Tag Archives: Domestic Genocide Records

Maestus Streaming “Weeping Granite”

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Pacific Northwestern blackened doomsters Maestus is streaming “Weeping Granite”, off of their debut full length Voir Dire via a joint venture between Domestic Genocide Records and Glossolalia Records, here.

Comprised of Stephen Parker (Arkhum) and Jarrod Hyam (Sophos), with Kenneth Parker (Grst) and Cordell Cline (Dimensionless) recently enlisted to fulfill rhythm duties, Voir Dire was engineered and mixed during the Summer months of 2014 at Parker’s own The Wilderness studio and delivers seventy-four minutes of heart-blistering grimness, concluding with a four-part epic, ‘Opaque Shadows In Framed Stillness,’ the duration of which makes up nearly half the record’s length. Mastered by Agalloch‘s Jason Walton at Earth In Sound in October 2014, Voir Dire integrates black metal, doom and ambient, resulting in a caustic yet lush confessional.

Voir Dire Track Listing:
01. Shrouded by Peaks, Valleys Speak
02. Weeping Granite
03. Tears of Sky
04. Algid Lungs
Opaque Shadows In Framed Stillness:
05. I: Overcast Fields Ridden With Dew
06. II: Specie Æternitas
07. III: Water Sifting Through Iceladen Veins
07 V: Per Æternitas

Feb 27: Wandering Goat – Eugene, OR (Record Release Show w/ Facing Extinction, Dark Confidant, Black Woofer)

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Video Premiere: Sahhr – Slay The Saviour

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USBM evil conjurers Sahhr have released their new video ‘Slay The Savior’ from their just released debut self-titled EP. Birthed into the world on Halloween, this California based group is made of members of notable bands such as Skull And Bullets, Dowager, Scarecrow and Unwritten Law. Ghost cult has partnered with our eternally devious comrades over at Earsplit PR for the premiere.

Watch the video below:

 

The impressive video was Co-Directed by Jamie Phillips & Dale Pavinski for “GORILLA Punk Productions”.

Guitarist Aarsoth says of the video—


“The video was shot in one day in an abandoned warehouse in the ghettos of LA. where a known serial killer had brought victims. There was dried blood and syringes everywhere. We broke in and just shot guerrilla style. It stunk of death, was over 100 degrees..all the cameras stopped working and the candles melted. Several of us were arrested as we finished..brilliant.”

 

Official Press Release:

With the official unveiling of their debut, self-titled three-track EP looming, Cvlt Nation offers up a taste of “Altar Of Maggots” from Los Angeles blackened death miscreants,SAHHR, for mass consumption.

Written by vocalist Ryllyeh and guitarist Aarsoth and recorded at Lot 54 Studio in Huntington Beach, California by Dylan-James Ehren Brock (Ghost Of Abel, Skull And Bullets, Dowager, Intestinal Buffet), SAHHR combines all the primary rudiments of black metal, death metal and metalcore into an infernal mix of unrepentant audio plague fit for fervent devotees of Watain, 1349, Goatwhore and Lamb Of God.

Relays Ryllyeh of the heinous hymn on deck, “‘Altar Of Maggots’ is a diabolical epic of anger, delivered in a concise, blackened package. An anti-theological anthem shouted to the war gods of old.”

Adds Cvlt Nation, “This song delivers a vastness of filth surround by melodic ghosts head banging to the pound of their grim drums!”

Featuring past and current members of Skull And Bullets, Dowager, Scarecrow and Unwritten Law, SAHHR formed earlier this year by singer/songwriter Ryllyeh. A veteran of the New York City punk and metal scenes since the early 1980s, Ryllyeh’s (AKA-Joe Truck, also a world renowned tattoo artist) past musical endeavors include time spent in ‘80s deathrock bands Scarecrow and Braineaters, the latter of which included ex-Samhain guitarist, Damien. He also plays bass and screams in doom heavyweights-Dowager. Ryllyeh united with guitarist Aarsoth earlier this year and instantly began composing what would become the trio of tracks occupying the EP.

“Blackened is the end, but in the case of California’s SAHHR, that doesn’t mean a narrow artistic vision in getting there. Their debut self-titled EP deftly blends an unlikely mix of influences; each track begins in a completely different place than where it ultimately ends… Groove and grimness come together in a very cohesive way here. ‘Blackened’ can allow for far more experimentation and exploration of influences than committing fully to the corpse-painted antics of full-on black metal, and SAHHR are throwing an exciting combination of sounds at the wall. Luckily, all of it sticks, and we’re eager to hear where this band takes their sonic assault in the future.” – Metal Insider

Sahhr will be released digitally on October 31st, 2014 at THIS LOCATION and on CD via Domestic Genocide in November. A host of special Halloween in Hell.

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Suffering in Solitude – A Place Apart

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Post-black. Haunting, effective soundscapes littered with mellow, icicle-shattering chords. As with other branches of this oft histrionic genre however, there are myriad instrumental offerings which, for those of us who like to hear the plaintive, diseased roar of unadulterated anguish, can veer toward mundanity. This debut long-player from Californian tortured souls Suffering in Solitude is no different.

A Place Apart (Domestic Genocide Records), released as the last post sounded over 2013, has been four years in the making, and that there’s much beauty and violence within it is beyond dispute. The occasionally mournful ‘Inside Out’ evokes lonely winter streets, while the hissing, more uptempo crash of ‘Entrance’ isn’t without its pensive moments and emits the kind of swelling, aching melodies that pierce the soul. Each fresh encounter with this beguiling set does indeed reveal more that will inspire and elicit wistful memories in every listener, and where Christopher A‘s harrowing scream is employed, such as the sprawling, shimmering riff and blastbeat-infused ‘Exit (Time Lost)’, agony envelops the constantly fluctuating pace. The blend of the two styles can rarely have seen a more accurate depiction of its definition. The eponymous track sees the bitter yet plaintive ragings of Touché Amore lie with the stark harmonies of Tides From Nebula and the frost-bitten atmospherics of Darkthrone as the perfect ménage-a-trois. For all the furious howls however, there’s something missing: an intermittent lack of intensity throwing more shapes toward a schizophrenic breakdown than a paean to heart-breaking loss. As a result an element of pretension occasionally infects the set, with the nefarious rasping rattle oozing over the initial Britpop style jangling of closer ‘Placed Apart’ conveying more contrivance than true emotion.

Overall, however, this is a pleasing listen; a likely contender for raids by BBC trailer makers and Scandinavian dramas for its stirring, sometimes moving interludes. With six tracks stretched over less than half an hour, it doesn’t outstay its welcome either. For those of us who like to feel others’ pain as well as our own whilst indulging in a tune, there’s definite promise in the offing from these guys.

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7/10

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Paul Quinn


Akris- Akris

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21382_10151563846017914_2145203290_nWell this is a real mixed bag of delights. Bet you never thought you’d see The Bangles mentioned in here eh? At its base this debut long-player from Virginian duo Akris is largely stoner-sludge, all leaden grooves and fuzzed notes, but there’s so much more in the mix here. Prince’s fave girl band is just one of the many outfits springing to mind upon listening to Akris (Domestic Genocide): the winsome pop-rock quartet linking with the dropped out occult stoner of Uncle Acid and The Deadbeats, especially on the doom-laden ‘Riverbed’ and the second half of the mammoth ‘Part of Me’, with the psychedelic sludge of Kylesa and grooved-out grunge of Nevermind-era Nirvana appearing frequently also. You befuddled yet?!

 

Oddly enough, given the guitar-driven hooks of the bands mentioned above, there are no six-string flurries here; just the rumbling, fuzzed thunder of, apparently, the world’s most sonorous bass. Its mistress, Helena Goldberg, is also the reason for the Susanna Hoffs comparisons: her breezy, melodic tones blending right from the off with sleazy, almost progressive structures in the overtly-sexual ‘Fighter Pilot’. The heavy psychedelia of Hawkwind marries the atonal scream and almost spoken delivery of Laura Pleasants on ‘Row of Lights’; indeed, the Kylesa link is apparent in a glut of tracks, with Goldberg marrying the Pleasants harshness with a soulful sneer reminiscent of Kurt Cobain’s softer moments in ‘Unidentified’. Meanwhile the laconic drone of Vomit Within’s first section evokes comparisons with Undersmile, albeit with more mellifluous tendencies.

 

That the duo is just one big rhythm section with melodies is borne out by the relentless, pounding groove of closer Suffocate, alongside a throat-ripping scream that defies belief and the crushing bass work which is the underpin of the whole album. It is Goldberg’s delicious yet stark harmonies, however, which enliven the whole affair and give it an air of uniqueness; converting a merely intriguing album into one of real integrity and unidentifiable magnetism. Urgent, throbbing, and sexy as fuck, despite what is in many respects a quite basic sound, I will most definitely be returning to this on a regular basis.

 

8.o/10

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Paul Quinn