesOfAdversarialDarkness #BlackMetal #CanadianMetal #Cloak #Crossed #Daïtro #DHG #EchoesOfYore #Exhorder #FutureTorn #HeavyMetal #HypnoticDirgeRecords #Imperialist #Industrial #IndustrialMetal #KingSRot #LaurenneLouhimo #LordOfShadows #Macabre #MelodicBlackMetal #Metalcore #Monolit #MoonlightSorcery #NoThrashMetalNoLife #PowerMetal #SatsurikuRobot #ScarSymmetry #Screamo #SelfReleased #SentientRuinLaboratories #Sep23 #Slayer #Sodom #StuckInTheFilter #Temperance #Tenue #ThrashMetal #Úlfúð #VIbora #Vimur #Voivod #WormHoleDeath #ZaldiBeltza #ZegemaBeachRecords
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#MetalInjection
VICOTNIK Discusses DØDHEIMSGARD's Latest Masterpiece & His Other Projects
The legend is back with yet another imagination-defying wonder!#Vicotnik #Dodheimsgard #Masterpiece #Virus #Avatar #Aeternus #DHG #Industrial #Metal #Experimental #Vocals
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Καινούργιο #Dodheimsgard #DHG μετά από αρκετά χρόνια - έρχονται και για live τον Σεπτέμβρη
https://www.youtube.com/watch?v=t5tjkOA7TxI
