Prolific (and very "cult") black metal act Abigor from Austria return with a 5-song ep, featuring two cover tunes (of Kreator and Slayer, both originally recorded for appearances on those ubiquitious Dwell-label tribute comps) and three other rare tracks, one from the "With Us Or Against Us" compilation and the others rehearsal or rough-mix versions of old stuff. So, more a disc for Abigor completists, but as we said, they're a cult band, and this will whet fans' appetites for their upcoming "Satanized (A Journey Through Cosmic Infinity)" album due out in 2001.
Lots of folks did not dig 2010's Time Is The Sulphur In The Veins Of The Saint, the ninth (?!) full length from Austrian black metal legends. They had already been moving away from their raw, primitive beginnings, but on Time Is The Sulphur, the group went all out, adding all manner of tripped out weirdness, tons of effects, the record had a sort of electronic black industrial vibe that we found pretty appealing, but definitely alienated lots of their fans. With this new record, last year's Leytmotif Luzifer, the band don't return to their roots, but they do reach back a bit, with a sound that to our ears sounds quite a bit like their 2007 masterpiece Fractal Possession. The sound is still pretty polished, and super produced, but it's also chaotic and dense, dizzyingly complex, and heavily layered, with moments of classic blackness, splintering into tripped out Deathspell worthy churn, the guitars too, flitting from furious insectoid riffing to wild, alien shreddery, and while not nearly as bewildering as the new Mastery, it does display a similarly avant bent, without losing sight of the black roots from which their sound was born. And while it's not as weird as some of their other material, it's still plenty fucking weird the band launching into some straight up classic metal crunch, unleashing twisted multi tracked shredding solos, the vocals suddenly erupting into a super dramatic bellow, some twisted minimal drift, some weirdly melancholic moodiness, even one track that sounds almost like Abigor gone power metal, right down to the weird ork-choral vox, and the final track that gets downright poppy and bombastic, reminding us a bit of Code actually, but Abigor's sound sound here is never far from another eruption of black metal madness, and mad it is...
So yeah, maybe don't be expecting Orkblut or Nachthymnen, but don't be scared off by the band's twisted sonic sensibilities, cuz it's that outsider, obtuse, modern take on black metal, that produces transcendent art like Leytmotif Luzifer. We have the super fancy A5 digibook, which comes with a huge beautifully printed booklet with lyrics and artwork, but like the Darkspace, it took forEVER to get these, so once we sell out, it might be a bit before we can restock, and we might not be able to get the digibook version again, which just means you should grab one now before they're gone.
Third disc from this great folk/black metal band.
Time-tested, probably not mother-approved: veterans Abigor are the definition of true cult black metal. Hailing from Austria, one of the few non-Scandinavian European countries to really boast an "infamous" black metal scene, Abigor have now released umpteen
We've loved Austrian black metal horde Abigor since we first heard them back in the nineties, their sound was total true kvlt blackness, every record, as grim and black as the last: Verwustung / Invoke the Dark Age, Nachthymnen (From the Twilight Kingdom), Opus IV, Supreme Immortal Art, Channeling the Quintessence of Satan, Satanized (A Journey Through Cosmic Infinity), every one of those a stone cold classic, at least to our ears, and then nothing for 6+ years, but something strange must have happened, because when they returned, with 2007's Fractal Possession, it was like a different band, with a new sound, a twisted, industrial avant blackness, that rubbed most black metallers the wrong way, tons of fans jumped ship, but not us, who expects a band to sound the same forever? Sort of how everybody seemed to hate the last 1349, it was too slow and experimental, people wanted more of the same. Well fuck it, folks who hated Fractal Possession are REALLY gonna hate Time Is The Sulphur In The Veins Of The Saint, and let em, cuz this is some serious fucked up, freaked out outsider electronic tinged avant black metal weirdness. It's hard to even describe, other than just going through the track part by part. Epic and sprawling and dizzyingly complex, a cacophony of voices and tangled melodies give way to some ambient drones, which in turn gives way to some pounding midtempo black metal, with weirdly effected vocals, TONS of weird effects, slipping into near silence, before exploding into some pumelling industrial blackness, but rife with wild squiggly leads, everything drops out except for those squiggles, some bizarre spoken word brings us right into what can only be described as a repeated almost hip hop style loop, before launching into some epic soaring power metal with harmonized lead guitars and blasting double kick, warbly basslines, arpeggiated melodies, thick synthesizer buzz, almost like dubstep, before the band spits out more churning chugging heaviness, and we're only halfway through the first song. Shall we go on?
Whirring black ambience leads into some Khold like midtempo metal, with minor key melodies, and super processed vox, finally exploding into some frenzied black metal freakout, before again blissing out into a haunting expanse of churning processed guitars, chant like vocals, some near silence, then some awesome stuttering grinding crunch, a sort of black metal but with deep crooned vox, and some weird industrial filigree not to mention wild warbly bass, fading out in a flurry of classic metal pound, only to then immediately launch into the second track / half of the record, which if anything is just s varied and far out and fucked up, the highlights being some super distorted buzzing blurscapery, some twisted almost punk sounding convoluted lurch and lumber, some incredibly dense and complex gnarled black metal blasts, culminating in a super trippy chanted vocal outro.
Fucking nuts, and totally genius, like mad metal scientist genius, not for the faint at heart, or the true grim hordes, this is for folks looking for the most twisted blackness they can find, technical, epic, and warped beyond all comprehension. Which in case you couldn't tell, means this is one of our new favorite records, and definite contender for weirdo black metal record of the year.
And while they last, we have the limited deluxe box version...
Probably the best thing about Abominable Iron Sloth is they sound EXACTLY how a band called Abominable Iron Sloth should sound. Simple, plodding, groovy, down tuned, crushing and heavy heavy heavy. Stripped down blown out caveman riffs over pounding doom drum thud and super harsh shrieked vocals. Chugging and churning and completely crushingly mesmerizing. A mid tempo dirge metal owing much to folks like High On Fire, Karp, Melvins, Floor, Cavity, Crowbar and Eyehategod while giving it their own particular slothlike spin. Plus we're suckers for goofy song titles: "Hats Made Of Veal And That New Car Scent", "A Hot Pink Shell Of My Former Self", "Parasite Hilton And Other Flaws Inherent To Wealth" and of course "A Distant Pond From The Rivers Of Human Limelight."
Features ex-members of Dead And Gone metalcore legends Willhaven.
Brand new record from these Italian post/avant black metallers, and their first record to get reviewed on the aQ list, which is kind of crazy, considering most of the aQ metalheads have been big fans ever since their debut in 1999. And since that debut, the band has continued to stretch the boundaries of their particular brand of black metal, culminating in this, the single song, ten movement electro black metal concept record that is Psychogrotesque.
Beginning with a bit of creaking industrial ambiance, the record soon launches into a twisted tangled bit of gnarled blackness, blasting beats, chugging riffs, and a swirl of squiggly lead guitars, not to mention little flurries of electronic crunch and glitch, all backed up by choral like voices, and some almost ravey synths, that weirdness is balanced by the croaking lead vocals, and the sinister, minor key melodies, the track swings from churning buzzing blackness, to melodic soaring majesty, to off kilter mathiness and back again. The second movement explodes with some frenzied black metal buzz, but it's swaddled in more synths, the electronic element making it sound alien and futuristic, before shrugging off the synths and delving into some frosty true grim blackness.
And the record just gets weirder and weirder from there on out. The synths competing with the riffs, the arrangements almost orchestral, but instead of woodwinds and brass and strings, it's whirling buzzing keyboards and programmed beats, the vokills are constantly transformed, occasionally becoming a deep dramatic croon, most noticeably in the sixth movement, when those vocals are paired with some Gerry Rafferty style way-out-of-place saxophone, and sure, there's plenty of straight ahead blackness, but there are also jams that sound like black metal Daft Punk, or some bizarre hybrid of the two, and then there's the epic final track that is impossibly epic and twisted, the black metal component furious and frenzied, the over the top electronic bits cranked all the way up, so tense and intense and heavy and twisted and totally bizarre, and be sure to stick around for the hidden final track/coda, strange sampled vocals, over hazy electronic shimmer, the sound gristly and gauzy and darkly mysterious, making us wish they would have kept it going well past its far too brief two minutes.
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Four tracks 39 minutes 21 seconds of EVIL. That's what this so-long-awaited-it's-unexpected cd from Swedish black metal improvisors Abruptum provides. And if Abruptum aren't already your favorite black metal band they sure should be. One member is a dwarf (or so we thought, he may just be really REALLY short). And past releases have included a whole record made up entirely of field recordings of band members whipping themselves and howling in agony! When they do get down to actual metal, it's of the grimmest, vilest variety. And since we were kind of under the assumption that Abruptum were no more, this sudden return is pretty darn exciting. So in keeping with Abruptum's confounding and perplexing history, this new release is definitely not "metal". Still evil of course, but sonically it's much more of an experimental dark ambient drone record. And a great one at that! Press play...a distant, martial drum cadence underpins dark droning feedback, grinding tortured low end, haunting minor key chords and distant melodies buried under slabs of distorted crunch. It's like a blackened mix of Total, Der Blutharsch, Lustmord and Corrupted, perhaps. Sweet female vocals soon (barely) emerge from the murk...a heavily reverbed chorale, chanting, with tolling bells, all buried under a thick grimy layer of grinding grit. Like a Merzbow / Dead Can Dance mashup. Soon the vocals fade into the mist as the grinding throbbing low end begins to pulse and loop and shimmer, distant explosions crack through the darkened skies, the echoes spreading out like ripples in a pond, creating hypnotic almost-rhythms, while underneath it all weird little looped melodies scurry about looking for shelter from the throbbing malevolence. Imagine Philip Jeck, in spikes and full corpse paint, set up in the middle of the forest beneath a full moon, with a hundred turntables, all black and moss covered, playing the warped and slowed down records of Troum, Dead Can Dance, William Basinski, Skullflower and all manner of rumbling drones...
Now available as a super limited picture disc!
Four tracks 39 minutes 21 seconds of EVIL. That's what this so-long-awaited-it's-unexpected cd from Swedish black metal improvisors Abruptum provides. And if Abrupt aren't already your favorite black metal band they sure should be. One member is a dwarf (or so we thought, he may just be really REALLY short). And past releases have included a whole record made up entirely of field recordings of band members whipping themselves and howling in agony! When they do get down to actual metal, it's of the grimmest, vilest variety. And since we were kind of under the assumption that Abrupt were no more, this sudden return is pretty darn exciting. So in keeping with Abruptum's confounding and perplexing history, this new release is definitely not "metal". Still evil of course, but sonically it's much more of an experimental dark ambient drone record. And a great one at that! Press play...a distant, martial drum cadence underpins dark droning feedback, grinding tortured low end, haunting minor key chords and distant melodies buried under slabs of distorted crunch. It's like a blackened mix of Total, Der Blutharsch, Lustmord and Corrupted, perhaps. Sweet female vocals soon (barely) emerge from the murk...a heavily reverbed chorale, chanting, with tolling bells, all buried under a thick grimy layer of grinding grit. Like a Merzbow / Dead Can Dance mashup. Soon the vocals fade into the mist as the grinding throbbing low end begins to pulse and loop and shimmer, distant explosions crack through the darkened skies, the echoes spreading out like ripples in a pond, creating hypnotic almost-rhythms, while underneath it all weird little looped melodies scurry about looking for shelter from the throbbing malevolence. Imagine Philip Jeck, in spikes and full corpse paint, set up in the middle of the forest beneath a full moon, with a hundred turntables, all black and moss covered, playing the warped and slowed down records of Troum, Dead Can Dance, William Basinski, Skullflower and all manner of rumbling drones...
Returning from a long absence, here's a three song ep from Sweden's infamous improv-black metal band Abruptum. None blacker! The first track, dating from way back in 1991, starts with gothic keyboards and has a lot of Satanic screaming, but with its gothic
Ah Abruptum, how we've missed you. Nary a peep since 2004's killer black ambient masterpiece Casus Luciferi, which while an amazing gorgeously bleak slab of droning mystery, really barely scratched the surface, only hinting at the harsh, hateful, bizarre black metal beast Abruptum once was.
That's where Evil Genius comes in. And evil Genius is exactly what it is. A collection of old demos, it was originally released with an actual razor blade inside and a sticker instructing the listener to kill themselves. There were also loads of strange rumors surrounding the band, including the one about mainman It being a dwarf, who tortured himself in the studio, in order to capture true anguish. After all, Abruptum were, according to their own edict, "the pure audial essence of evil"... Who knows how much of that stuff was true (we like to think ALL of it), and ultimately it doesn't really matter, the proof is in the pudding, and in this case the pudding is a sludgy, filthy, crusty, primitive chunk of harsh, stumbling, lurching, distorted psychedelic black metal. Or maybe black doom would be more appropriate. There are no blast beats or blazing buzzing riffs, instead, Evil Genius is a confusional garbled outsider mess, but a glorious one, keyboards lurch in and out of the mix, usually atonal and off kilter, the drums plod and pound, tortured and strangled vocals howl and grunt, belching out strange black growls, tons of thick black ambience surround everything, seeping into every bit of music like some strange black mold, weird squeaks and groans, and all sorts of random sounds pepper the entire record, hard to say if they are footsteps or the cracks of a whip or creaking hinges, but they all sort of get sucked into Abruptum's dizzying blurry and buzzy soundworld. And guitars of course, lots of them, tuned way down, sometimes not tuned at all, occasionally spewing out some strange black shaped riff, but other times just buzzing or droning, roaring or squealing, often sounding less like a guitar than some sort of hellish demon speaking in tongues.
But as fucked up and bizarre as Evil Genius is, it's still eminently listenable, even catchy at times, almost pretty at others, but always, a totally baffling, fucked up and completely damaged way out black metal what-the-fuck blast of, well, EVIL GENIUS!!
All new artwork, with brand new liner notes from It, and while it's hard to tell for sure, we're led to believe that there is at least one extra track, as EG compiles the first two Abruptum demos ("s/t" and "The Satanist Tunes") as well as the "Evil" 7" and their track from the long out of print Tribute To Euronymous compilation cd (which we think is the bonus track).
So absolutely and utterly RECOMMENDED!!
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
Our store is actually quite small, for folks who have never visited in person, so it always surprises us that stuff can get lost in the shuffle, and slip through the cracks, cuz when we talk about 'warehouse finds', we're really talking about the closet behind the counter where we store the backstock, or the back room where we do mailorder... But here we are again with another 'warehouse find', the only full length from Texas one man black metal horde Absonus Noctis, and it's a pretty fantastically fierce slab of buzzing USBM, the songs washed out and drenched in reverb, the riffing frantic, the melodies majestic and epic, the sound cavernous and a bit murky, the way underground bedroom black metal should be, the tracks slipping from dirgey pound to blazing blast, the guitars constantly shifting, gnarled almost DSO churn one second, blurred muddy Xasthur like fuzz the next, the sound heavily layered so one guitar will be spinning frenzied high end melodies, while another guitar chugs hauntingly, the songs peppered with occasional stretches of creepy abstract drift, smears of guitar buzz and anguished wails, or warm surprisingly melodic, pizzicato melodic interludes, and even the heavy parts are often underpinned by weird strum or spidery clean guitars, which gives the record a seriously twisted vibe, with many of the riffs and melodies slightly bent, a little atonal, again adding a serious sense of menace. The final track is a 17 plus minute epic, that begins as barely there clean guitar ambient drift, before transforming into heaving slo-mo dirge-droom crush, all woozy and melancholy, washed out and sort of doomily dreamlike.
We only have 3 or 4 of these left, and there's a good chance these will be the last copies we can get, so grab one before they're gone.
Welcome once again to the esoteric, eccentric, and extreme world of Absu! If bands can be said to conjure unique "worlds", AQ faves Absu certainly do. Insane and arcane as we have said. The veteran Texan black metal trio returned from a long hiatus with their excellent self-titled comeback in 2009, to which this new, almost-self-titled album (we love that it's called Abzu!) is the follow-up. Again, original founding member and resident drum demon Lord Proscriptor McGovern and his current chaotic cohorts have crafted a lesson in magickal thrashing, full of awe inspiring hyperspeed battery, dog whistle shrieks, rasping kokills, and headspinning shred, that puts all other bands to shame when it comes to "staying in character" and maintaining their mythos & mystique. We mean, these guys aren't just tight musically but conceptually as well, as they say in the digipack's liner notes: "NOTE: ABSU arrogantly executes mythological occult metal... still." Indeed they do, and they have reason to be arrogant.
This new Absu opus opens with the ripping "Earth Ripper" and doesn't ever let up, apart from some stop/start and sudden dives into quieter acoustic/melodic breaks, like the lovely ending to "Circles Of The Oath", or several of the sections that make up the 14+ minute long suite "Song For EA" that closes the album with epick side-long prog grandeur. Prog? Heck yeah, note that not one but two members of the three-man Absu horde are credited with playing Mellotron, that most '70s proggy of all instruments (the most '80s prog would be the Chapman Stick, but we digress). However, no one will confuse Abzu for the new Opeth, this album rages, part Slayer, part King Diamond, part Immortal circa Blizzard Beasts, part graduate thesis in ancient Sumerian occult philosophy...
4-song ep from these crazy Texan black metallers, as a follow-up to their amazing "Third Storm Of Cythraul". Utterly raging, magickal-with-a-K thrash intensity infuses the likes of "Manannan" and "Never Blow Out The Eastern Candle", proving again that Absu are among the only Americans with the ability to both out-weird and out-metal their Northern European competitors. Can't wait for the next full-length.
"The Gold Torques Of Ulaid", "Immortal Sorcery", "The Great Battle Moving From Ideal To Actual"? Are these chapters from a sanity-blasting tome of arcane magicks? Or lectures on mythic history or philosophy? Well, perhaps. But they're also song titles from this decade-spanning double cd collection of Absu tracks. Absu being one of our all time favorite black metal bands... if that's even an accurate description for them, 'cause there's a depth to what they do that seems like so much more than playing corpse-painted dress-up like so many black metal bands get away with. Absu, on the other hand, have definitely done their research. This Texan trio combines the evil old school speed/thrash attack of Slayer with Norwegian-style black metal mystery, adding a immense dose of magickal and mythical erudition and then taking things to a whole 'nother, never-breaking-character, Manowar-esque, Olde English speaking, are they serious or not?? level... They're a whole mindboggling package, a display of "total attention to detail" showmanship (or is it belief?) that utterly wows us, along with their raging musickal assault.
It should be noted that this new double cd is not a "best of". If it was, we'd say that even if you've never heard Absu before, you should check it out, 'cause they're one of the best "extreme" metal bands out there (and we mean "out there") and a "best of" would, therefore, be exceedingly good. Actually we'll say that anyway. But this is really a release for folks who are already fans of the band, 'cause it's a collection of rare tracks taken from various compilations and 7" eps. It also includes some live and otherwise previously unreleased material. So even if you have every Absu album, you don't have some of this. And you need it.
Disc one contains all the tracks from three hard-to-find (we don't have 'em!) 7" vinyl records -- Temples Of Offal, And Shineth Unto The Cold Cometh, and Hallstattian Swords -- plus their song from the the Gummo movie soundtrack, and more. It's all great stuff, from the solo soundtracky synth-scapes of the Hallstattian Swords tracks to the killer Mercyful Fateness of the alternate take of "Stone Of Destiny" from their most recent album, Tara.
Disc two is devoted to covers, live, and unreleased material. You get to hear Absuized versions of tracks by Mayhem (and krautrock's Conrad Schnitzler, since Absu's cover of "Deathcrush" includes the Schnitzler intro that Mayhem sampled on the original!), Possessed, Iron Maiden, and Destruction, most of which originally appeared on tribute comps to those respective artists. There's also four live cuts (worth it for the song intros alone!) and a couple unreleased rehearsal tracks. Again, all stuff any Absu fan can't live without. Just try, you'll die (someday, anyway). And you won't die as happy as you would if you'd had this.
"Exhibit V" in the Absu discography of blackened occultic Texan thrash supremacy! This disc was a long time coming and well worth the wait. The trio of Sir Proscriptor McGovern (drums, vocals), Shaftiel (guitars), and Equitant Ifernain (bass) again assault
Getting a new album from Absu is like being handed a bunch of scrolls from ancient Sumer bearing esoteric magickal wisdom - at a raging kegger hosted by some Slayer-blasting heshers! And since this is the thrashing Texas "mythological occult metal" band's first album in about eight years, AND they're one of the acts we arranged to play the Aquarius/WMFU showcase gig at the South By Southwest music fest in Austin this year (their first show in seven years!!!), you KNOW we're really excited about this self-titled album's nearly concurrent manifestation. Of course, we were equally (and foolishly, it turns out) worried that this long-overdue new Absu would somehow be a disappointment, seeing as how Shaftiel and Equitant have left the band, leaving remaining founding member drummer/vocalist Sir Proscriptor McGovern (also of Melechesh, Equimanthorn, and his solo project Proscriptor) to assemble a completely new lineup, finding fresh blood to dust off the band's old spellbooks for this new conjuration. Of course it's a bit different than before - a tad slower maybe (though still freakin' frenzied!), adorned with more atmospheric keyboards (synths and prog fave Mellotron!). But compared to anything else, it's still ABSU. Insane and arcane. The two new members are up to their awesome responsibilities, ripping fiercely through these complex but headbanging songs, leaving shredding solos in their wake. And of course, Proscriptor is still one of extreme metal's most incredible, exacting, accomplished drummers. Not to mention black metal/magickal conceptualists. So there's still weird occultic song titles to make Bal-Sagoth weep. Gotta love "In the Name of Auebothiabathabaithobeuee"!!! The eccentrick, eldritch spirit (part Celtic, part Mesopotamian) of Absu lives. Paying tribute, a bunch of guests make cameo contributions, including members of Melechesh and Mayhem, as well as former Absu bassist Equitant (giving this his stamp of approval). So call it a comeback.
2001's Tara may still be our favorite Absu album, but this sure is a worthy follow up. Hail Absu! We can't wait to see 'em. It's gonna kill!!
(FYI we should have copies of this on vinyl too next week!)
The gloomy United Kingdom's most insane purveyors of twisted avant death metal bestow upon us once more a showering hailstorm of bludgeoning, smothering murk in the writhing form of their third full length. It's been a couple of years since their last album which we rightfully raved about, but time has clearly done nothing to temper the monstrous wild-eyed leviathan madness that propels Abyssal from the most lightless depths to the outer limits of the Lovecraftian cosmos. "Death Metal" is probably the easiest catch-all descriptor for these guys (especially considering the gurgling guttural quality of the vocals), but it doesn't really seem to do them justice. Indeed Abyssal have a tendency to genre hop a bit, mixing melted slatherings of doom, black metal, even post rock and shoegaze, into their swirling bubbling concoction. But their greatest strength lies not so much in genre hopping but in mood hopping, flipping from some of the most claustrophobic overwhelming death metal you've ever heard to a sudden glorious sun-dappled swell of glorious beautiful melody, all within a matter of seconds. It all serves to inflame the surreal dreamlike nature of the music, all dripping and morphing like an oil painting in the rain, and never is that more apparent than on "Veil of Transcendence", with its woozy plaintive piano repeating over and over atop a barrage of nonsensical death metal, seeming to drift at its own tempo regardless of what else is happening around it, until all of a sudden it locks perfectly into place and for a brief fleeting moment the world is beautiful & placid. That is before it all crumbles around you as quickly as it came together. That's Abyssal's motto: "Don't get too comfortable", and we wouldn't have it any other way.
Holy shit, how had we not heard these guys before? Novit Enim Dominus Qui Sunt Eius is the second album from these blackened UK death metal doomlords, and is an insanely chaotic onslaught of gargantuan proportions. Seriously, Abyssal are like a sonic sky full of bloody anvils raining down on you. Dense, relentless, punishing, pummeling, it's hard to tell exactly what's going on, and whether it really is doom metal or death metal or even black metal. The vibe and sonic palette says death metal, all downtuned churn, and raspy demonic vokills, but the vibe is all doooooom, murky and woozy and washed out, the riffs are slippery and melty, and seems to be constantly oozing and dripping, the sounds bleeding into each other, little bits of melody and classical metalisms popping up throughout, but more often drowning in black swirls of buzz and rumble, hence the black metal element, cuz this really is seriously blackened, bleak and demonic, hateful and harrowing, the tracks epic and constantly shifting, dizzying in their complexity, but that complexity is not always obvious, as often the sounds are blurred and smeared into a furious swirling cloud of grim black sonic energy. Shades of Deathspell abound, Wold and Portal too, but Abyssal definitely take those influences and weave them into their own twisted blackdeathdoom, the sound almost psychedelic in places, with weird chords and strange sonic shifts that seem to approximate the record slowing down and speeding up, woozy and warped and totally druggy and dark, but crazy melodic as well, with some passages slipping into almost shoegaze territory, but all of that stuff reveals itself gradually, and is mostly to be glimpsed through Abyssal's wall of sound blackblur onslaught.
This is our favorite sort of metal, so dense and so heavy and so brutal, that it seems to totally transcend the bounds of those sorts of descriptor's, and instead becomes almost dreamlike, mesmerizing and hypnotic, utterly headbangable, but also, soothing and trance-like, lulling the listener into some strange state between submission and transcendence.
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
Funny that a band can get so over-rated they become supremely under-rated. It could be that one of the best rock bands of all time has maintained their overall showmanship, but without the illustrious and crazed Bon Scott on lead vocals, their pure fire got lost in the huge rock-band-production of the '80s and '90s. Lightshows and media blitzes (not to mention excessive usage of their music for major league sporting events) seemed to dilute their early naked raw energy. Though, these days they certainly still do have raucous energy to spare, just ask anyone who's seen them in recent years. However, the young ravenous intensity of the band in the mid-to-late '70s is, in comparison, incredibly impressive to witness. Thankfully, several choice moments from that time in the band's career is presented on this Family Jewels (ahem) double dvd.
Disc one (20 songs from 1975-1980) features priceless footage of early performances and some incredibly scrappy but amazing music videos. Of the live shows, one that stands out is the footage from their notoriously impressive performance at University of Essex on a UK television series called Rock Goes To College.
In the music video for "Jailbreak" (which has become a staple on VH1 Classic), you see the band (with Angus shockingly in only something that looks to be a paper thin pajama set), freezing their asses off, "playing" the song with instruments up on some windy hill somewhere, "escaping from jail" and dodging some home-made explosives. The look of the film, quick cuts matched by the song's memorable sound quality make for one of the best music videos of all time. I get chills everytime I watch it.
In clip after clip, the surprisingly unpredictable and witty showman Scott keeps you thoroughly entertained. Keep an eye out for bagpipe-playin' Bon and schoolgirl Bon alongside schoolboy Angus! Speaking of which, the playfully rambunctious chemistry between the two is great, adding a totally distinct personality to their on-stage energy that's sadly missed in the later Johnson-era performances. To boot, it's pretty cool too to watch the evolution of Angus' student uniform.
Disc two (20 more tracks, 1980-1993) draws from the Brian Johnson years (AC/DC's singer after Bon's untimely death), and so one of the unexpected things that this double cd set inadvertenty offers is the opportunity for the Scott versus Johnson debate teams to re-ignite their rallying charges (just as the Iron Maiden Early Years double-dvd did for the Dickinson and DiAnno supporters). Which side are you on? So far, we're siding with Bon...all except for Allan who votes for Brian. You can take it up with him.
**SALE **SALE* *SALE**
Everybody knows 'Balls To The Wall', Accept's early 80's hit that almost made the 'You Shook Me All Night Long' leap from Headbangers Ball to FM radio, but their 1982 release 'Restless and Wild' (reissued here, digitally remastered and in a spiffy digipack) is the only truly essential Accept record. And essential it is. Equal parts catchy eighties hard rock and proto-thrash-metal and featuring the unique balls-in-a-vice/tracheotomy vocals of sort-of-dwarf Udo Dirkschneider, 'Restless and Wild' is easily one of my favorite metal records of the eighties, and it holds up surprisingly well, almost 20 years later.
Seminal Seattle crossover hardcore punk/metal band The Accused's most metal releases came out, oddly enough, on the rap label Nastymix in the early '90s. Probably our favorite Accused album, Grinning Like An Undertaker (1990), was one of those, along with the subsequent Splatter Rock record (1992) and intervening Straight Razor ep (1991), and all of 'em are out of print and currently pretty hard to find, and crazy expensive if you do, on cd or vinyl or even cassette.
Now, not all Accused fans will agree with us that the Nastymix era represents their very best stuff, but few could dispute that if you're looking at The Accused discography from the perspective of a thrash-fiending metalhead, rather than a punk, those recordings are their most full on metal, especially Grinning Like An Undertaker. Like we said, they're out of print, but we did discover that there's this compilation lp bringing together a 'best of' The Accused's Nastymix years, 14 tracks of their splatter rock mania, including a hefty portion of Grinning Like An Undertaker (all but four of that album's cuts). Sadly, their remarkably effective cover of "Boris The Spider" is one of the few tracks omitted; but perhaps wisely, so too is "Down & Out", the band's really-not-all-that-embarrassing foray into rapmetal (which was to be expected, since it was the '90s and they were on a hiphop label after all). So, you do get the nastiest cuts indeed from the heavy shredfest that is Grinning Like An Undertaker, plus some choice morsels from those other two, later/lesser releases - when picking from Splatter Rock, they also stick to the total rippers, not choosing any of that album's more off the wall efforts, like the stuff that sounded more like it belonged on a Big Chief album. Nope, it's only the most frenzied hardcore metallic crossover cuts. Frontman Blaine Cook's inimitable, phelgm-choked snarl is in full effect, as is the machinegun speed metal guitar riffery and blasting drums of the rest of the band.
If you're like us, and have been fans of The Accused for years and years and years, then this new record on Southern Lord, their first ages, probably poses some serious problems for you. For instance, no one but the original guitarist is still in the band. All new members, including a brand new singer! Which means no Blaine, whose sick vox pretty much defined The Accused for lots of folks. So yeah, how is this possibly still The Accused? Well, to be honest, it still totally sounds like The Accused, and the new singer, is a dead ringer for Blaine, and they sound fucking great, furious, grinding, thrashing super catchy punk metal crunch, the guitars buzzy and abrasive, the drums wild and all over the place, the songs dense and complicated, and the vocals, sick and throat shredding and pretty fucking awesome. Maybe Accused superfans might not be fooled but plenty of other folks would probably not know the difference. And as far as we're concerned, we're just psyched to have another Accused record to blast, and we have indeed been blasting it pretty much nonstop. And the funny thing is, the one person here who was super skeptical about the new Accused, invariably asks what's playing every time this is on, which pretty much says it all. Seriously sick and punked out thrash metal filth from the splatter rock masters!
Ever since their self titled 7", reviewed last year, we've been dying for a full length from these SF heavies, their sound an insanely punishing, ultra downtuned metallic crust punk, that's just about the most metal thing to come out on Prank, but Acephalix still manage to straddle that line between metal and punk, they're probably more a punk rock band than a metal band we think, but then that line is already so blurred with bands like Anti Cimex, the Cro-Mags, Motorhead, Nausea, Celtic Frost, Sacrilege, all of whom most definitely inform Acephalix's sound. And what a sound, the guitars crunchy and corrosive, the drums crushing, the bass thick and dense, and the vocals, holy shit, howling, hellish and guttural, doesn't seem like anybody, should be able to conjure up that sort of demonic bellow, anybody human at least which is exactly what makes it so intense.
Plus the band lace their chugging metallic crust with killer harmonized style classic metal leads, and even when they're not unleashing full on leads, the songs are laced with streaks of feedback, bursts of tangled melody, spidery and all interwoven into the roiling crusty blackness below. The tracks veer from frenzied black thrash to lumbering doom to full on D-beat crush, the sound just so fucking heavy and dense and yeah, sometimes weirdly melodic, some of these songs get lodged in your head for sure, which is not something you'd expect at all from this sort of grim metallic filth. These guys just might give Burmese a run for their money as our favorite heavy locals, which is saying a whole hell of a lot.
The packaging on both the vinyl and cd are pretty sweet, but the cd version includes one extra track, a gloriously grim, chugging crusty creep... just so you know...
Finally, the third full length from these SF crust punk metalheads, another crushing blast of churning downtuned riffage, pounding death-march drumming, and sick demonic vokills. Initially way more punk rock, the band has steadily, with each record seemed to move closer and closer to being a proper metal band, Deathless Master seemingly the culmination of this shift, as we can't imagine these guys getting MORE metal than this. The vibe almost full on death metal here, the sound murky and malevolent, the vocals which were sick as fuck before, now even more of a monstrous DM gurgle, but the groups churning, furious metallic bombast, and punishing D-beat blasts, and seemingly unpayable debt to classic Swedish DM, is still tempered with classic old school melodies, and the occasional killer NWOBHM style guitar harmony, not to mention the occasional blast of galloping old school punkness or brief bursts of full on grind, but then there's a track like the closer, "The Hunger", where the band lock into churning droned out chugs, and take seemingly slow roiling riffage, and anchor them to blasting double kick drumming, making for that unbeatable slow-death-metal sound we can never seem to get enough of, not to mention the wild squalls of lead guitar shred peppered throughout. Fans of the last couple Acephalix records will dig big time, and if you've somehow yet to check these guys out, but dig crusty old school D-beat driven death metal, this will definitely be right up your alley.
This local metallic crust outfit's first record was released on venerable punk label Prank, who found, upon receiving the masters for this, Acephalix's second full length, that the band's sound had gotten, well, WAY TOO METAL. Which while bad news for the punks, was most definitely good news for the rest of us. Especially considering their sound on Aporia, was already pretty dang metal, and while at the time, we did concede that they were probably more of a punk band, we also cited groups like Anti Cimex, the Cro-Mags, Motorhead, Nausea, Celtic Frost, Sacrilege, all of whom blur that line, and while Acephalix may have been more punk back then, even if just barely, they definitely sound more metal now. And have found a new home on Southern Lord, who seem to have a newfound obsession with crust punk and metal.
So yeah, while this is more metal, it's still plenty punk, the tempos especially, not dirgey and doomy (although there are moments), or blazing and blasting, instead songs seem to gravitate toward that galloping punk rock rhythm, but wedded to sounds more distinctly metal, thick, downtuned riffage, and some very Maiden sounding guitar parts, not to mention some seriously shredding leads, everything crusty and murky and HEAVY. One distinctive holdover from the first record is the vocals, a terrifying bellow that occasionally slips into an equally terrifying shriek, and that sounds even more menacing and bad ass when coupled to the group's more overtly metallic pummel.
LIMITED TO 2000 COPIES, each one hand numbered.
Debut release from this Bay Area horde, fucking killer, grinding, pummeling old school downtuned metallic crust, equal parts Celtic Frost, Anti Cimex, Cro-Mags and any other of the classic crushers.
Thick, super distorted ultra heavy guitars, pounding drums, and some of the sickest, gnarled bellowed vocals we've ever heard. The riffs destroy, there are even GUITAR SOLOS, which shred, the songs are mostly midtempo, weirdly groove here and there, even some awesome Iron Maiden style harmonized guitars, and always crazy catchy and heavy as fuck. We find ourselves listening to this over and over and over. Can't wait for the full length.
Super swank packaging, silver metallic foil printed on thick black and white sleeves, pressed on nice thick vinyl, and includes a printed insert.
The dedication and worship and legend that this band inspires, even years after the end of their brief career is amazing. Not undeserved mind you, just surprising. Cult legends in the bayou's sludge scene along with Eyehategod, Crowbar, Down, etc... Acid Bath called it quits after the death of their bass player, and members went on to join Crowbar and Goatwhore after recording their post-Acid Bath masterpiece (and one of our favorite records) as the Agents Of Oblivion. But Acid Bath -were- amazing, melding furious grinding almost-death metal, buzzing hardcore, and super melodic hard rock ala Alice In Chains or Soundgarden. And writing amazing songs, evoking mystery and death and salvation and nihilism. It's sort of a crime they weren't HUGE. But maybe they are right where they should be, underground. Here's how we described our favorite Acid Bath record on a past list: "Imagine the sheer brutality of Eyehategod, the bluesy grind of fellow bayou residents Soilent Green, the stoned sabbathy swing of Trouble, and the melodic flair of late era Corrosion of Conformity or Alice In Chains, all forced onto one cd. Sound confusing? It is. But somehow, it gels perfectly, striking a pefect balance between catchy and heavy." While this is probably not the place to start for Acid Bath virgins (that would be their second full length cd 'Paegan Terrorism Tactics') this is a godsend for Acid Bath fans (like us) and an amazing document. Features multiple live performances of all their best songs from Boston in 1996, New Orleans in 1994, Metairie, Louisiana in 1994, Milwaukee Metalfest in 1994, Hollywood in 1996, Breux Bridge, Louisiana in 1996, Lafayette, Louisiana in 1996 and St. Petersburg, Florida in 1996. Also includes a video clip from 1994, rehearsals for their first demo in 1993 and a practice in their barn/practice space in 1992. Most of the video looks/sounds pretty good. All of it's interesting, and if you already love Acid Bath as much as we do, you already know you have to buy this!
Man, does this record rule! Not entirely sure how we all managed to miss this one when it came out a few years back. It was actually (re)discovered on the recommendation of a not-so-entirely-trustworthy source. Go figure! But now that we know, so must you...Imagine the sheer brutality of Eyehategod, the bluesy grind of fellow bayou residents Soilent Green, the stoned sabbathy swing of Trouble, and the melodic flair of late era Corrosion of Conformity or Alice In Chains, all forced onto one cd. Sound confusing? It is. But somehow, it gels perfectly, striking a pefect balance between catchy and heavy. This has become an absolute favorite of Andee, Allan, Elisabeth, and a handful of customers who have seen the light. Interesting non-music related facts: amazing cover art by Dr. Jack Kevorkian, one band member dead, one in jail...HIGHLY recommended!
San Fran stoner metal heroes (and heroine) Acid King roll their big ol' ball of fuzz in our direction with this latest (presumably third, but we didn't count 'em) album of heavy Sabbath-influenced spacey sludge rock. Singer/guitarist Lori S. and company kick out the jams (albeit slowly) on such tracks as "2 Wheel Nation", "Heavy Load" and "Into The Ground". With her wailing moan drifting over the sort of plodding, low-end riff repetition you'd expect from pals of Boris, this is one for those of you into the likes of Om, Sons Of Otis, Dead Meadow, that sort of thing. Of course, you might nod off before the cool guitar part or catchy bit of the song heaves into view...but that's the risk you take with a lot of the stonier stoner stuff like this!
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
It's been a decade since we last heard from local psychedelic, stoner/space rock trio Acid King, and even after ten years, their sound hasn't changed all that much, but then we wouldn't want it any other way. Unlike some of their more rocking compatriots, the sound of Acid King remains wasted and washed out, woozy and hazy, a stoned, bleary eared, slow burn smolder, classic doom infused with some Sabbathy swing, and of course, doused in distortion drenched fuzz. The guitar sound is massive, dense and thick, a churning, crumbling buzz, wound around some serious drum pummel, all in service of head Acid King (or Queen) Lori S., whose witchy wail drifts above the group's lysergic slo-mo lumber.
Acid King, while ostensibly 'doom' or 'stoner rock' or even 'space rock', have crafted their own unique hybrid of the three, a tranced out, mesmerizing zoner-rock variant, that makes Acid King both heavy and headbangable, but also hypnotic and drowsily drugged out, about as blissed out as this sort of spacey stoner doom gets. Bursts of distorted shred and minor key spidery melodies surface occasionally, but mostly it's all about the stretched out, undulating tarpit groove, the slither, the vibe, the sound, so heeeeeavy, the vocals and the riffs both invoking the same sort of rapturous reverie, the perfect sound for strapping on the headphones, and just drifting off, lost in mystical metal mesmer. Awesome.
Split release of stoner rock majesty. First up, the doomier side of the album courtesy of local SF heavies Acid King (the band lead by Dale Crover's wife Lori, featuring as well 'Thee' Guy Pinhas of ex-Obsessed, ex-Goatsnake, ex-Beaver fame). Their four tracks of sludge love are followed by the somewhat 'funkier' stylings (well, there's an organ player in the band) of deep South instrumental combo The Mystick Krewe... Funky spelling anyway. This New Orleans band (boasting members of Eyehategod) aren't actually instrumental on this disc, though, as they are joined by stoner rock legend Wino (Spirit Caravan, ex-Saint Vitus, ex-Obsessed) on vocals, a smart move. Again, heavy stuff. Rock out! Recommended.
I know we're all thinking the same thing: Enough with the Acid Mothers Temple already! Can't Makoto Kawabata and his band of krautrock-obsessed Japanese pyschedelic hippy freaks go on a six-month nature retreat or something, and give us (and our wallets) a break? But, the fact remains, that for fans of psych-rock weirdness, very few of the many AMT releases have been disappointing, really.
So, then, what's the deal with this one? "Electric Heavyland" (one thing Kawabata & co. are NOT good at is titles) is a bit unsubtle, wearing its intentions on its all-black sleeve (or, rather, obi): this is AMT's stab at non-stop, super-heavy rockin'. Alien8 compares it to "Mellow Out", the now out-of-print first album from Mainliner, the High Rise related group that Kawabata played in prior to AMT's debut. (They even point out that "Electric Heavyland" even LOOKS a lot like "Mellow Out", something which hardly seems all that meaningful or significant...I mean, c'mon.) Regardless, it's certainly in the ballpark. Sloppy, noisy, spacey, utterly indulgent, this is the sound of a stoner heavy psych band fully amped up, plugged in, and jacking off. The blown-out, sub-Stooges motorcycle metal of Mainliner (and High Rise) is perhaps more purposeful than this, without the spacey detours, synth fx, and wordless female vocalizing of this disc. But, when you're in the midst of "Loved And Confused" or "Atomic Rotary Grinding God" or "?Quicksilver Machine Head" on this disc (see, decidedly un-subtle indeed), that hardly matters. Not the heaviest ever, but heavy enough. Would Monster Magnet dare take 'em on tour?
This is the new album from Japan's Acid Mothers Temple, that AMT leader Kawabata Makoto contends is heavier than the average heavy AMT release, going so far as to say it's in the league of something like SUNNO))). Well, is it really?? Would he bet his beard on it? (We all ask, salivatin'.)
The answer: holy shit, yes. It's like indeed kinda like SUNNO))) jamming with Amon Duul, in a relentless riff orgy. That heavy. That droney. That creepy. That kosmic. A slow screaming blackened drone-groan vomiting forth from bad trippin' hippy minds, third eyes staring dull and glassy into the spinning vortex of the void. There's about ten minutes of pure bliss-out at the end of the disc, but before that, what you get is psychedelic guitar gunk out the wazoo. Riff after plodding riff, adorned with alien electronics. Dirge, splurge and more dirge. A roar to end all roars. A space-sludge feedback fantasy.
Each clocking in at about 36 and a half minutes, there's two long tracks (with long track names) here: "Eternal Incantation Of Perpetual Nightmare" and "Recurring Dream & Apocalypse Of Darkness". Sound kinda black metal don't they? Actually they do. This is an EXTREME Acid Mothers Temple experience let me tell you. Boris, beware! Ufommamut, watch your backs! Electric Wizard, better take another hit!!
Definitely worthy of the nifty, unmistakable Seldon Hunt cover art. Also, FYI we have this in both digital and analog formats. The vinyl version, a heavy gatefold double LP affair, is limited to 1000 copies, and it includes two bonus tracks!!! So act fast...
Hell's Headbangers printed these up with two different covers, one for each of the two songs on it, so on some "Midnight Mass" is the the A side, with correspondingly blasphemous cover art, and on others "To Magic, Sex and Gore" is the A side, also adorned with appropriate artwork, that would never pass the Comics Code that's for sure.
Both songs are gonna be pure manna for fans of Acid Witch, whose brand of psychedelic stoner doom death metal we hope you all already know about and worship with cackling glee. If not, you should check this out and also Stoned, their recent full-length for Hell's Headbangers. Or be turned into a newt.
Translucent (blood) red vinyl with black splatter. Limited edition, natch. The cover you get will be random, btw.
Hails to Hells Headbangers, the label is on a roll lately, bringing us long-awaited new releases by two of the most outre of AQ metal faves: Ominous Doctrines Of The Perpetual Mystical Macrocosm by black metal aberrations Inquisition (Record Of The Week last list) and this, the more simply titled Stoned, from psychedelic doomsters Acid Witch! It's their 2nd full-length, after the now out of print debut Witchtanic Hellucinations we cackled over a couple of years back. Once more, Shagrat and Slasher Dave (minus Finnish friend Lasse Pyykko, who wasn't actually the main guy in the band as it turns out) have stirred up a bubbling cauldron of tripped out, horror-loving metal that draws upon their love of old school death metal, doom, fright flicks, and drugs! They say it best themselves: "Metal, punk, comic books, and horror vhs / Nothing else to live for so you might as well obsess / Discovering books of power on the arcane and occult / Eating psilocybin leaves you feeling quite possessed" (lyrics from their song "Stoned To The Grave"). Now, we're not gonna say if we condone that lifestyle or not, but we sure do like the sick, slightly tongue in cheek music that results!! And if you can appreciate a song title like "Metal Movie Marijuana Massacre Meltdown", then you'll probably like this album and band. THAT song features another verse we've just got to quote: "Seen these movies so many times / Turn off the volume cause I know all the lines / So fucking high, just let the stereo play / But only if it's Lizzy Borden or Fastway." Sheer poetry to our ears. However, Acid Witch themselves sound a lot more underground than those '80s metal bands they mention, the Hellhammer poster and Bulldozer t-shirt in the band photo represent more likely '80s inspirations.
So, if you've heard their debut, you what to expect. After an intro of Goblin-y keyboards and looped samples, the album kicks into metallic gear with track two, "Witchfynder Finder", a song about turning the tables on Matthew Hopkins, Witchfinder General. It's a catchy juggernaut, sounding not unlike Cathedral or Electric Wizard (or Pykko's band Hooded Menace) riding Hawkwind's "Silver Machine". One of the many killer cuts here with skull caving riffery and fuzzed out guitars. Those Goblin-y keys return later on the eerie "Whispers In The Dark" and elsewhere... while in "Live Forever" the keyboards take on more of a Deep Purplish hue! All in all, a heavy, rockin', horror show of guttural vokills, '70s Sabbathry, and spooky-ooky atmospheres.
Their favorite holiday is obviously Halloween. October is a long way off but if you like Halloween too, Acid Witch have a treat for you right now. Buy this along with that Wooden Stake / Blizaro split also highlighted this week, and your inner psych doom freak monster will be well fed.
Despite all the Acid- suffix and -Witch prefix bands out there (and vice versa for that matter), it appears that this is the very first band ever to use the name Acid Witch! And it really would have sucked if the name had already been taken, 'cause these guys are the PERFECT Acid Witch. Nobody could possibly do better justice to a moniker like that than this, um, coven.
Are they psychedelic? Yes. Are they metal? Yes. Are they creepy? Yes. Are they deathly? Yes. Are they doomy? Yes, yes, yes! Psychedelic drug doom death horror metal that cackles, wears a pointy hat, and flies on a broomstick. And, they have a sense of humor about it (hence song titles like "Witches Tits"), the same sense of humor -and- horror that gets us all into those cult '70s and '80s Italian fright flicks. Speaking of which, this album is amply laced with sinister, proggy Goblin-esque keyboards, draped over fuzzy chugging heaviness worthy of early Cathedral. Heavy, heavy doom riffs indeed abound, along with guttural grunting deeper-than-thou vokills, both of which manage to be fairly catchy as well, this album casting a spell of instant headbanging most definitely. Acid Witch's songs are furthermore infested with droning psych guitar soloing, weird electronics, witchy laughter, and spooky-ooky sound FX (is that a bubbling, boiling cauldron in there?) which makes this sound something like a "haunted Hawkwind" version of death/doom metal! Or let's say, take Acid Mothers Temple and Witchfinder General and mix them together (including the band names), then get 'em to play old school death a la Hellhammer. It's a bewitching, if totally gonzo, sound.
Further coolness: did we mention the main guy in the band is from Finland? And did you see the freaky EC Horror comics meets Cracked Magazine cover art? Which was done by Acid Witch member Shagrat (doubtless an Amon Duul II fan), who also provides a b&w portrait of the band done in the style of one of Witchfinder General's singles covers. Also, Witchtanic Hellucinations? Heck that's our review right there. These guys are brilliant (at least as much so as Electric Wizard and their "Satanic Rites Of Drugula" on Witchcult Today - hey maybe those two bands should go on tour and make black magic together!). Other bands that if you might like, probably means you should listen to this, include: Solar Anus, Coffins, Sigh (circa Imaginary Sonicscape), Moss, and Pan-Thy-Monium.
As soon as we heard 'em, we knew this was a definite AQ highlight. It took us a while to get more, our suppliers never had enough, but finally we contacted the label directly and got some, so here they are! Get 'em before they turn us all into (lysergic) toads.
