Written by: Tales_of_Deception
Let’s just admit it, we live in a world where imitating the previous generation is something that has to be done if we wish to find our own way in this world. We live, copy, find our true selves, and make our own concrete path through a jungle that is filled with wicked beings, wanting nothing more than to destroy the spectacle that you may be becoming. The same goes for musical acts in today’s world. It’s a game of cat and mouse. The newer bands are trying to achieve a different level of creativity but before they do that, imitation has to be, in some form or another, a part of who they are. One of the front runners of that ship is Necrofier.
Visions In Fire is a three track EP from some Texas dudes that, in all honesty, probably don't give two shits what any of us think. With the record lingering right at the twelve minute mark, it's a tough job to really gather an opinion on what you heard the first time around. For me, it took several full listens but the more it played over and over, the more I realized that it's exactly what I was talking about in the previous paragraph. Imitation is great in music, as long as you do it nearly better, if not way better, than the person before. In this case, Necrofier really brings that 1349 vibe nearly on the whole EP. Not complaining though, because the haze, fuzz, distortion and complete wall of hades that comes with Visions In Fire, is exactly what I want when it comes to a mammoth record like this.
The thunderous guitar riffs that are blazing by you as you enter the gates of hell along with the berserk drumming that Dobber Beverly is known for, how could anyone not be pleased with what they're hearing?! Don't think for a second though that vocalist, Christian Larson, and bassist, Mat Aleman, are the weak bones in this body of black metal glory. Without these two, I don't think Necrofier would have the armor that is has going forward. They're a trio that I would, eventually, put on par with Absu, if they keep moving forward with such power and a mentality similar to a "get the fuck out of our way or die with everyone else".
Visions In Fire is exactly the record you need, deserve, and have been waiting for. It’s the best of both worlds when it comes to combining melodic and black metal. The fact that melodic black metal has sort of lost it’s way, at least to me, in the last couple of years, I’m very pleased to see a band that is not scared to imitate what they see is the best out right now. According to me though, Necrofier and Visions In Fire has nearly surpassed my love for 1349. Which says a lot considering this is a debut EP, and 1349 have been at it for a good amount of time.
As always though, the review above is just my opinion on the matter. In reality, it's up to you to create what you think about Visions In Fire and Necrofier as a whole. So, you know the deal from here! Tell me to fuck off and make the jump to their bandcamp page to check it out for yourself.
Written by: Tales_of_deception
Most of the time, singles off of records are my least favorite thing to cover/review, but on the other hand, why not pick one my favorite tracks off a record and talk about that instead? Welcome in Wulfhound. A three-piece doom metal outfit from Tennessee that pulls few punches.
Now, I could be reaching extremely far here but just stay with me, please? Imagine this: Ozzy Osbourne and a sprinkle of Candlemass all wrapped into one giant burrito. Add a vocal style that is a bit similar to a very young Ozzy Osbourne along with what early Candlemass produced, and you have everything you need from Wulfhounds' Riddle In The Dark. In an effort to capture my attention these three giants decided to do what I love in doom metal, and that's build me up until I can't take it anymore. Hitting me right in the chest with the drums and walls of harsh fuzziness from the guitars until those vocals come in and dominate me to the point where I can't say no anymore. Production is on point with a little bit of grit and grain, but still clear enough you can check mark the boxes for what you hear. Their EP is out now so don't believe a damn thing I say, go check out for yourself.
Like I said above, I could be reaching so tell me what you think after you here what I've heard. Riddles In The Dark is streaming below so make sure to push that play button to see what all the glorious noise is about. Want more of Wulfhound? Purchase the record on bandcamp.
Sometimes, a conceptual underpinning is all a song has going for it. Not so in the case of Glow, a walloping track that comes to the Sleeping Village by way of Chicago's own Cloud Cruiser.
Steeped in a thick desert rock fuzz and convincingly constructed around a monolithic central riff, this track chronicles the protagonist--a young man--as he seeks out powers of flight. It's everything one wants out of hard-rockin' desert rock, plain n' simple. A top-notch job in the production job makes for an aggressive low end, and vocals are mournful, gruff, and just reminiscent enough of Red Fang to pass you firmly into the genre's windswept (yet assuredly badass) embrace. It may sound a little trite, but my only critique of this track is that, as a stand-alone, it could definitely use some company. This particular villager eagerly awaits developments in Cloud Cruiser's "I: Capacity" installment.
Give Glow a listen here. For those of you in Chicago, Cloud Cruiser will be playing a show on February 8th at Burlington Bar.
Let me set the scene. It’s 20 below here in the Sleeping Village, but I’m safely hiding from the frigid environs, cloistered in the lofty confines of my Ivory Tower. The lamps are burning. The quill is sharp. It's a comfortable existence, but the parchment stares blankly. This will not do.
To fully submerse oneself in the dismal strains of Gather, All Ye Hellions--the recent demo from Vredensdal, Northern Wisconsin's representative for the New Wave of USBM--one requires an equally dismal atmosphere. It is with this mindset that I head outdoors into the cold and the bitter wind, seeking the physical manifestation of Vredensdal's frostbitten sound. Flesh stings as the naturalistic ambiance and somber chanting of "Ved Midnatt..." sets in, followed by distortion, forthright tremolo, and the comforting swells of (surprisingly hefty) underlying riffage. And then the vocals fall in place, and it all becomes apparent: Gather, All Ye Hellions isn't the product of your run-of-the-mill black metal wannabe. Nor is it a half-baked call to arms. Vredensdal means business.
While the general hoarfrost'd ambiance is obviously influenced by your favorite Norwegian black metallers, the willingness of the guitar throughout to weave in the occasional doom-inspired riff or lick seems subtly akin to Rebel Wizard. A distinctly gloomy and melodic current is evident throughout the entire package, with the doomy undertones showing an ugly mug most willingly on "Die By The Sword." If forced to choose, this is my favorite here--although that honor is fiercely contested by the title track.
Even to the chilblained ear, the vocals are highly decipherable. As a highly personal project that--in the artist's words--reflects "the struggle of human existence and how life itself is a burden," these lyrics leave a significant mark, and their delivery is the true star of this demo's show. Vrednesdal's voice is, simply put, fantastic. From a contemplative standpoint, it remains a prime blend of harsh naturalism, and the steadfast, world-weary confidence of someone who has seen their fair share of woes. As a result, the only real critique I have of this demo is that the vocals could stand to be louder in the mix. They deserve to be heard loud and clear.
Gather, All Ye Hellions feels significant, greater than the sum of its short runtime. It feels like the beginnings of something larger, and, given the current (justified) air of confidence Vrednesdal brings to the table, I'm quite excited to see where this is headed. If you find yourself out in the cold--or perhaps, whilst in the midst of comfort, have found the need for a little darkness--Gather, All Ye Hellions comes highly recommended.
Written by: Tales_of_Deception
The beginning of my journey with metal started nearly two decades ago. Possessed, Testament, Overkill and Death were my life force at the time. I was a strapping young lad with zero spark on what my future would hold. All I knew was that I enjoyed the hell out of the bands mentioned above and couldn't get enough of them. As time went on, I slowly experimented with different genres of music and for some reason, the passion I had for pure thrash metal or head crushing death just sort of went the fuck out of the window. Flash forward to present day and I may have found the saving grace that has more potential to drag me out of the pits when it comes to thrash/death metal than I've heard in nearly a decade.
Suffering In Diseases is the debut record from Germany's own Toxic Trap. At first listen, I was a little on the boarder of "really enjoying this record" and "it could use some work in spaces". By the end, I was in bliss and didn't want to come out of whatever I was in. The opening track, "Black Death," really hits the nail on the head when it comes to embracing the roots of the founding fathers of thrash. A slow melodic, creeping intro for a mere 30-seconds is what you get until the flesh from your ears is ripped apart from the throttling bass and addictive speed of the drums. It might start there but it most definitely does not end at that point. Track by track Toxic Trap does everything they can to hold the listeners attention.
To be honest, it seems that they have it all figured out. When it's time for one track to end and the next to begin, you prepare yourself for the same thing on repeat for damn near 47-minutes. At least that's usually the case with most of the thrash/death records I've heard in the past. Spoiler alert! Suffering In Diseases isn't that! It's a record that can be repeated a hundred times on a loop and you will hear something brand new every single time. Just look at the track below, "Burned To Death." It's a whirlpool of destruction that consistently slaps you right in the fucking mouth but then graciously doctors the wounds it just pounded into your skull. Best of both worlds, right?
In closing, the thought and depth that the guys from Toxic Trap put into this whole project is very welcomed and loved, at least by me. All the words in the world couldn't begin to explain how pleased I am with this record as a whole. From front to back and every inch in between, this record is exactly what I want from a thrash/death record, if you couldn't tell from the above paragraphs. Don't take my opinion for facts, give it a listen and support it if you enjoy it.
Country of Origin: Germany | Genres: Thrash/Death Metal | Record Type: Full-Length | Release Date: September, 2018
Sorry to break it to ye, hopeful peasantry: life here at the Sleeping Village is, alas, generally a little mundane. Cobblestones must be swept, crude chamber-pots must be chucked from second story windows, plague pits must be dug. Day in, day out. Thus, when something unexpected enters our humble township, must fanfare must be made.
The unexpected article in question? Vol III, the debut album from Kansas City doom rockers Inner Altar. Bearing a minimalist album cover and a distinct lack of adjectives in their promo material, Inner Altar seem like masters of understatement. From the onset, who knew that their debut album contains such an impressively well-conceived and well-articulated breadth of sights and sounds?
Vocally, Inner Altar’s approach reminds, fairly significantly, of Domkraft’s expansive stylings. Howl-into-the-void vocals are certainly coming into their own as of late, and while the echo and deliberate weightlessness are certainly a continuation of modern doom’s spaced-out leanings, they feel somewhat rooted in the distantly melancholic whine of the immortal Terry Jones, or even early-era Liebling. The Pagan Altar connection doesn’t end there--the momentous central motif on the paganic Altar, for example, would feel at home on a Vol III highlight such as "Undine’s Kiss." It’s not all doom and gloom, however. Inner Altar’s subtle shapeshifting goth-rock tendencies give them an edge in a sea of amp worshipers. While the guitar tone is certainly present, hefty, and otherwise effective, riffs don’t ever feel like the sole focus. Significant attention is given to melody, to percussion, and, most especially, to the transitions between passages. While they never truly approach the post-punk accessibility of, say, The Chameleons, a regard for gothic introspection is apparent across the board, particularly in the refreshing approach to hooks. If you’re looking for more namedrops, Demon Head’s folksy leanings seem fairly apt. But at the end of the day, these guys sound like their own damn band, not a simple knockoff. Credit where credit is due.
Doom lives or dies by its ability to keep things fresh and intriguing. To their great credit, Inner Altar take this challenge in stride, and interesting moments abound. Take, for example, the tempo shifts in "Pagan Rays | Numbered Days." The pseudo-pastoral baroque on "Prelude." The balls-to-the-wall Sabbathian riffage that (appropriately) busts the door and storms in on "Castle Storm." The brief percussive march thrown into "Dethroned & Fugitive," which breaks up plaintive wails and hefty bass with a certain grace. Not to be undone, the title track features a notably aggressive vocal stance. While remaining utterly unlike anything else the album offers, fits the bill incredibly well. Moments like these maintain my vested interest in a given track--and thus, the album as a whole. All told, Vol III consistently displays songwriting that deliberately avoids fatigue. Evoke a gloomy mood without boring your audience: usually much, much harder said than done. Not so here.
The most difficult aspect of reviewing this album has been consideration of its staying power. It’s an unusual conundrum, yet one that garners Inner Altar a net zero negative points. While time spent listening to Vol III is completely satisfying in its immersive quality, I found time after time that as the title track’s droning outro fade, I struggle to remember distinct moments from the album--riffs, hooks, melodies. They seem to exist entirely within the confines of the albums runtime, and while this ultimately makes for a genuinely excellent experience in the moment, there is little that carries over when Inner Altar isn’t actively filling airspace. With that said, a tangible side effect is that the past few weeks have born multiple instances of turning to Vol III, simply because the listening experience is so supremely gratifying in the moment.
With surprising variety in genre influence, and clear attention given to composition, Vol III is a complex album. More than that, it is a distinct triumph. Whatever they are doing down in Kansas City’s doom department is working inordinately well, with Inner Altar being further proof of actualized potential. Vol III is, quite simply, a wonderful effort. Highly recommended.
Inner Altar - Vol III was released Jan. 18th from The Company
A certain groggy-eyed, highfalutin' peasantry