The Third Circle of Bandcamp: February 2020 Edition

third circle of Bandcamp headerWell friends, this may be it, with nothing to do but sit at home and listen to tunes while the world dies around us. So for the three of you (or less) who actually listens to these: I salute you, and deliver unto you the soundtrack to our apocalypse. Not much else to say, I just hope there’s still people to write for next month.

Ambient synth and soundscapes from Unreqvited’s latest EP starts us off, and leads seamlessly into Jaern’s stoner doom. Then we crank it up with some excellent tech death courtesy of Xenobiotic, which flows into the intense blackened melodic death of KVAEN. Sons of a Wanted Man follow with wonderful blackgaze chased by the experimental synths and sludgy black metal of Tombs. Speeding it up, we have riffy prog from the new Intronaut, and then we wrap with a couple of atmoblack tracks from Skyforest and Cult of Fire respectively. Continue reading

The Nine Circles Playlist Vol. 116 (2.15.2020)

playlist - mixtape

Howdy y’all and welcome to another Saturday morning playlist. This week, I went and saw Dashboard Confessional again so you know what that means, we’ve got all the new singles to keep you covered, plus classic Blind Guardian and Crowbar cuts, and because our Fearless Leader is who he is, just a little Merle Haggard to round things out. It’s a full house of picks this time around, so check all that out and more at the link below.

– Vincent

Album Review: Death Karma – “The History of Death & Burial Rituals, Part I”


Death. We’ve all heard of it; we’ve all had it affect our life in some way. Heck, we spend most of our lives fearing and trying to avoid it. Every culture deals with death differently and some of those rituals are fascinating—particularly to Death Karma vocalist, bassist and guitarist Infernal Vlad. Thus, the groundwork is lain for Death Karma’s first LP, The History of Death & Burial Rituals Part I, a six-track concept album that seeks to reveal the rituals surrounding death & burial in Slovakia, Madagascar, Mexico, Czech Republic, India and China. Musically, it’s blackened death metal with elements of symphonic black metal, thrash and OSDM—and aside from a very digitally-compressed and tinny production standard, it’s generally a thoroughly effective album. Continue reading