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.
Ah, the Extended Play. Compact, versatile…few genres really know how to effectively wield the EP like metal does. In today’s edition of Second Circle we take a look at two EPs, used to different ends, but carrying the message of metal loud and clear. So let’s kick things off with the forthcoming tribute from Black Anvil and then cap it off with the early 2019 metal hammer that is the latest from Gatekeeper. Continue reading →
Let It Breathe – the aptly named slow-riding, fuzzed-out rockers from Minnesota – are quickly approaching the release of their self-titled debut album. While the April 27th official release date is still about a month away, Nine Circles is thrilled to whet your appetite with a new track titled “Greater Than I” RIGHT NOW.
While Let It Breathe is technically a debut, the gentlemen behind it are no strangers to each other nor the product they create. Randy Geraghty and Jason Knudson may have spent most of their time in the punk scene in 90s, but it was the arrival of Rob Rushing that allowed them to find their doomier sweet spot. Life may have eventually forced some distance between them, but this recent reunion shows no indication that these creative minds were ever apart. But don’t take my word for it. Check out “Greater Than I” immediately below. Continue reading →
Corey and I opened the week with Neurosis, Converge and Amenra — needless to say it was mind blowing — so be on the lookout very soon for the full rundown. For now, it’s back to reality and another big week of metal here on Initial Descent. Kicking things off is the latest full length, What Passes For Survival, from New York’s avant/extreme/improvisational Pyrrhon — a band that is absolutely untouchable and inimitable — who have crafted yet another death metal album that demands your immediate and undivided attention. Next up is the simply stated yet aptly titled Hell from Oregon’s doom masters Hell who already have a staggeringly great back catalog but with the addition of this dark and sinister effort my bet is they’ll be riding high for some time to come. Moving on, Shooting Guns returns with their signature psychedelic doom rock on Flavour Country and as usual they are incredibly entertaining. Closing out the top spots is Canada’s answer to heavy hitting and bluesy doom metal, Olde with their latest full length Temple and again, this is another highly recommended release that would fit in nicely with anything you’re about to tackle. There you have it, an already stellar line up but you know the drill — there’s so much more to keep the metal fires stoked so pull up a piece of floor and stick with us for awhile. Got a comment/gripe/anything? Leave it in the comment section. Continue reading →
It’s been nearly three years since Canada’s doom metallers Olde released their debut I. Three years is definitely a stretch but this hard-charging slab of massive downtuned grooves and bluesy melodies more than filled the gap. The template set forth on I worked extremely well and once a band finds that kind of groove there’s really no need to fiddle with the formula. Which is exactly where they land on second full length Temple: not far removed from the debut but with their air tight songwriting even tighter and the deadly serious lyrical content more focused than ever they’ve crafted the perfect follow up. Ahead of the albums release, later this week, we had the opportunity to ask Cory McCallum (bass) our set of Profile questions and he was not only very gracious with his answers but insightful as well. You do not want to miss this… Continue reading →
It feels like a contradiction to slap the term “workman-like” on a band whose style of music lies on the lonely stretch of desert road, where the sludgier aspects of doom dance with the boogied overdrive of stoner rock. The mind conjures hazy hallucinations of pot smoke curling around the stale molecules of beer and sweat, left alone in the air of a shack illuminated by tangled coils of Christmas lights, the orange glow of lighters against bowls and the blood moon laughing high in the sky. At least that’s what I see. Maybe you hang your stoner sludge doom hat on another hook, who am I to say? Regardless, it doesn’t stop me from admiring the lean, no frills methodology at work behind Telepath, the new album from San Francisco band HORNSS.