Death metal is having a banner year with established bands releasing comebacks, new bands making their mark, and fans of the genre are reaping the benefits of all of it. And with banner years come market saturation so for an up and coming outfit to really leave a mark, it’s not enough to just have a good death metal album. Enter London’s Cult Burial with their self-titled debut and what you’ll find is a band unafraid to employ weapons of sludge, doom and post-metal but also put a spotlight on stellar guitar work. The scattering of quick solos, the odd riff breaks, and well timed arpeggios all signal that Cult Burial is not your average death metal band and make it a point to stand out with stellar musicianship and songwriting abilities. The flow of the album is such that it draws attention by never staying with a train of thought across any two tracks but in totality is a very cohesive piece of work and a shocker, then, that this is just their full length debut. Just ahead of the album’s release we had the chance to pose our set of Profile questions to guitarist and drummer Simon Langford so head below to see how it went down and be sure to visit the links contained within to show them some support.Continue reading
Receiving the Evcharist is our weekly feature where we pair choice albums with our favorite libations. Drink from the cup of heresy. This week’s offering: Void Rot’s Descending Pillars and Abita Brewing Company’s Purple Haze. Continue reading
In Dante’s Inferno, the second circle begins the proper punishment of Hell, a place where “no thing gleams.” It is reserved for those overcome with Lust, where carnal appetites hold sway over reason. In Nine Circles, it’s where we do shorter reviews of new (ish) albums that share a common theme.
As I scanned over our list of promos and wondered what I should take for a review this week, I was put into a predicament. Both Eave and The Glorious Dead came highly recommended, I had listened to singles from both Phantoms Made Permanent and Into Lifeless Shrines (respectively) and really enjoyed them, I’m a sucker for both of the genres these albums fall into and they’re both Bindrune releases, which is synonymous with extremely high quality in my mind. How, then, to choose which one to review? As a now infamous taco commercial suggests, “¿Por qué no los dos?”
Iceland’s Cult of Lilith are technically a young band in the sense that they only have one EP available but with the release of their impending full length debut Mara they stand to crush it in the death metal scene with a sound that’s akin to modern heavy weights in the scene but with their own unique take on it and unique use of odd instruments to firmly place the exclamation mark on it all. Harpsichord, 80s style synth, and intriguing songcraft make this band stand out from the crowd like an orange flag in a sea of black.
It’s August, which I feel is enough time to start building the argument that one of the releases destined to end up on my 2020 EOY list is a compilation of demos that were originally released in 1990. One of my “safe places” during this shitstorm that is the current world politic has been retreating to the sounds that made me fall in love with metal, metal that moved beyond the hairspray and whirlwind solos that attracted me in the first place.
With that in mind, I want to focus this edition of Nine Circles ov… on the absolute treasure trove that is Divebomb Records (not to mention parent company Tribunal Records). The work they’re doing releasing obscure and oftentimes unrecognized early metal gems—not to mention some great packaging when it comes to physical releases—has been exemplary, and the chance to highlight some of the many, many great pieces I’ve found digging through their Bandcamp page is one I couldn’t pass up. Continue reading