#occultrock — Public Fediverse posts

The last time Jasmin Lempinen graced these storied pages, she was fronting a band of elders.1 As ‘Jess,’ Lempinen co-founded Jess and the Ancient Ones, singing on four albums for these under-heralded occult rockers from 2012–2021. So bewitching were the hippied strains of Second Psychedelic Coming: The Aquarius Tapes (2015) that Steel Druhm Circle—ensconced in a cloud of patchouli smoke—was all but forced to mint it with a rare 4.0.2 Shifting from fuzzy psych rock to jazzy noir rock à la Amy Winehouse, Lempinen released her first solo album, Under the Red Light Shine (2019), under the moniker Jess By The Lake, to positive reception. Long-awaited follow-up Human sees Lempinen leaving the Ancient Ones behind for good, squarely focusing on her solo career.3

And yet, Jess By The Lake searches for something even older in her continuing aquatic retreat. As Lempinen herself describes it, Human serves as ‘an analog counterattack’ against ‘disposable, soulless, plastic, mindless output,’ ‘unashamedly pay[ing] homage to…the traditions of rock music.’ Joined by original drummer Marianne Heikkinen, Lempinen plays electric guitar and a Rhodes piano, beyond her central role as vocalist. New to Jess By The Lake are guitarist Sampo Leksis and bassist Oliver Karttunen, who help Lempinen give voice to earthy classic rock in the tradition of Big Brother and the Holding Company and early CCR. Also forming the album’s traditionalism is its analog production: Human was recorded on magnetic tape in the summer of 2023 at Höyrybaari in Lapinlahti, Finland, by Tommi Saikkonen and Leksis (who also mixed the album). A review of another album might have relegated these recording details to the footnotes, or not mentioned them at all. But given Lempinen’s motivations and aspirations for Human, it only seems right to specify the time, place, and conditions of the album’s creation. One thing you can’t say about Jess By The Lake’s sophomore album is that it sounds plastic—it’s organic and crackling, fully alive.

As with Jess and the Ancient Ones, Lempinen is the star of Jess By The Lake, and her performance on Human engrosses with affecting dynamism. ‘My own voice finally sounded familiar and authentic,’ she explains, when it was recorded analog for the new album. While undoubtedly authentic, comparing Lempinen’s voice to familiar artists will prove helpful. If Under the Red Light Shine saw her primarily channelling Amy Winehouse, on its follow-up, she lets her Joplin flag fly. Opening the album with a screeching wail, “Jaleihou” sees Lempinen showing off her falsettos and even dipping into some quasi-yodels. On the more delicate side of the spectrum, “Lovely Boy” contains some gorgeous harmonies, undergirded by the twinkling warmth of the Rhodes. Tracks like “Falling Under” and “The Shame” fully capture Lempinen’s range, starting off subdued and sultry before letting loose with some powerfully distorted head voice. A section here and there fell flat for me (the chorus of “Wanderin Kind”), but overall, the vocals on Human are as rawly human as they get.

The Lake deserves credit as well—it’s more than just a backing band. As guitarist, Leksis delivers a smattering of simple-yet-unshakeable blues riffs (“Jaleihou”) and on-the-money solos (“Sister”). Bass/drum combo Karttunen and Heikkinen proceed into the foreground when needed, whether to provide delicately bumpin’ grooves (“Lovely Boy”) or busier supporting fills (“Alice,” “Holy Grove”). As a unit, Lempinen, Leksis, Karttunen, and Heikkinen deal in straightforward, time-tested songwriting. Still, there’s enough character to keep things interesting. “How Could You Tell?” is one such song, slowly picking up the pace before a peppery ending reminiscent of Dire Straits (without the guitar noodling). The sonically muffled “Holy Groves” also adds pleasant variety, coming off as an artsy post-rock capper for Human.

I must admit I miss Lempinen’s collaboration with the Ancient Ones. But I also applaud her decision to go solo, and Human signifies a bold new chapter for Jess By The Lake. While Under the Red Light Shine was more immediately sticky, Lempinen’s sophomore effort shines for its combination of sonic authenticity and classic songcraft. In 2026, any musician embracing organic recording processes deserves our attention, and if the music is good, deserves even more of it. Jess By The Lake fits both these bills—check out Human, especially if you’re yearning for the rockin’ tunes and tones of yesteryear.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Svart Records
Website: Bandcamp
Releases Worldwide: September 11th, 2026

The last time Jasmin Lempinen graced these storied pages, she was fronting a band of elders.1 As ‘Jess,’ Lempinen co-founded Jess and the Ancient Ones, singing on four albums for these under-heralded occult rockers from 2012–2021. So bewitching were the hippied strains of Second Psychedelic Coming: The Aquarius Tapes (2015) that Steel Druhm Circle—ensconced in a cloud of patchouli smoke—was all but forced to mint it with a rare 4.0.2 Shifting from fuzzy psych rock to jazzy noir rock à la Amy Winehouse, Lempinen released her first solo album, Under the Red Light Shine (2019), under the moniker Jess By The Lake, to positive reception. Long-awaited follow-up Human sees Lempinen leaving the Ancient Ones behind for good, squarely focusing on her solo career.3

And yet, Jess By The Lake searches for something even older in her continuing aquatic retreat. As Lempinen herself describes it, Human serves as ‘an analog counterattack’ against ‘disposable, soulless, plastic, mindless output,’ ‘unashamedly pay[ing] homage to…the traditions of rock music.’ Joined by original drummer Marianne Heikkinen, Lempinen plays electric guitar and a Rhodes piano, beyond her central role as vocalist. New to Jess By The Lake are guitarist Sampo Leksis and bassist Oliver Karttunen, who help Lempinen give voice to earthy classic rock in the tradition of Big Brother and the Holding Company and early CCR. Also forming the album’s traditionalism is its analog production: Human was recorded on magnetic tape in the summer of 2023 at Höyrybaari in Lapinlahti, Finland, by Tommi Saikkonen and Leksis (who also mixed the album). A review of another album might have relegated these recording details to the footnotes, or not mentioned them at all. But given Lempinen’s motivations and aspirations for Human, it only seems right to specify the time, place, and conditions of the album’s creation. One thing you can’t say about Jess By The Lake’s sophomore album is that it sounds plastic—it’s organic and crackling, fully alive.

As with Jess and the Ancient Ones, Lempinen is the star of Jess By The Lake, and her performance on Human engrosses with affecting dynamism. ‘My own voice finally sounded familiar and authentic,’ she explains, when it was recorded analog for the new album. While undoubtedly authentic, comparing Lempinen’s voice to familiar artists will prove helpful. If Under the Red Light Shine saw her primarily channelling Amy Winehouse, on its follow-up, she lets her Joplin flag fly. Opening the album with a screeching wail, “Jaleihou” sees Lempinen showing off her falsettos and even dipping into some quasi-yodels. On the more delicate side of the spectrum, “Lovely Boy” contains some gorgeous harmonies, undergirded by the twinkling warmth of the Rhodes. Tracks like “Falling Under” and “The Shame” fully capture Lempinen’s range, starting off subdued and sultry before letting loose with some powerfully distorted head voice. A section here and there fell flat for me (the chorus of “Wanderin Kind”), but overall, the vocals on Human are as rawly human as they get.

The Lake deserves credit as well—it’s more than just a backing band. As guitarist, Leksis delivers a smattering of simple-yet-unshakeable blues riffs (“Jaleihou”) and on-the-money solos (“Sister”). Bass/drum combo Karttunen and Heikkinen proceed into the foreground when needed, whether to provide delicately bumpin’ grooves (“Lovely Boy”) or busier supporting fills (“Alice,” “Holy Grove”). As a unit, Lempinen, Leksis, Karttunen, and Heikkinen deal in straightforward, time-tested songwriting. Still, there’s enough character to keep things interesting. “How Could You Tell?” is one such song, slowly picking up the pace before a peppery ending reminiscent of Dire Straits (without the guitar noodling). The sonically muffled “Holy Groves” also adds pleasant variety, coming off as an artsy post-rock capper for Human.

I must admit I miss Lempinen’s collaboration with the Ancient Ones. But I also applaud her decision to go solo, and Human signifies a bold new chapter for Jess By The Lake. While Under the Red Light Shine was more immediately sticky, Lempinen’s sophomore effort shines for its combination of sonic authenticity and classic songcraft. In 2026, any musician embracing organic recording processes deserves our attention, and if the music is good, deserves even more of it. Jess By The Lake fits both these bills—check out Human, especially if you’re yearning for the rockin’ tunes and tones of yesteryear.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Svart Records
Website: Bandcamp
Releases Worldwide: September 11th, 2026

The last time Jasmin Lempinen graced these storied pages, she was fronting a band of elders.1 As ‘Jess,’ Lempinen co-founded Jess and the Ancient Ones, singing on four albums for these under-heralded occult rockers from 2012–2021. So bewitching were the hippied strains of Second Psychedelic Coming: The Aquarius Tapes (2015) that Steel Druhm Circle—ensconced in a cloud of patchouli smoke—was all but forced to mint it with a rare 4.0.2 Shifting from fuzzy psych rock to jazzy noir rock à la Amy Winehouse, Lempinen released her first solo album, Under the Red Light Shine (2019), under the moniker Jess By The Lake, to positive reception. Long-awaited follow-up Human sees Lempinen leaving the Ancient Ones behind for good, squarely focusing on her solo career.3

And yet, Jess By The Lake searches for something even older in her continuing aquatic retreat. As Lempinen herself describes it, Human serves as ‘an analog counterattack’ against ‘disposable, soulless, plastic, mindless output,’ ‘unashamedly pay[ing] homage to…the traditions of rock music.’ Joined by original drummer Marianne Heikkinen, Lempinen plays electric guitar and a Rhodes piano, beyond her central role as vocalist. New to Jess By The Lake are guitarist Sampo Leksis and bassist Oliver Karttunen, who help Lempinen give voice to earthy classic rock in the tradition of Big Brother and the Holding Company and early CCR. Also forming the album’s traditionalism is its analog production: Human was recorded on magnetic tape in the summer of 2023 at Höyrybaari in Lapinlahti, Finland, by Tommi Saikkonen and Leksis (who also mixed the album). A review of another album might have relegated these recording details to the footnotes, or not mentioned them at all. But given Lempinen’s motivations and aspirations for Human, it only seems right to specify the time, place, and conditions of the album’s creation. One thing you can’t say about Jess By The Lake’s sophomore album is that it sounds plastic—it’s organic and crackling, fully alive.

As with Jess and the Ancient Ones, Lempinen is the star of Jess By The Lake, and her performance on Human engrosses with affecting dynamism. ‘My own voice finally sounded familiar and authentic,’ she explains, when it was recorded analog for the new album. While undoubtedly authentic, comparing Lempinen’s voice to familiar artists will prove helpful. If Under the Red Light Shine saw her primarily channelling Amy Winehouse, on its follow-up, she lets her Joplin flag fly. Opening the album with a screeching wail, “Jaleihou” sees Lempinen showing off her falsettos and even dipping into some quasi-yodels. On the more delicate side of the spectrum, “Lovely Boy” contains some gorgeous harmonies, undergirded by the twinkling warmth of the Rhodes. Tracks like “Falling Under” and “The Shame” fully capture Lempinen’s range, starting off subdued and sultry before letting loose with some powerfully distorted head voice. A section here and there fell flat for me (the chorus of “Wanderin Kind”), but overall, the vocals on Human are as rawly human as they get.

The Lake deserves credit as well—it’s more than just a backing band. As guitarist, Leksis delivers a smattering of simple-yet-unshakeable blues riffs (“Jaleihou”) and on-the-money solos (“Sister”). Bass/drum combo Karttunen and Heikkinen proceed into the foreground when needed, whether to provide delicately bumpin’ grooves (“Lovely Boy”) or busier supporting fills (“Alice,” “Holy Grove”). As a unit, Lempinen, Leksis, Karttunen, and Heikkinen deal in straightforward, time-tested songwriting. Still, there’s enough character to keep things interesting. “How Could You Tell?” is one such song, slowly picking up the pace before a peppery ending reminiscent of Dire Straits (without the guitar noodling). The sonically muffled “Holy Groves” also adds pleasant variety, coming off as an artsy post-rock capper for Human.

I must admit I miss Lempinen’s collaboration with the Ancient Ones. But I also applaud her decision to go solo, and Human signifies a bold new chapter for Jess By The Lake. While Under the Red Light Shine was more immediately sticky, Lempinen’s sophomore effort shines for its combination of sonic authenticity and classic songcraft. In 2026, any musician embracing organic recording processes deserves our attention, and if the music is good, deserves even more of it. Jess By The Lake fits both these bills—check out Human, especially if you’re yearning for the rockin’ tunes and tones of yesteryear.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Svart Records
Website: Bandcamp
Releases Worldwide: September 11th, 2026

The last time Jasmin Lempinen graced these storied pages, she was fronting a band of elders.1 As ‘Jess,’ Lempinen co-founded Jess and the Ancient Ones, singing on four albums for these under-heralded occult rockers from 2012–2021. So bewitching were the hippied strains of Second Psychedelic Coming: The Aquarius Tapes (2015) that Steel Druhm Circle—ensconced in a cloud of patchouli smoke—was all but forced to mint it with a rare 4.0.2 Shifting from fuzzy psych rock to jazzy noir rock à la Amy Winehouse, Lempinen released her first solo album, Under the Red Light Shine (2019), under the moniker Jess By The Lake, to positive reception. Long-awaited follow-up Human sees Lempinen leaving the Ancient Ones behind for good, squarely focusing on her solo career.3

And yet, Jess By The Lake searches for something even older in her continuing aquatic retreat. As Lempinen herself describes it, Human serves as ‘an analog counterattack’ against ‘disposable, soulless, plastic, mindless output,’ ‘unashamedly pay[ing] homage to…the traditions of rock music.’ Joined by original drummer Marianne Heikkinen, Lempinen plays electric guitar and a Rhodes piano, beyond her central role as vocalist. New to Jess By The Lake are guitarist Sampo Leksis and bassist Oliver Karttunen, who help Lempinen give voice to earthy classic rock in the tradition of Big Brother and the Holding Company and early CCR. Also forming the album’s traditionalism is its analog production: Human was recorded on magnetic tape in the summer of 2023 at Höyrybaari in Lapinlahti, Finland, by Tommi Saikkonen and Leksis (who also mixed the album). A review of another album might have relegated these recording details to the footnotes, or not mentioned them at all. But given Lempinen’s motivations and aspirations for Human, it only seems right to specify the time, place, and conditions of the album’s creation. One thing you can’t say about Jess By The Lake’s sophomore album is that it sounds plastic—it’s organic and crackling, fully alive.

As with Jess and the Ancient Ones, Lempinen is the star of Jess By The Lake, and her performance on Human engrosses with affecting dynamism. ‘My own voice finally sounded familiar and authentic,’ she explains, when it was recorded analog for the new album. While undoubtedly authentic, comparing Lempinen’s voice to familiar artists will prove helpful. If Under the Red Light Shine saw her primarily channelling Amy Winehouse, on its follow-up, she lets her Joplin flag fly. Opening the album with a screeching wail, “Jaleihou” sees Lempinen showing off her falsettos and even dipping into some quasi-yodels. On the more delicate side of the spectrum, “Lovely Boy” contains some gorgeous harmonies, undergirded by the twinkling warmth of the Rhodes. Tracks like “Falling Under” and “The Shame” fully capture Lempinen’s range, starting off subdued and sultry before letting loose with some powerfully distorted head voice. A section here and there fell flat for me (the chorus of “Wanderin Kind”), but overall, the vocals on Human are as rawly human as they get.

The Lake deserves credit as well—it’s more than just a backing band. As guitarist, Leksis delivers a smattering of simple-yet-unshakeable blues riffs (“Jaleihou”) and on-the-money solos (“Sister”). Bass/drum combo Karttunen and Heikkinen proceed into the foreground when needed, whether to provide delicately bumpin’ grooves (“Lovely Boy”) or busier supporting fills (“Alice,” “Holy Grove”). As a unit, Lempinen, Leksis, Karttunen, and Heikkinen deal in straightforward, time-tested songwriting. Still, there’s enough character to keep things interesting. “How Could You Tell?” is one such song, slowly picking up the pace before a peppery ending reminiscent of Dire Straits (without the guitar noodling). The sonically muffled “Holy Groves” also adds pleasant variety, coming off as an artsy post-rock capper for Human.

I must admit I miss Lempinen’s collaboration with the Ancient Ones. But I also applaud her decision to go solo, and Human signifies a bold new chapter for Jess By The Lake. While Under the Red Light Shine was more immediately sticky, Lempinen’s sophomore effort shines for its combination of sonic authenticity and classic songcraft. In 2026, any musician embracing organic recording processes deserves our attention, and if the music is good, deserves even more of it. Jess By The Lake fits both these bills—check out Human, especially if you’re yearning for the rockin’ tunes and tones of yesteryear.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Svart Records
Website: Bandcamp
Releases Worldwide: September 11th, 2026

The last time Jasmin Lempinen graced these storied pages, she was fronting a band of elders.1 As ‘Jess,’ Lempinen co-founded Jess and the Ancient Ones, singing on four albums for these under-heralded occult rockers from 2012–2021. So bewitching were the hippied strains of Second Psychedelic Coming: The Aquarius Tapes (2015) that Steel Druhm Circle—ensconced in a cloud of patchouli smoke—was all but forced to mint it with a rare 4.0.2 Shifting from fuzzy psych rock to jazzy noir rock à la Amy Winehouse, Lempinen released her first solo album, Under the Red Light Shine (2019), under the moniker Jess By The Lake, to positive reception. Long-awaited follow-up Human sees Lempinen leaving the Ancient Ones behind for good, squarely focusing on her solo career.3

And yet, Jess By The Lake searches for something even older in her continuing aquatic retreat. As Lempinen herself describes it, Human serves as ‘an analog counterattack’ against ‘disposable, soulless, plastic, mindless output,’ ‘unashamedly pay[ing] homage to…the traditions of rock music.’ Joined by original drummer Marianne Heikkinen, Lempinen plays electric guitar and a Rhodes piano, beyond her central role as vocalist. New to Jess By The Lake are guitarist Sampo Leksis and bassist Oliver Karttunen, who help Lempinen give voice to earthy classic rock in the tradition of Big Brother and the Holding Company and early CCR. Also forming the album’s traditionalism is its analog production: Human was recorded on magnetic tape in the summer of 2023 at Höyrybaari in Lapinlahti, Finland, by Tommi Saikkonen and Leksis (who also mixed the album). A review of another album might have relegated these recording details to the footnotes, or not mentioned them at all. But given Lempinen’s motivations and aspirations for Human, it only seems right to specify the time, place, and conditions of the album’s creation. One thing you can’t say about Jess By The Lake’s sophomore album is that it sounds plastic—it’s organic and crackling, fully alive.

As with Jess and the Ancient Ones, Lempinen is the star of Jess By The Lake, and her performance on Human engrosses with affecting dynamism. ‘My own voice finally sounded familiar and authentic,’ she explains, when it was recorded analog for the new album. While undoubtedly authentic, comparing Lempinen’s voice to familiar artists will prove helpful. If Under the Red Light Shine saw her primarily channelling Amy Winehouse, on its follow-up, she lets her Joplin flag fly. Opening the album with a screeching wail, “Jaleihou” sees Lempinen showing off her falsettos and even dipping into some quasi-yodels. On the more delicate side of the spectrum, “Lovely Boy” contains some gorgeous harmonies, undergirded by the twinkling warmth of the Rhodes. Tracks like “Falling Under” and “The Shame” fully capture Lempinen’s range, starting off subdued and sultry before letting loose with some powerfully distorted head voice. A section here and there fell flat for me (the chorus of “Wanderin Kind”), but overall, the vocals on Human are as rawly human as they get.

The Lake deserves credit as well—it’s more than just a backing band. As guitarist, Leksis delivers a smattering of simple-yet-unshakeable blues riffs (“Jaleihou”) and on-the-money solos (“Sister”). Bass/drum combo Karttunen and Heikkinen proceed into the foreground when needed, whether to provide delicately bumpin’ grooves (“Lovely Boy”) or busier supporting fills (“Alice,” “Holy Grove”). As a unit, Lempinen, Leksis, Karttunen, and Heikkinen deal in straightforward, time-tested songwriting. Still, there’s enough character to keep things interesting. “How Could You Tell?” is one such song, slowly picking up the pace before a peppery ending reminiscent of Dire Straits (without the guitar noodling). The sonically muffled “Holy Groves” also adds pleasant variety, coming off as an artsy post-rock capper for Human.

I must admit I miss Lempinen’s collaboration with the Ancient Ones. But I also applaud her decision to go solo, and Human signifies a bold new chapter for Jess By The Lake. While Under the Red Light Shine was more immediately sticky, Lempinen’s sophomore effort shines for its combination of sonic authenticity and classic songcraft. In 2026, any musician embracing organic recording processes deserves our attention, and if the music is good, deserves even more of it. Jess By The Lake fits both these bills—check out Human, especially if you’re yearning for the rockin’ tunes and tones of yesteryear.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Svart Records
Website: Bandcamp
Releases Worldwide: September 11th, 2026

#NowPlaying the recent album "Ritual Arcana" by the band #RitualArcana from the #USA

#OccultRock #HardRock #FemaleVocals #AlbumsOf2026

Personal Rating: 3 / 10

Recommended Tracks: -

La misteriosa relación entre el Beatle y el infame ocultista que ha intrigado a fans por décadas.

🎵 La visita que despertó recuerdos

Con la reciente visita de Paul McCartney a Monterrey, mi mente viajó a esos días de investigación obsesiva sobre una de las teorías más fascinantes del rock: la supuesta conexión entre el ex-Beatle y el notorious ocultista Aleister Crowley.

🐰 Cayendo en la madriguera del conejo

¿Quién pensaría que los Beatles, aquellos chicos de Liverpool que conquistaron el mundo con canciones de amor adolescente, terminarían siendo el portal hacia los misterios más profundos del ocultismo? Todo comenzó como suele suceder: inocentemente. Un día estás escuchando «Yesterday» y al siguiente te encuentras sumergido en foros de internet analizando mensajes ocultos en grabaciones reproducidas al revés, estudiando símbolos esotéricos en portadas de álbumes y conectando puntos que aparentemente no tenían relación.

💿 El portal Sgt. Pepper

La icónica portada del «Sgt. Pepper’s Lonely Hearts Club Band» (1967) fue mi puerta de entrada. Entre la multitud de rostros famosos, ahí estaba él: Aleister Crowley, «La Bestia 666» 😈, mirando misteriosamente entre la galaxia de celebridades. Esta no fue una elección casual. Crowley, conocido como «La Bestia 666» 😈, había fallecido en 1947, pero su influencia en la contracultura de los 60 era innegable. Su filosofía del «Haz lo que quieras» resonaba fuertemente con la revolución cultural de la época.

🔍 Las conexiones más profundas

La presencia de Crowley en la portada es solo la punta del iceberg. Los investigadores han señalado numerosas conexiones:

• El lugar de nacimiento de Paul coincide con áreas de actividad de Crowley
• Las fechas significativas en la vida de ambos personajes muestran patrones interesantes
• La transformación musical de los Beatles coincide con el período en que supuestamente Paul fue «reemplazado»
• Elementos de misticismo oriental que tanto Crowley como los Beatles exploraron
• El uso de símbolos y referencias ocultas en las canciones posteriores a 1966

🌐 La era dorada de los foros: 2005-2013

Hace más de una década, internet era un lugar diferente. Existía todo un universo de foros y sitios web dedicados a estas teorías:

Internet de principios de los 2000 era un territorio salvaje y sin regular, perfecto para que florecieran estas teorías. Durante esta época dorada, existía una red internacional de investigadores aficionados que compartían hallazgos en foros dedicados. Sitios web como «The Paul Is Dead Archives», «Beatles Conspiracy Forum» y «Crowley’s Connection» albergaban extensas investigaciones que incluían:

📚 Investigaciones detalladas

• Análisis forense de fotografías de Paul antes y después de 1966
• Estudios de voz comparando grabaciones tempranas y tardías
• Documentación sobre la vida de Crowley y sus conexiones con la élite británica
• Testimonios de personas que trabajaron con los Beatles en los 60
• Análisis numerológico de fechas y eventos significativos

🎭 La teoría del reemplazo

La teoría central sugiere que el Paul original fue reemplazado por un doble, apodado «Faul» por los fans. Este reemplazo supuestamente tendría conexiones con Crowley, ya sea como descendiente directo o como parte de un elaborado plan ocultista. Las «evidencias» incluyen:

• Cambios en la escritura y firma de Paul
• Diferencias en su altura y rasgos faciales
• Modificaciones en su estilo musical y preferencias personales
• El súbito interés de la banda por el ocultismo y el misticismo
• La inclusión de «pistas» en canciones y portadas de álbumes

💻 El legado digital y la evolución de la teoría

Aunque muchos de los foros originales han desaparecido, su influencia persiste en la cultura popular moderna:

🌟 Recursos que sobreviven

• Archivos preservados en Wayback Machine
• Documentales independientes en YouTube
• Grupos de Facebook dedicados a la investigación
• Podcasts que exploran estas teorías
• Nuevos análisis que incorporan tecnología moderna

📱 La teoría en la era moderna

Las redes sociales han dado nueva vida a estas especulaciones:

• Hilos de Twitter que conectan nuevos puntos
• Subreddits dedicados a analizar evidencia histórica
• Instagram accounts que publican comparativas fotográficas

🤔 Reflexión sobre el impacto cultural

Más allá de su veracidad, esta teoría representa algo más profundo en la cultura pop:

• La necesidad humana de encontrar significados ocultos
• La fascinación por lo esotérico en la música popular
• La influencia duradera de los Beatles en la cultura
• La intersección entre arte, música y misticismo
• La forma en que las leyendas urbanas evolucionan en la era digital

⭐ Conclusión: El misterio continúa

Cada nueva aparición de McCartney, como el reciente concierto en Monterrey, añade un nuevo capítulo a esta fascinante historia. La teoría de la conexión Crowley-McCartney, aunque nunca probada, nos recuerda que la mejor música siempre contiene un elemento de misterio y que los Beatles, más que una simple banda, son un portal hacia exploraciones más profundas de la cultura y la conciencia humana.

https://elblogdelascuriosidades.com.mx/2024/11/09/paul-mccartney-aleister-crowley-conexion-secreta-beatles-teoria/

#60sMusic #AleisterCrowley #beatles #BeatlesFacts #BeatlesMystery #ConspiracyTheories #MusicHistory #MusicLegends #OccultRock #PaulIsDead #PaulMcCartney #RockHistory #RockNRoll #SgtPepper #TheBeatlesToday

Stuck in the Filter: March 2024’s Angry Misses

By Kenstrosity

While it was cold and gloomy just a couple weeks before writing, now it’s blisteringly hot and humid. Such is the transition from February to April in the land of Ken. It’s May now, of course, so we are once again traveling back in time to when our Filter was brimming with scabs and scaled plucked from the Hides of March. As is my prerogative, I sent my minions, which are legion, into the thick of it to retrieve those lost gems which would otherwise be damned for musty eternity.

So, without further ado, my I interest you in our March Filter wares? The answer is always yes (or else)!

Kenstrosity’s Singular Stipend

Saturday Night Satan // All Things Black [March 15th, 2024 – Self-Released]

Obviously, I was bound to spin this record. A kitty on the cover? Sold. That’s literally all I needed to know I was gonna dig Greek occult heavy metal duo Saturday Night Satan. Lo and behold, their debut full-length All Things Black RAWKS. The first five songs, from rollicking opener “5 AM” to “Lurking in the Shadows,” constitute perhaps the best and most addicting introduction to a new band that I’ve heard in ages. Jim Kotsis’ (Black Soul Horde) swaggering riffs, buttery-smooth bass, and infectious rhythms consistently motivate this record through high-octane, bar-ready romps and doom-y crawls with equal liveliness, proving himself to be a versatile and exciting musician. Meanwhile, Kate Soulthorn croons and belts her way across this record with a venomous, but brassy and clear delivery oozing with charisma (“Rule With Fire,” “Lurking in the Shadows,” “Witches’ Dance”). While the record loses just a touch of momentum in the middle (“By the River, Crown of Arrogance”), there are no bad tracks to be found. Furthermore, repeat spins yield even greater enjoyment, as this record has only grown on me since my first spin and I don’t expect that trend to taper anytime soon.

Tales From the Garden

Molten // Malicide [March 6th, 2024 – Transylvanian Recordings]

Sometimes a band does one thing so well you don’t really need anything else to be great. Molten doesn’t stand out because of its vocals, a serviceable but somewhat limited growl. The drums are likewise decent, but nothing to cream your pants over. But the riffs! If that hurly burly bouncing up the stairs riff of “Pathogenesis” doesn’t put your facehole in a grin, it may be time to call it quits on death metal. Same for the insane, blistering solo that punctuates “Scorched” or the absolute neck-snapping title track. The latter is also the best place to spot the skillful bass parts that sneakily elevate the guitars to sound as good as they do. With a bunch of short ‘n snappy tracks showcasing Molten’s chops, a sudden 9-and-a-half-minute thrash epic sounds like a disaster in waiting, but the riffs, the solos and the serpentine bass are all high enough quality that I don’t want the San Fran boys to stop firing their big hooky shit at my face anyway. Malicide is a humble package, utterly crammed with infectious fun and riffy goodness, so get on that shit or get off the death metal pot.

Saunders’ Smoldering Cinders

BRAT // Social Grace [March 15th, 2024 – Prosthetic Records]

Look beyond their questionable moniker and self-proclaimed ‘Bimboviolence’ tag, and NOLA up-and-comers BRAT impresses on their debut LP, Social Grace. Listeners would be foolish to pass over this band as some sort of gimmicky modern metal act, the rugged, ugly musical form BRAT composes packs a serious punch. Social Grace present a thuggish, volatile concoction where the crossroads of grind, death and powerviolence meet. Factor in sludgy hues and seedy NOLA tones adding layers of extra grime and grit to short, sharp, stabbing cuts that pull no punches. The blasty, belligerent throes of old school grind meets sludge stomp of “Hesitation Wound” showcases BRAT’s deft ability to shift gears and compliment rabid blasting and grindy chaos, with infectious riffs and brawling grooves. Social Grace features similarly raw examples of gnarly, unbridled menace. Amped aggression, throaty vocals and speedy surges are complemented by fun, headbanging riffs and toughened grooves, lending the album a catchy edge and solid replay value reflected on gems such as the rifftastic title track, contrasting charms of “Truncheon,” and feedback-drenched grind-punk fury of “Human Offense.”

Suicidal Angels // Profane Prayer [March 1st, 2024 – Nuclear Blast]

Unsung Greek institution Suicidal Angels have pumped out material since the early aughts, crafting Euro-flavored thrash with a heavy dose of American influence, including Exodus and Slayer. Throw in an occasional atmospheric, melodeath twist, and you are left with a dependably solid batch of meat and potatoes goodness. Although rarely blowing minds, Suicidal Angels’ retro thrash platters, such as Dead Again and Bloodbath, represent potent examples of the band’s trusty formula. Following a five-year recording gap, Suicidal Angels return with their eighth LP, Profane Prayer. Profane Prayer follows a familiar trajectory, yet sounds fresh, full of energy and armed with fiery, aggressive riffage. These dudes are a tight unit, and the explosive speediness and exuberant performances shine alongside killer old school riffage, slashing solos, and technical embellishments. Ferociously infectious thrashers like “When the Lions Die,” “Purified by Fire,” “Crypts of Madness” and ‘Virtues of Destruction” sound more inspired than I’ve heard from the band in some time. Profane Prayer has moments of bloat, but the pros outweigh the cons, resulting in a largely enjoyable and explosive thrash platter. Props to the band for stretching their wings on the epic, progressively leaning journey of “Deathstalker,” and similarly adventurous closer “The Fire Paths of Fate,” showing Suicidal Angels still have some tricks up their sleeves.

Thus Spoke’s Forgotten Findings

Carrion Vael // Cannibals Anonymous [March 29th, 2024 – Unique Leader Records]

I was introduced to Carrion Vael by Dr. Grier’s review of their 2022 LP Abhorrent Obsessions where he deemed it “a beast of a record,” and I wholeheartedly concurred. Fortunately for all of us lovers of the Indiana melodeath/deathcore/generally heavy bunch, Cannibals Anonymous largely picks up where the previous one left off. It’s vicious, and satisfyingly slick, the rapidly descending/ascending scales, smooth, fast transitions between always-driving-forward tempos, and cutthroat snarls once again betraying a Black Dahlia Murder influence, but with a bit more of a deathcore angle. The riffy kind of deathcore. Because yeah, this thing has riffs (see especially ” “Love Zombie,” “Discount Meats,” and “Pins and Needles”)—as well as gore—spilling out of its every orifice, and they’re great. Also surprisingly fun are the further extended use of cleans now appearing on most of the album’s tracks, which only serve to make them more catchy, compelling, and fun, whether they’re shouty and atonal (“Discount Meats”), or genuinely mellifluous (“Savage Messiah,” “Pins and Needles,” “Augusta’s Dead”); and they’re more often the latter. Carrion Vael also lean a little further into the urgent-minor melodic refrain territory that made Abhorrent Obsessions so sticky, with “Savage Messiah,” “Pins and Needles,” and “Everything/Nothing” standing out. This isn’t changing the scene, but goddamn it if you won’t have a fucking fantastic time chucking some heavy weights around or generally vibing with a massive grin on your face whilst listening to it. Go on, you know you want to.

Dear Hollow’s Deafening Debris

Givre // Le Cloître [March 29th, 2024 – Eisenwald]

It’s not often that a black metal band willingly discusses Christianity in a somewhat endearing light, so the Quebecois Givre is a bit of a conundrum. However, in the most brutal fashion possible, this trio discusses examples of female saints and each respective trail of pain left behind in the pursuit of holiness. Given the subject matter, you can imagine the cross that is borne across its forty-two-minute runtime. Each track carries with it a mood and style of its own, united as a whole through the atoning power of agony, as all characters throughout have suffered greatly for the sake of Christ. That being said, this is regardless a hopeful album, and in many ways, La Cloître feels like a meditation, fluid movements whose organicity revolves around gentle plucking. While tracks like opener “Marthe Robin (1902-1981)” and “Sainte Thérèse d’Avila (1515-1582)” embrace this aesthetic of prayerful lamentation, it does not stop the winding riff punishment of “Louise du Néant (1639-1694)” from scorching the surrounding soil, or the mysterious, nearly Southern rock-oriented, “Sainte Hildegarde de Bingen (1098-1179)” and desperate start-stop riffs of “Sainte Marguerite de Cortone (1247-1297)” from commanding otherworldly planes. While the stylistic choices differ and may be jarring to listeners, it is cemented by its theme as it pursues God down lesser-trodden trails of atonement through flagellation.

Profane Burial // My Plateau [March 1st, 2024 – Crime Records]

The Norwegian black metallers channel nearly everything they can get their grimy claws onto in My Plateau. Profane Burial professes to be “cinematic black metal,” and that is an accurate description in its boundary-pushing of atmospheric and symphonic texture: imagine if Midnight Odyssey and Septicflesh met at a midnight showing of The Exorcist. Besides its more contemplative moments, you’ll find that My Plateau is a deceptively mammoth listen, as chugging guitars and colossal drums collide with grim symphonics and haunting ambiance. The opening title track, “Fragments of Dirge,” and “Disambiguate Eradication” are aptly bombastic kabooms in mad waltzes of demonic proportions layered with rich symphonic textures, while the blasts colliding with chugs and piano trills in “Moribund” and “Righteous Indoctrination” add to the Wreche-on-crack vibe, while the triumphant battle cry in closer “Horror Code” is equal parts macabre and pummeling. For being inspired by horror scores, Profane Burial is scatterbrained and wonky, but it doesn’t stop My Plateau from embracing the bombast in a fun-as-hell symphonic black metal foray touched by madness.

#2024 #AllThingsBlack #AmericanMetal #AtmosphericBlackMetal #BlackMetal #BlackSoulHorde #BRAT #CanadianMetal #CannibalsAnonymous #CarrionVael #CrimeRecords #DeathMetal #Deathcore #Doom #Eisenwald #Exodus #Givre #GreekMetal #Grindcore #HeavyMetal #LeCloître #Malicide #Mar24 #MelodicDeathMetal #MidnightOdyssey #Molten #MyPlateau #NorwegianMetal #NuclearBlastRecords #OccultMetal #OccultRock #Powerviolence #ProfaneBurial #ProfanePrayer #ProstheticRecords #Review #Reviews #SaturdayNightSatan #SelfRelease #SepticFlesh #SepticFlesh #Slayer #SocialGrace #StuckInTheFilter #SuicidalAngels #SymphonicBlackMetal #TheBlackDahliaMurder #ThrashMetal #TransylvanianRecords #UniqueLeaderRecords #Wreche

Stuck in the Filter: March 2024’s Angry Misses

By Kenstrosity

While it was cold and gloomy just a couple weeks before writing, now it’s blisteringly hot and humid. Such is the transition from February to April in the land of Ken. It’s May now, of course, so we are once again traveling back in time to when our Filter was brimming with scabs and scaled plucked from the Hides of March. As is my prerogative, I sent my minions, which are legion, into the thick of it to retrieve those lost gems which would otherwise be damned for musty eternity.

So, without further ado, my I interest you in our March Filter wares? The answer is always yes (or else)!

Kenstrosity’s Singular Stipend

Saturday Night Satan // All Things Black [March 15th, 2024 – Self-Released]

Obviously, I was bound to spin this record. A kitty on the cover? Sold. That’s literally all I needed to know I was gonna dig Greek occult heavy metal duo Saturday Night Satan. Lo and behold, their debut full-length All Things Black RAWKS. The first five songs, from rollicking opener “5 AM” to “Lurking in the Shadows,” constitute perhaps the best and most addicting introduction to a new band that I’ve heard in ages. Jim Kotsis’ (Black Soul Horde) swaggering riffs, buttery-smooth bass, and infectious rhythms consistently motivate this record through high-octane, bar-ready romps and doom-y crawls with equal liveliness, proving himself to be a versatile and exciting musician. Meanwhile, Kate Soulthorn croons and belts her way across this record with a venomous, but brassy and clear delivery oozing with charisma (“Rule With Fire,” “Lurking in the Shadows,” “Witches’ Dance”). While the record loses just a touch of momentum in the middle (“By the River, Crown of Arrogance”), there are no bad tracks to be found. Furthermore, repeat spins yield even greater enjoyment, as this record has only grown on me since my first spin and I don’t expect that trend to taper anytime soon.

Tales From the Garden

Molten // Malicide [March 6th, 2024 – Transylvanian Recordings]

Sometimes a band does one thing so well you don’t really need anything else to be great. Molten doesn’t stand out because of its vocals, a serviceable but somewhat limited growl. The drums are likewise decent, but nothing to cream your pants over. But the riffs! If that hurly burly bouncing up the stairs riff of “Pathogenesis” doesn’t put your facehole in a grin, it may be time to call it quits on death metal. Same for the insane, blistering solo that punctuates “Scorched” or the absolute neck-snapping title track. The latter is also the best place to spot the skillful bass parts that sneakily elevate the guitars to sound as good as they do. With a bunch of short ‘n snappy tracks showcasing Molten’s chops, a sudden 9-and-a-half-minute thrash epic sounds like a disaster in waiting, but the riffs, the solos and the serpentine bass are all high enough quality that I don’t want the San Fran boys to stop firing their big hooky shit at my face anyway. Malicide is a humble package, utterly crammed with infectious fun and riffy goodness, so get on that shit or get off the death metal pot.

Saunders’ Smoldering Cinders

BRAT // Social Grace [March 15th, 2024 – Prosthetic Records]

Look beyond their questionable moniker and self-proclaimed ‘Bimboviolence’ tag, and NOLA up-and-comers BRAT impresses on their debut LP, Social Grace. Listeners would be foolish to pass over this band as some sort of gimmicky modern metal act, the rugged, ugly musical form BRAT composes packs a serious punch. Social Grace present a thuggish, volatile concoction where the crossroads of grind, death and powerviolence meet. Factor in sludgy hues and seedy NOLA tones adding layers of extra grime and grit to short, sharp, stabbing cuts that pull no punches. The blasty, belligerent throes of old school grind meets sludge stomp of “Hesitation Wound” showcases BRAT’s deft ability to shift gears and compliment rabid blasting and grindy chaos, with infectious riffs and brawling grooves. Social Grace features similarly raw examples of gnarly, unbridled menace. Amped aggression, throaty vocals and speedy surges are complemented by fun, headbanging riffs and toughened grooves, lending the album a catchy edge and solid replay value reflected on gems such as the rifftastic title track, contrasting charms of “Truncheon,” and feedback-drenched grind-punk fury of “Human Offense.”

Suicidal Angels // Profane Prayer [March 1st, 2024 – Nuclear Blast]

Unsung Greek institution Suicidal Angels have pumped out material since the early aughts, crafting Euro-flavored thrash with a heavy dose of American influence, including Exodus and Slayer. Throw in an occasional atmospheric, melodeath twist, and you are left with a dependably solid batch of meat and potatoes goodness. Although rarely blowing minds, Suicidal Angels’ retro thrash platters, such as Dead Again and Bloodbath, represent potent examples of the band’s trusty formula. Following a five-year recording gap, Suicidal Angels return with their eighth LP, Profane Prayer. Profane Prayer follows a familiar trajectory, yet sounds fresh, full of energy and armed with fiery, aggressive riffage. These dudes are a tight unit, and the explosive speediness and exuberant performances shine alongside killer old school riffage, slashing solos, and technical embellishments. Ferociously infectious thrashers like “When the Lions Die,” “Purified by Fire,” “Crypts of Madness” and ‘Virtues of Destruction” sound more inspired than I’ve heard from the band in some time. Profane Prayer has moments of bloat, but the pros outweigh the cons, resulting in a largely enjoyable and explosive thrash platter. Props to the band for stretching their wings on the epic, progressively leaning journey of “Deathstalker,” and similarly adventurous closer “The Fire Paths of Fate,” showing Suicidal Angels still have some tricks up their sleeves.

Thus Spoke’s Forgotten Findings

Carrion Vael // Cannibals Anonymous [March 29th, 2024 – Unique Leader Records]

I was introduced to Carrion Vael by Dr. Grier’s review of their 2022 LP Abhorrent Obsessions where he deemed it “a beast of a record,” and I wholeheartedly concurred. Fortunately for all of us lovers of the Indiana melodeath/deathcore/generally heavy bunch, Cannibals Anonymous largely picks up where the previous one left off. It’s vicious, and satisfyingly slick, the rapidly descending/ascending scales, smooth, fast transitions between always-driving-forward tempos, and cutthroat snarls once again betraying a Black Dahlia Murder influence, but with a bit more of a deathcore angle. The riffy kind of deathcore. Because yeah, this thing has riffs (see especially ” “Love Zombie,” “Discount Meats,” and “Pins and Needles”)—as well as gore—spilling out of its every orifice, and they’re great. Also surprisingly fun are the further extended use of cleans now appearing on most of the album’s tracks, which only serve to make them more catchy, compelling, and fun, whether they’re shouty and atonal (“Discount Meats”), or genuinely mellifluous (“Savage Messiah,” “Pins and Needles,” “Augusta’s Dead”); and they’re more often the latter. Carrion Vael also lean a little further into the urgent-minor melodic refrain territory that made Abhorrent Obsessions so sticky, with “Savage Messiah,” “Pins and Needles,” and “Everything/Nothing” standing out. This isn’t changing the scene, but goddamn it if you won’t have a fucking fantastic time chucking some heavy weights around or generally vibing with a massive grin on your face whilst listening to it. Go on, you know you want to.

Dear Hollow’s Deafening Debris

Givre // Le Cloître [March 29th, 2024 – Eisenwald]

It’s not often that a black metal band willingly discusses Christianity in a somewhat endearing light, so the Quebecois Givre is a bit of a conundrum. However, in the most brutal fashion possible, this trio discusses examples of female saints and each respective trail of pain left behind in the pursuit of holiness. Given the subject matter, you can imagine the cross that is borne across its forty-two-minute runtime. Each track carries with it a mood and style of its own, united as a whole through the atoning power of agony, as all characters throughout have suffered greatly for the sake of Christ. That being said, this is regardless a hopeful album, and in many ways, La Cloître feels like a meditation, fluid movements whose organicity revolves around gentle plucking. While tracks like opener “Marthe Robin (1902-1981)” and “Sainte Thérèse d’Avila (1515-1582)” embrace this aesthetic of prayerful lamentation, it does not stop the winding riff punishment of “Louise du Néant (1639-1694)” from scorching the surrounding soil, or the mysterious, nearly Southern rock-oriented, “Sainte Hildegarde de Bingen (1098-1179)” and desperate start-stop riffs of “Sainte Marguerite de Cortone (1247-1297)” from commanding otherworldly planes. While the stylistic choices differ and may be jarring to listeners, it is cemented by its theme as it pursues God down lesser-trodden trails of atonement through flagellation.

Profane Burial // My Plateau [March 1st, 2024 – Crime Records]

The Norwegian black metallers channel nearly everything they can get their grimy claws onto in My Plateau. Profane Burial professes to be “cinematic black metal,” and that is an accurate description in its boundary-pushing of atmospheric and symphonic texture: imagine if Midnight Odyssey and Septicflesh met at a midnight showing of The Exorcist. Besides its more contemplative moments, you’ll find that My Plateau is a deceptively mammoth listen, as chugging guitars and colossal drums collide with grim symphonics and haunting ambiance. The opening title track, “Fragments of Dirge,” and “Disambiguate Eradication” are aptly bombastic kabooms in mad waltzes of demonic proportions layered with rich symphonic textures, while the blasts colliding with chugs and piano trills in “Moribund” and “Righteous Indoctrination” add to the Wreche-on-crack vibe, while the triumphant battle cry in closer “Horror Code” is equal parts macabre and pummeling. For being inspired by horror scores, Profane Burial is scatterbrained and wonky, but it doesn’t stop My Plateau from embracing the bombast in a fun-as-hell symphonic black metal foray touched by madness.

#2024 #AllThingsBlack #AmericanMetal #AtmosphericBlackMetal #BlackMetal #BlackSoulHorde #BRAT #CanadianMetal #CannibalsAnonymous #CarrionVael #CrimeRecords #DeathMetal #Deathcore #Doom #Eisenwald #Exodus #Givre #GreekMetal #Grindcore #HeavyMetal #LeCloître #Malicide #Mar24 #MelodicDeathMetal #MidnightOdyssey #Molten #MyPlateau #NorwegianMetal #NuclearBlastRecords #OccultMetal #OccultRock #Powerviolence #ProfaneBurial #ProfanePrayer #ProstheticRecords #Review #Reviews #SaturdayNightSatan #SelfRelease #SepticFlesh #SepticFlesh #Slayer #SocialGrace #StuckInTheFilter #SuicidalAngels #SymphonicBlackMetal #TheBlackDahliaMurder #ThrashMetal #TransylvanianRecords #UniqueLeaderRecords #Wreche

Stuck in the Filter: March 2024’s Angry Misses

By Kenstrosity

While it was cold and gloomy just a couple weeks before writing, now it’s blisteringly hot and humid. Such is the transition from February to April in the land of Ken. It’s May now, of course, so we are once again traveling back in time to when our Filter was brimming with scabs and scaled plucked from the Hides of March. As is my prerogative, I sent my minions, which are legion, into the thick of it to retrieve those lost gems which would otherwise be damned for musty eternity.

So, without further ado, my I interest you in our March Filter wares? The answer is always yes (or else)!

Kenstrosity’s Singular Stipend

Saturday Night Satan // All Things Black [March 15th, 2024 – Self-Released]

Obviously, I was bound to spin this record. A kitty on the cover? Sold. That’s literally all I needed to know I was gonna dig Greek occult heavy metal duo Saturday Night Satan. Lo and behold, their debut full-length All Things Black RAWKS. The first five songs, from rollicking opener “5 AM” to “Lurking in the Shadows,” constitute perhaps the best and most addicting introduction to a new band that I’ve heard in ages. Jim Kotsis’ (Black Soul Horde) swaggering riffs, buttery-smooth bass, and infectious rhythms consistently motivate this record through high-octane, bar-ready romps and doom-y crawls with equal liveliness, proving himself to be a versatile and exciting musician. Meanwhile, Kate Soulthorn croons and belts her way across this record with a venomous, but brassy and clear delivery oozing with charisma (“Rule With Fire,” “Lurking in the Shadows,” “Witches’ Dance”). While the record loses just a touch of momentum in the middle (“By the River, Crown of Arrogance”), there are no bad tracks to be found. Furthermore, repeat spins yield even greater enjoyment, as this record has only grown on me since my first spin and I don’t expect that trend to taper anytime soon.

Tales From the Garden

Molten // Malicide [March 6th, 2024 – Transylvanian Recordings]

Sometimes a band does one thing so well you don’t really need anything else to be great. Molten doesn’t stand out because of its vocals, a serviceable but somewhat limited growl. The drums are likewise decent, but nothing to cream your pants over. But the riffs! If that hurly burly bouncing up the stairs riff of “Pathogenesis” doesn’t put your facehole in a grin, it may be time to call it quits on death metal. Same for the insane, blistering solo that punctuates “Scorched” or the absolute neck-snapping title track. The latter is also the best place to spot the skillful bass parts that sneakily elevate the guitars to sound as good as they do. With a bunch of short ‘n snappy tracks showcasing Molten’s chops, a sudden 9-and-a-half-minute thrash epic sounds like a disaster in waiting, but the riffs, the solos and the serpentine bass are all high enough quality that I don’t want the San Fran boys to stop firing their big hooky shit at my face anyway. Malicide is a humble package, utterly crammed with infectious fun and riffy goodness, so get on that shit or get off the death metal pot.

Saunders’ Smoldering Cinders

BRAT // Social Grace [March 15th, 2024 – Prosthetic Records]

Look beyond their questionable moniker and self-proclaimed ‘Bimboviolence’ tag, and NOLA up-and-comers BRAT impresses on their debut LP, Social Grace. Listeners would be foolish to pass over this band as some sort of gimmicky modern metal act, the rugged, ugly musical form BRAT composes packs a serious punch. Social Grace present a thuggish, volatile concoction where the crossroads of grind, death and powerviolence meet. Factor in sludgy hues and seedy NOLA tones adding layers of extra grime and grit to short, sharp, stabbing cuts that pull no punches. The blasty, belligerent throes of old school grind meets sludge stomp of “Hesitation Wound” showcases BRAT’s deft ability to shift gears and compliment rabid blasting and grindy chaos, with infectious riffs and brawling grooves. Social Grace features similarly raw examples of gnarly, unbridled menace. Amped aggression, throaty vocals and speedy surges are complemented by fun, headbanging riffs and toughened grooves, lending the album a catchy edge and solid replay value reflected on gems such as the rifftastic title track, contrasting charms of “Truncheon,” and feedback-drenched grind-punk fury of “Human Offense.”

Suicidal Angels // Profane Prayer [March 1st, 2024 – Nuclear Blast]

Unsung Greek institution Suicidal Angels have pumped out material since the early aughts, crafting Euro-flavored thrash with a heavy dose of American influence, including Exodus and Slayer. Throw in an occasional atmospheric, melodeath twist, and you are left with a dependably solid batch of meat and potatoes goodness. Although rarely blowing minds, Suicidal Angels’ retro thrash platters, such as Dead Again and Bloodbath, represent potent examples of the band’s trusty formula. Following a five-year recording gap, Suicidal Angels return with their eighth LP, Profane Prayer. Profane Prayer follows a familiar trajectory, yet sounds fresh, full of energy and armed with fiery, aggressive riffage. These dudes are a tight unit, and the explosive speediness and exuberant performances shine alongside killer old school riffage, slashing solos, and technical embellishments. Ferociously infectious thrashers like “When the Lions Die,” “Purified by Fire,” “Crypts of Madness” and ‘Virtues of Destruction” sound more inspired than I’ve heard from the band in some time. Profane Prayer has moments of bloat, but the pros outweigh the cons, resulting in a largely enjoyable and explosive thrash platter. Props to the band for stretching their wings on the epic, progressively leaning journey of “Deathstalker,” and similarly adventurous closer “The Fire Paths of Fate,” showing Suicidal Angels still have some tricks up their sleeves.

Thus Spoke’s Forgotten Findings

Carrion Vael // Cannibals Anonymous [March 29th, 2024 – Unique Leader Records]

I was introduced to Carrion Vael by Dr. Grier’s review of their 2022 LP Abhorrent Obsessions where he deemed it “a beast of a record,” and I wholeheartedly concurred. Fortunately for all of us lovers of the Indiana melodeath/deathcore/generally heavy bunch, Cannibals Anonymous largely picks up where the previous one left off. It’s vicious, and satisfyingly slick, the rapidly descending/ascending scales, smooth, fast transitions between always-driving-forward tempos, and cutthroat snarls once again betraying a Black Dahlia Murder influence, but with a bit more of a deathcore angle. The riffy kind of deathcore. Because yeah, this thing has riffs (see especially ” “Love Zombie,” “Discount Meats,” and “Pins and Needles”)—as well as gore—spilling out of its every orifice, and they’re great. Also surprisingly fun are the further extended use of cleans now appearing on most of the album’s tracks, which only serve to make them more catchy, compelling, and fun, whether they’re shouty and atonal (“Discount Meats”), or genuinely mellifluous (“Savage Messiah,” “Pins and Needles,” “Augusta’s Dead”); and they’re more often the latter. Carrion Vael also lean a little further into the urgent-minor melodic refrain territory that made Abhorrent Obsessions so sticky, with “Savage Messiah,” “Pins and Needles,” and “Everything/Nothing” standing out. This isn’t changing the scene, but goddamn it if you won’t have a fucking fantastic time chucking some heavy weights around or generally vibing with a massive grin on your face whilst listening to it. Go on, you know you want to.

Dear Hollow’s Deafening Debris

Givre // Le Cloître [March 29th, 2024 – Eisenwald]

It’s not often that a black metal band willingly discusses Christianity in a somewhat endearing light, so the Quebecois Givre is a bit of a conundrum. However, in the most brutal fashion possible, this trio discusses examples of female saints and each respective trail of pain left behind in the pursuit of holiness. Given the subject matter, you can imagine the cross that is borne across its forty-two-minute runtime. Each track carries with it a mood and style of its own, united as a whole through the atoning power of agony, as all characters throughout have suffered greatly for the sake of Christ. That being said, this is regardless a hopeful album, and in many ways, La Cloître feels like a meditation, fluid movements whose organicity revolves around gentle plucking. While tracks like opener “Marthe Robin (1902-1981)” and “Sainte Thérèse d’Avila (1515-1582)” embrace this aesthetic of prayerful lamentation, it does not stop the winding riff punishment of “Louise du Néant (1639-1694)” from scorching the surrounding soil, or the mysterious, nearly Southern rock-oriented, “Sainte Hildegarde de Bingen (1098-1179)” and desperate start-stop riffs of “Sainte Marguerite de Cortone (1247-1297)” from commanding otherworldly planes. While the stylistic choices differ and may be jarring to listeners, it is cemented by its theme as it pursues God down lesser-trodden trails of atonement through flagellation.

Profane Burial // My Plateau [March 1st, 2024 – Crime Records]

The Norwegian black metallers channel nearly everything they can get their grimy claws onto in My Plateau. Profane Burial professes to be “cinematic black metal,” and that is an accurate description in its boundary-pushing of atmospheric and symphonic texture: imagine if Midnight Odyssey and Septicflesh met at a midnight showing of The Exorcist. Besides its more contemplative moments, you’ll find that My Plateau is a deceptively mammoth listen, as chugging guitars and colossal drums collide with grim symphonics and haunting ambiance. The opening title track, “Fragments of Dirge,” and “Disambiguate Eradication” are aptly bombastic kabooms in mad waltzes of demonic proportions layered with rich symphonic textures, while the blasts colliding with chugs and piano trills in “Moribund” and “Righteous Indoctrination” add to the Wreche-on-crack vibe, while the triumphant battle cry in closer “Horror Code” is equal parts macabre and pummeling. For being inspired by horror scores, Profane Burial is scatterbrained and wonky, but it doesn’t stop My Plateau from embracing the bombast in a fun-as-hell symphonic black metal foray touched by madness.

#2024 #AllThingsBlack #AmericanMetal #AtmosphericBlackMetal #BlackMetal #BlackSoulHorde #BRAT #CanadianMetal #CannibalsAnonymous #CarrionVael #CrimeRecords #DeathMetal #Deathcore #Doom #Eisenwald #Exodus #Givre #GreekMetal #Grindcore #HeavyMetal #LeCloître #Malicide #Mar24 #MelodicDeathMetal #MidnightOdyssey #Molten #MyPlateau #NorwegianMetal #NuclearBlastRecords #OccultMetal #OccultRock #Powerviolence #ProfaneBurial #ProfanePrayer #ProstheticRecords #Review #Reviews #SaturdayNightSatan #SelfRelease #SepticFlesh #SepticFlesh #Slayer #SocialGrace #StuckInTheFilter #SuicidalAngels #SymphonicBlackMetal #TheBlackDahliaMurder #ThrashMetal #TransylvanianRecords #UniqueLeaderRecords #Wreche