It’s almost October, and…we’re late with this! Blame Dan the Nurse. (Sorry, we mean “Dan the almost-nurse.”) But, just in the nick of time for our one-month-late AOTM schedule, we’re back with our chosen highlight from August: Bummer‘s Holy Terror! 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: Misery Ritual’s Searing Blood and Great Divide Brewing Company’s Colette Farmhouse Ale. Continue reading
Brother Vincent was nice enough to let me take the reigns this week but rest assured, he’ll be back with a vengeance soon. Today I’m featuring a pairing that on first glance or taste or listen didn’t seem like it would gel. But, upon further inspection it was just what the doctor ordered. Behold, the Body‘s I have fought against it, But I can’t any longer. and Wicked Weed Brewing‘s Napoleon Complex for this Receiving the Evcharist. Continue reading
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.
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