Album Review: Boss Keloid – “Melted On the Inch”

Boss Keloid - Melted On the Inch

One thing I revel in hearing are bands that have grabbed my attention, for whatever reason, progress with each new album. Boss Keloid have offered a lot in that regard but nothing prepared me for what their third full length Melted On the Inch offers. Progression for many bands is simply making another album with a twist of a riff or two, maybe switch vocal approaches or slowing the groove down. But for Boss Keloid it means reinventing themselves while staying true to their stoner doom roots. And the noise they put together is glorious. Continue reading

Book Review: Jason Lief’s “Christianity and Heavy Metal as Impure Sacred Within the Secular West” by Jonathan Petkau of Domestikwom

Christianity and Heavy Metal as Impure Sacred within the Secular West: Transgressing the Sacred

We’re back with our slightly erratic series where Nine Circles is STILL very pleased to bring you book reviews written by musicians throughout the metal scene. As much as they love to write their own blast beats, discordant riffs and swirling maelstroms they also love to read and, for all of our benefit, discuss. The most recent post in this series features one man black metal/noise machine and occasional 9C contributor Jonathan Petkau of Domestikwom with his thoughts on Christianity and Heavy Metal as Impure Sacred Within the Secular West: Transgressing the Sacred by Jason Lief.   Continue reading

Album Review: Demonic Obedience – “Fatalistic Uprisal Of Abhorrent Creation”

Demonic Obedience - Fatalistic Uprisal of Abhorrent Creation

The notion Edinburgh, Scotland’s Demonic Obedience is hardly the band it once was is more than a talking point. In truth, that’s because this is now a bonafide group in the first place. Demonic Obedience debuted in 2013 as a one-man operation by George Ntavelas. After producing 2014’s Morbid Supremacy of Evil and 2016’s Nocturnal Hymns to the Fallen, Ntavelas returns with some backup, in the form of a vocalist and bassist. While the band is seemingly still very much his brainchild, there is a new dimension to what Ntavelas does that’s indubitably entrancing.

On Fatalistic Uprisal Of Abhorrent Creation, the new album by Demonic Obedience, the trio presents an arresting, elemental return to the music scene. With industrial flourishes obfuscating the death metal pastiche it has presented before, over these eight new songs, the fresh dimensions prove to be affecting, and addictive. Continue reading

Unholy Trinity: Vrasubatlat Spring Releases

vrasubatlat

Portland, OR’s premiere boutique metal label Vrasubatlat has been an unstoppable machine since the label opened its doors in 2015.  Gaining almost instant regard for its projects and commitment to a cohesive aesthetic, the label has attracted followers in high places in the short amount of time it has been releasing music, cementing relationships with fellow local hotshots Fallen Empire Records and one of my favorite noise labels Unseen Force.  I’ve been riding this particular hype train since the first batch of releases dropped, and today it is my pleasure to be able to share my thoughts on not one, not two, but three new full-length albums that span across all the styles of music that make Vrasubatlat the diverse treasure trove it is.

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Album Review: Grave Upheaval – “Untitled”

Grave Upheaval - Untitled

Anonymity has been one of extreme music’s time-honored, though shopworn, traditions since even before the first wave of black metal. It has endured through a succession of major and far-lesser-known acts spanning continents and decades, in part, because anonymity taps that fearful part of the imagination in which these walls of haunting sound flourish. Furthermore, this tactic subtly returns to the music snob in all of us, by letting the music speak for itself. However, so common is anonymity that it has become an officious self-parody in instances like Ghost, where estranged bandmates battle it out in court over money, intellectual property and identity.

The Australian group Grave Upheaval seemingly pursues obscurity intentionally. About five years ago, the band released an album titled simply Untitled. It conveys no lineup information and its tracks are titled in a fashion that is as bland as one can get, e.g. Roman numeral titles. Now, roughly five years after Untitled, Grave Upheaval is back.

With what, you ask? Untitled, of course. Not Untitled II. Just Untitled. Not a good sign, perhaps. Continue reading