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ISKRA
The blistering anarchist black metal unit ISKRA are teaming up with Southern Lord for the CD release of their latest phenomenal LP, Ruins. Approaching the most fearsome of all genres from a foundation in filthy metallic crust, ISKRA have skilfully created an old school orthodox epic that their extensive back catalogue has always been working towards, and in Ruins is executed in sublime, scathing style.
The Canadians, almost two decades in to their journey as ISKRA, stand out as staunch advocates of anarchism, and reject all forms of oppressive mainstream ideologies such as communism, fascism and democracy. To underline this, they coined their unification of extreme punk anger and black metal sonics ‘anarchist metal’, separating themselves from other acts deemed as ‘extreme’ or ‘radical’ but lacking conviction or real menace. It is certainly evident in their vitriolic offensives that they mean business, but most impressive is the sharp, refined songcraft that makes Ruins a compelling black metal record regardless of your political (dis)orientation. The magnificent constantly shifting tremolo riffs and blasting drums are some of the most devastating and aggressive you will hear, and fans of Absu and early Immortal will find plenty to enjoy – ISKRA exert overwhelming levels of energy and brutality in Ruins, outpacing and outwitting the vast majority.
ISKRA have toured across scores of countries with countless acts operating in various subsects of punk and metal, with a heavy presence throughout the international underground. A wealth of DIY and independent label releases trails behind them, with numerous albums, splits and demos all available to download for free from their website in accordance with their principles.
Iceburn
Asclepius is the new album from the ever-evolving and adventurous collective Iceburn, who return with their first new material in twenty years, which Southern Lord shall release on 25th June on LP and digital formats.
Much like the mythical ouroboros that appear in their music, Iceburn have come full circle, as Gentry Densley comments, “Iceburn had always been about progressing and pushing the boundaries, pushing the music ahead of ourselves so we had to work to catch up. This new record comes from a place of rediscovery of who we are deep down, a place that with all it’s challenges and comforts, ultimately feels like home.”
He continues, “In recent years Iceburn basically became four friends hanging out and working on music. After all going in different directions for so many years we found ways to embrace our earliest influences and the foundations of our musical selves. We basically cycled back to the way we made music in our heyday, our salad days, and it felt right once again.”
The rawness of Asclepius harks back to the days of their early records (such as Hephaestus), and fuses elements of metal, jazz, psychedelia, and rock with a seamless flow, monolithic riffs, swirling harmonies, and a groove that are the cornerstones of their sound.
Asclepius comprises two long-form tracks, “Healing The Ouroboros” and ‘Dahlia Rides the Firebird’, the latter is based on an old traditional Greek tune. With some members majoring in classics/philosophy, music/composition and studying ethnomusicology – classic mythology has always been a key reference point for the themes of their music. That the new record is named after the god of healing and medicine and arriving at this moment in time is coincidence, as the band comments, “It felt like we needed healing even before this pandemic hit.”
The line-up on Asclepius represents the core of Iceburn through the early formative years. Iceburn, later the Iceburn Collective, initially existed from 1990 to 2001. Later reuniting in 2007 with this current lineup again at the core. The band’s initial output slowly evolved from hardcore and metal to free improvisation and noise, The 10 year arc saw the band following their own path and becoming more and more obscure as they got deeper into unknown musical worlds. By 2000 the cycle seemed complete and Iceburn did their final tour in Europe 2001. In 2007 this early core crew reunited to play a local anniversary show focused on the earliest material. Every few years since they would get together for another ‘reunion’ until that word became more of a joke, it was clear the band was back, getting together every week, and working on new material.
ICEBURN LINE UP:
Joseph ‘Chubba’ Smith – drums, founding member of Iceburn from 1990-’93 then 2007-present
James Holder – guitar, was also a founding member from ’90-’95 and ’07 to present
Cache Tolman – bass, ’91-97 off and on, and ’07 to present
Gentry Densley – guitar and vocals, 1990 to present
Asclepius was recorded and engineered by Andy Patterson (SubRosa, INVDRS, Insect Ark, and The Otolith) a collaborator also for Gentry’s other band’s Eagle Twin and Ascend
Hissing
A blackened/death/ sludge behemoth from Seattle, WA. Started in 2014 out of a mutual interest in exploring dissonant and punishing sounds and inspired by bands such as Portal, Incantation, Blut Aus Nord, and Swans. Hissing guitarist: Joe O’Malley is the younger brother of Sunn O)))/Burning Witch/Khanate/KTL guitarist Stephen O’Malley and yes the grimm darkness runs in the blood….
High On Fire
The cult classic first recordings of High On Fire remastered & restored…
Cult metal favorite High On Fire was formed by former Sleep guitarist Matt Pike in late summer 1998. Berthed out of the need to simply play guitar again, Pike jammed with and settled on a line-up of powerhouse drummer Des Kensel and longtime guitarist friend George Rice, who made the switch to bass to round out the trio. They had scarcely been together for a few months before demo-ing three songs. That demo, featuring Master of Fists and instant classics 10,000 Years and Blood from Zion, became among the most sought-after tapes in the underground metal scene. High On Fire got straight to the point, bashing away with a neanderthal sense of purpose and creating hypnotic, droning waves of powerful riffs and low-end thunder of the likes not heard before.
Throughout 99’, High On Fire continued writing for their debut full-length. The band recorded their debut with Sleep engineer/producer Billy Anderson at Shark Bite Studios in Oakland, CA. The Art of Self Defense served up a rock hard, unorthodox form of modern metal cloaked in strange religious theology and the trio’s style was unique, distinct, HEAVY as all fuck and absolutely crushing. The album immediately became a cult classic and not even the the closure of the label that released the album (Mans’ Ruin) could stop the powerhouse that had been unleashed. Tee Pee records reissued the album in 2001 with 2 bonus tracks: Steel Shoes and a ripping cover of the Celtic Frost song, The Usurper.
In the wake of The Art of Self Defense, High On Fire signed to Relapse records and released what would ultimately be the last album with bassist George Rice entitled, Surrounded by Thieves. Over the next 10 years, the group tirelessly toured the globe and have gone on to be one of the most revered and successful metal bands there is. Rarely has metal been as powerful and pure in its ability to translate primal fury and aggression. They have burned the metal rulebook and forged a new archetype.
Hot on the heels of the restored and remastered reissue of Sleeps’ Dopesmoker album, Southern Lord strikes while the iron is blistering with another essential holy grail documentation. The Art of Self Defense, 2012 issue, was remastered by Brad Boatright who also helmed the remaster of Dopesmoker.
Hessian A.D.
When confronted with the imminent destruction of our world, do we turn our heads and go our ways? Or do we look for means to channel our rage, to give voice to that frustration and turn it into a weapon? Do we search for what is real and worthwhile in the debris? Something that goes for the throat and doesn’t let go until the last drop is spilled?
Buried deep in the consciousness of its four members at the time, it was these exact questions that gave rise to Belgium’s Hessian three years ago. From the onset, the combined musical backgrounds of guitarist Levy Seynaeve (Amenra), drummer Tim Bryon (The Black Heart Rebellion), singerBram Coussement and bass player Kenneth Vanhoutte fell effortlessly into place, pushing a sound that was at once pummeling, devouring and empowering across the rural fields where they started rehearsing.
After a well received debut EP, a split 7″ with Amenra, a split LP with Pale Creation on Magic Bullet Records and countless shows throughout Europe, Hessian have found a new home, Southern Lord and are ready to unleash their debut album, Manégarmr to the masses. The album will be released in the UK/EU on 13 May 2013.
Named after the wolf that – in Norwegian mythology – devours the sun every night, their debut record focuses both sonically and lyrically on the endless cycles of destruction that are imminent to this life and the world in which we live. From the soaring take-off of “Ascension”, via the treacherous calm of central pieces “Vāmācāra” and “Father of Greed”, to the merciless onslaught that is “Mother of Time”. With towering guitars, frenzied drum patterns and savage vocals that sound like the howl of the lone wolf, Manègarmr is a furious blizzard of cold Black Metal, violently crashing into a maelstrom of ultra-metallic dark hardcore.
Manègarmr ultimately takes the listener on a journey that is at once haunting, draining and exhilarating.
Mixed by the infamous Tomas Skogsberg (Entombed, Unleashed, Dismember) at Sunlight Studios in Sweden and mastered by Brad Boatright (Sleep, High on Fire, Nails).
Halshug
Formed in Copenhagen two years ago, the riotous young act, HALSHUG, unloads some of the most traditionally-styled but urgently unloaded traditional crust punk/d-beat hardcore to be found. The enraged sentiment of archetypal leaders of the genre, Doom, Anti Cimex, and no doubt, Discharge, and direct influence drawn from Infernöh, Hoax and Death Token, is unapologetic in its presence in the band’s delivery, which, fueled by society’s modern-day ills, finds HALSHUG already in line with Nuclear Death Terror, Wolfbrigade, Skitsystem etc..
Gust
The fierce four piece skillfully combine crushing Dbeat rhythms with a classic hardcore punk directness, and bring forth a maelstrom of metallic riffs, amalgamating into one brutal and arresting sonic assault, fans of Cursed, and Converge especially will enjoy.
With one demo, one LP and four European tours already under their belt, and with a fifth tour beginning the 24th of June (ending 17th July), Gust will release their brand new, and self titled album through Southern Lord Recordings this August. This second LP was self recorded at Fvck Life Studios and is mastered by and features guest vocals by Brad Boatright (From Ashes Rise, Warcry) on the track “Humility In Disguise”.
Their incoming ten track keeps their fire burning, exploding with lyrical angst and musical fury from the get-go, bombarding the listener with catchy riffs and spot-on political statements. From this second LP it is clear that Gust are a force to be reckoned with.
Goatsnake
The third full-length studio album from Goatsnake- :”Black Age Blues” is an instant classic, with each one of the nine songs (11 on the 2xLp version) an anthem, and each of the four band members on top form. Everything is magnified, Pete Stahl’s vocals have never sounded so soulfully deep, the rhythm section comprised of Greg Rogers on drums and new bass player Scott Renner are the driving force on each track, and Greg Anderson’s riffs are heavier than ever before.
Appearing on the album intro ‘to Another River To Cross’ is acoustic guitar courtesy of David Pajo (Slint, Aerial M, Papa M), this track also contains previously released recordings from ‘The River’ by Goatsnake. Piano is played by Mathias Schneeberger and Petra Haden contributes violin and vocals. Another welcome addition to the album, across multiple tracks are brilliant soulful backing vocals by Dem Preacher’s Daughters – Wendy Moten, Gale Mayes and Andrea Merrit. There inclusion on the proceedings evokes a reverent gospel choir aesthetic that intuitively accentuates the heavy darkness laid down by the band.
Behind the controls is grammy award winning producer Nick Raskulinecz, who was responsible for the engineering and production of the last Goatsnake full-length album: Flower of Disease. Over the last 15+ years Nick has gone on to work with seminal artists such as Rush, Alice In Chains, Mastodon and Ghost. United again, he and the band are sure to serve a menacing cut of the time-honored, ultra-heavy rock they are infamous for.
Black Age Blues is familiar but nothing here is a repetition of what we’ve heard before, as Goatsnake continue to refine the time-honored dark-bluesy doom-rock that they are infamous for, surpassing even the highest of expectations.
Friendship
FRIENDSHIP offers vile, antagonistic, and visionary blackened, sludge-tone hardcore, focused on delivering maximum auditory torture, with the blasting directives of l, Nails, and Infest, backed with the oppressive tonal amplification of Sleep, Coffins, or Eye Hate God. The band is now revered as one of the heaviest modern acts in Japan.
Their second LP, Undercurrent showcases FRIENDSHIP’s hybrid of ultra-heavy doom sludge/powerviolence as audible torture. With a more technical and precise attack, and a brighter and sharper tone than the preceding Hatred LP, all tracking, mixing, and mastering duties for Undercurrent were handled in Tokyo throughout 2018. The resulting album strikes hard with ten relentless tracks delivered in just over twenty-two minutes.
Undercurrent Track Listing:
1. Demise
2. Vertigo
3. Punishment
4. Lack
5. Abandon
6. Fiend
7. Plague
8. Garbage
9. Wrecker
10. Hatred