Metal, for all its anti-establishment credentials, can often be quite conservative. Many of the same old tropes have been rolled out again and again for the past four decades or so. Whilst that’s not a major problem for many metal fans, it is arguable that the same recycled ideas just don’t have the same impact that they once did. What once seemed impossibly heavy, deafeningly loud, even shocking or transgressive, can now be played on mainstream radio without anyone raising an eyebrow.
As much as I enjoy Reverend Bizarre and plenty of Sami Hynninen’s other various projects, I’ve honestly not been as enthused about Opium Warlords. Their experimental brand of Drone Doom tends to be rather hit and miss, producing ideas that can be intriguing but more frequently stretched beyond their limits or constructed haphazardly. Their fifth full-length album, Nembutal (Svart Records), doesn’t promise anything different yet I find its execution to be somehow more palatable than anything else they’ve released.
Considering the lengthy silence between Chrome Waves self-titled EP in 2012 and 2019’s A Grief Observed, it’s great that the group has been so prolific since their comeback. Their second full-length album, Where We Live(Disorder Recordings), picks up where its predecessor left off while featuring its own set of changes. Dustin Boltjes (ex-Skeletonwitch, Sacred Leather) is on drums in place of the tragically passed Bob Fouts, and the eclectic influences behind the band’s melancholic sound are given room to expand even further.Continue reading
It’s oddly satisfying when an album’s title is also an accurate descriptor for the music it contains. This is more or less the case with Old Blood’s second full-length album, Acid Doom (DHU Records/Metal Assault Records). While the group’s style may not be crushing in the traditional sense, their brand of Heavy Psych has a dark sultriness that should sit well with fans of groups like Uncle Acid and Blood Ceremony. And considering the four-year gap since their self-titled debut, it’s fair to say that things have only gotten more off-the-wall in that time.
Taking its title from the 1965 Jean-Luc Goddard movie of the same name, and reverberating with echoes of Fritz Lang‘s 1927 silent classic, Metropolis, everything about Alphaville (Century Media), the latest album from New York trio Imperial Triumphant, is costumed heavily in film noir science fiction. Its unique atmosphere furthered byimpressive cover art from Zbigniew M. Bielak, the Polish artist noted for his work with Swedish act, Ghost.Continue reading
Oranssi Pazuzu performed their entire new album Mestarin Kynsi live yesterday as a livestream with a full stage performance. Mastermind Jun-Hiss went deep into the album lore recently in an interview for our Ghost Cult Podcast and had hoped to perform the entire album live for fans at some point since it is intended to be an entire piece of music, not an album with tracks and singles. Watch it now!
Ghost Cult caught up with Jun-Hiss of Finland’s incredible Psychedelic Black Metal group Oranssi Pazuzu recently to discuss their new album Mestarin Kynsi, due out this Friday, April 17th, 2020 via Nuclear Blast. He spoke about the concept of the album, lyrical influences, the writing process that created the album, their new music video for ‘Uusi Teknokratia’, the ways that their other band Waste of Space Orchestra and their main group differ and affect each other, thoughts on the impact Roadburn Festival and its organizers has had on the avant-garde black metal world, and much more. Listen to our interview below and pre-order the album hereContinue reading
Sad news to pass on as avant-garde icon and Industrial Music pioneer Genesis Breyer P-Orridge has died. S/he – h/er was 70 years and passed away following a three year battle with chronic myelomonocytic leukemia. The news was confirmed last night to Pitchfork and then shared to social media by Dais Records co-founder (and P-Orridge’s manager) Ryan Martin. As a founding member experimental bands Throbbing Gristle and Psychic TV, h/er five decades as a musician, poet, performance artist, and occultist was best known for h/er influential work in the industrial music genre and was often referred to as the “Godparent of Industrial Music.” Not just a genius creator of music and art, but a constant provocateur and defying of cultural norms and the status quo of the establishments of governments, religion and more, we will never see a once-in-a-lifetime talent and personality like this again. We send our condolences out to h/er familiy, friedns and fans at this time. Continue reading
Post-Hardcore is a sub-genre that gets tossed around today as commonplace, but in the early 1990s, it was a new little brother that the older sibling was not ready to cede attention to. As Hardcore Punk mutated into other offshoots, post-Hardcore started to gain ground. In New York City alone, the epicenter for many new waves of hardcore music, a lot of bands crossed over (see what we did there) and bands started to absorb elements of both with Prong, White Zombie, and Biohazard were all leaning more on metal vibes, Quicksand formed by members of ex-hardcore legend status bands we’re pushing towards a new sound. Heavy, but not in a tough guy way, vulnerable, but smart. By the time the members of essential musical outfits Gorilla Biscuits, Youth of Today, Beyond, Bold, Burn, and Collapse formed an anti-supergroup, released demos and the amazing Slip (Polydor) album, and toured tirelessly, fans in the scene could feel they were building to something huge. They walked in both worlds of Punk and Metal but were also world-building themselves at the same time. Continue reading
According to a published report, in a new interview with Premier Guitar, Duane Denison (Jesus Lizard) says that supergroup Tomahawk is working on a new album. It will be the follow-up to their 2013 release Oddfellows (Ipecac Recordings). Watch the video below! Continue reading