The moon plays a lead role in our lives, whether it be eclipsing the sun as it did recently as witnessed in north America, or pulling on the tides through to controlling those of us with a lycanthropic persuasion… Folkvangr Records are releasing two Moon titled artists this autumn in the shape of Chaos Moon and Hate Moon.
Chaos Moon sees the tenth anniversary re-release of ‘Origin of Apparition…..Languor into Echoes, Beyond’ as a double cassette, limited to 50, as always to excite you tape heads, and alternating a black and white theme across both these albums in layout and cassette shell packaging. Especially for those who enjoy harsh, visceral black metal as this gives no quarter from the beginning, with ‘Illusions of Dusk and Dawn’ containing one almighty howl, relentless drumming and buzzsaw guitar to create one hellish nightmare. The vocals at times, sound like a roaring big cat, which I must say I have never come across before! Most of the tracks on ‘Origin of Apparition’ end with a soft and drifting outro, even if the middle has been some of the most abrasive and pummelling black metal I have heard of late. And as this album unfolds more synth pieces become apparent to balance the tsunami of guitars and drums.
There’s something in my reptilian brain that connects with crossover thrash. It was the first scene or genre that really ignited my teenage passion, and of course being a teenager, I had a lot of passion pumping in those adolescent veins of mine! Mid to late 80s discovering the UK, US and European scenes I was my own inner journey, a pilgrimage of putrefaction.
So, when coming across bands that excite me in similar ways 30 years later is so refreshing, and here we have The Mons and Agony Kings, both fishing in a similar gene pool of creativity. The Mons draw on that angular early punk sound of the ’77 revolution along with the rhythm and drive of 1980s US hardcore of Minor Threat and Black Flag etc.
Since the 70s there’s nothing more metal than an umlaut, thanks to Motorhead and Blue Oyster Cult for popularising the grammatical nuance. And my inbox has been invaded by new releases by The Sign Records including Hällas and Märvel plus a fine crop of others, some of which surprised me. Hint, the heaviest didn’t include any umlauts in the logos!
Märvel – this is ideal for long summer evenings with long drinks, and long sighs. Hits a few power chords and drum rolls reminiscent of that Swedish retro Witchcraft vibe with some excellent tambourine and shakers work!
To review this album, I have decided this should be interactive with audience participation. Here’s what you need to do:
Fetch pen, paper and ruler. Draw a grid 5 x 5 leaving you squares big enough to write in.
Now fill the 25 boxes with a variety of your favourite rock, pop and metal acts. Purchase the album Laser Flames on the Big News by the Tennessee band of the same name which was out on Wood and Stone Productions on June 30th, 2017, and cross off the bands in your grid as and when you hear them on this record.
Press play and join John Judkins of Rwake and Stephanie Bailey as they play vocal blows off each other whilst the band scot around a number of genres, sub-genres and classic standards.
Cassette collectors and tape heads rejoice!! Folkvangr Records is releasing of the cassette version of Inexorable Grimness by USBM band Gravespawn on August 25th 2017 as a limited edition solid black cassette with white ink and hand-numbered, plus double sided 4-panel sleeve in a crystal clear case.
Although this album was released late 2016, it is seeing a cassette release this August, and it is my first time listening in. Opening with a Mortiis style depressing dungeon dirge, the rest of the band soon kick in with fierce and fast black metal and gargling with gravel vocals.
Toxik are not only reviving the old school thrash sound, but they are the living and breathing originals from way back when. Originally thrashing in from the mid 80s they rubbed shoulders with all the great and the good contemporaries from the east coast to the west, from doom pioneers Candlemass to the technical teachers Dream Theater, but then called it a day in 92. Spin forward 20 years and they are back and August sees the release of this EP. And mentioning Dream Theater earlier makes me think this is a very technical thrash sound, its tight and clean with Anthrax style vocals, which isn’t a surprise as they are a NYC based band. Opening track of this three-piece EP ‘Stand Up’ is the weaker of the three in my opinion, but the sentiment of throwing off the shackles of modern world slavery, in its widest sense, is a very ‘Thrash’ topic, and one that is very current in deed.
‘Breaking Class’ is riddled with an exciting race between drums and guitars to see who is gonna get to the end first! This tune resonates some DRI elements especially its midway breakdown! The guitar picking after this shakedown is ultra-fast, but in my opinion closing track ‘Psyop’ is the strongest, a wee intro, then multi-layered guitar emulating a call and response in some ways, before setting the pace for a mosh fest of a tune! This has variety, riffs, guitar leads that sometimes take me by surprise – still showing off their technical clout, Toxik have banged their fist on the table and will leave their mark with this self-released EP. Well worth exploring if you are new to this thrash renaissance.
When I opened this Dead is Dead album I returned it to the mail room, as it has ‘Post’ written all over it. (pauses for audience response….)
Solid blocks ten foot by ten foot, by ten foot drop on me from a tall height and squash me with their sound. In my mind it is post-metal, post-rock, post-post. This is well planned and deftly executed in its understatement. In reality, its not how heavy this album is, it’s actually how heavy it isn’t, if you get my drift. This power trio could have easily released the brakes and run full throttle over anything they had conceived musically. Yet, by holding themselves back, I get to actually hear the album, the music, and the gaps, so that when they rack it up a gear, it really hits home and makes a statement.
I am pleasantly surprised by how much I like this. I think Void Ritual are a one-man outfit producing black metal, and there are many of these kinda outfits out there, and sometimes I listen and feel it doesn’t work, however on ‘Heretical Wisdom’ I hear a maturity and musicianship that is worthy of your time and money. ‘The Flood’ starts us off in an expected frenetic way, yet it is ‘Breathing Ice’ that really piques my attention as it slows down its rhythm to that beautiful Bathory-esque momentum and my head cannot but worship with a meditative nod.
This is the first full album release by Dan and his Void Ritual moniker who probably don’t need much of an introduction in these pages. After an EP and a split EP this album is seeing a full CD release on Throats Productions and cassette via Tridroid Records in August 2017, so proper backing and exposure! The instruments are all equally used and balanced throughout, so the drums get a bit of an expose on ‘Heretical Wisdom’ title track bringing them forward from purely a beat keeper, ‘Frozen Altar’ includes a very slight keyboard presence, but handled in a subtle way as to not overpower the track.
For any older UK readers, you may remember the TV cartoon voiced by the irrepressible Kenneth Williams. Well you can forget that for starters. Nekrokraft deliver frightening fast blackened thrash. The guitar is raw and black, although the rhythms are thrashtastic. The tempo changes are as smooth as a Vaselined otter as it breaks down in to slower moshfest parts, then ups the ante and the deathly growls return to the screaming howls of vocalist Angst.
Title track even has an angular progressive death style opening, and levels blast beats with fast guitar, which stands apart from the rest of the album’s feel. And ‘Worship’ gets right down and dirty, although they hail from Sweden, they have a far more Germanic feel to their vibe and strikes out with excellent power chord riffing