Rivers of Nihil’s Jake Dieffenbach on upcoming album “The Work,” finding a green thumb, musical directions, and much more!

Later this month, progressive / technical death metallers Rivers of Nihil will drop their fourth full length, The Work, and by all accounts this album will be a crowning achievement for them as well as their fans and fans of extreme metal in general. 2018’s Where Owls Know My Name really blew the lid off for them and received mountains of praise, as it should have. The Work finds the band at an even higher creative peak and, somehow, heavier than ever. We’re foaming at the mouth over it and before long, you will be too. With that said, head inside for an in depth discussion with vocalist Jake Dieffenbach via The Nine Circles Audio Thing.

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Video Premiere: SVNEATR — “The Consequence of Fear”

As we quickly approach the official release date for Chinook, the impressive sophomore effort from Canadian black metal collective SVNEATR, it is our pleasure to premiere the new video for “The Consequence of Fear.” A leap forward from 2018’s The Howl, the Whisper, the Hunt, Chinook offers a brilliantly complex take on the genre, and this couldn’t be more evident than what’s contained within the passages of “The Consequence of Fear.” But don’t take my word for it. Give it a watch and listen immediately below. The video, by the way, is equally as awesome.

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Album Review: Hænesy — “Garabontzia”

The more I listen to black metal, the less I find myself caring about about things like rules or categorization. I’m not looking for black metal to change my worldview, or adhere to a set of parameters that maybe made sense over 20 years ago, but mean little now. I want the music to align to what I need at a given moment, and whether it does that via second wave lo-fi buzzing guitars, symphonic sweeping tremolo lines, or post rock shoegaze, it doesn’t matter in the end. I don’t need it to educate me, I need it to carry me – a weird thing to say about black metal, but there you go. And Garabontzia, the latest from Hungarian band Hænesy does that nicely, channeling post black metal whipped through a haze of reverb and ambient keyboard to deliver a spacious wave of noise that crashes in ever softening reverberations.

Are we still talking about black metal? Does it really matter?

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Reinventing Black Metal Part II: SRD

Photo: Simon Pelko

In the first part of this series I implied black metal is overrun with Satanic imagery and it just isn’t interesting anymore. However, we also focused on the unique situation of Al Namrood and their struggles. Today, we’re taking a look at Srd, a band which will unfortunately be much less known to most readers. Slovenia isn’t traditionally a country that produces a lot of amazing metal and I’m sure the large majority would struggle to name a single band coming out of it. However, as a Slovenian myself, I’ve been lucky to have seen Srd live quite a few times by now, even though the band is rather young and has only been founded in 2016. Now, you might think I’m biased because everyone tends to like supporting their local scene. And you might have a bit of a point there, which brings me to my next pretentiously philosophical idea. Black metal’s relation to ethnic culture.

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Album Review: Khors — “Where the World Acquires Eternity”

It’s not every day that you run into an album that actually teaches you something.  I’m no student of history, so there’s lots for me still to learn about world events of the past, but the last place I would expect to get a lesson is an atmospheric black metal album from the depths of the Ukraine.  Still, if anyone can do it, it would be Khors, quite possibly the most influential band you’ve never heard of.  Their titanic seventh full-length release Where the World Acquires Eternity showcases not only their use of concept but also some extremely smart songwriting.

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