Ghost Cult recently caught up with Zachary Ilya Ezrin of Imperial Triumphant over Zoom ti discusses their new album Alphaville, which is due out July 31st, 2020 via Century Media. Zachary discussed the surprising global acclaim of Vile Luxury, the creation of the new album, how Zach – drummer Kenny Grohowski and bassist Steven Blanco approach composing, the theme of the new album, working with guests such as Tomas Haake (Meshuggah), Phlegeton (Wormed) on guest vocals, Yoshiko Ohara (ex-Bloody Panda) as part of the choirs, RK Halvorson as part of the Barbershop quartet, Sarai Chrzanowski as part of the choirs, Andromeda Anarchia (Folterkammer, Dark Matters) as part of the choirs, J Walter Hawke on the trombone, and Colin Marston on guitars, choosing the distinctive cover songs that close the album, opinions on other costumed groups such as KISS and Ghost, and what comes next for the band. Pre-order Alphaville here and check out our chat. Continue reading
Two bands synonymous with their early days in the New York City metal and hardcore scene, Prong and Helmet are teaming up for a co-headline tour. All dates below. Pre-sales begin tomorrow at 10 AM local time.Continue reading
Featuring three guitarists and two drummers, there’s a whiff of Cult of Luna hovering around Bordeaux natives Year of No Light, and it’s not just down to their multitude of members. The band play post metal with elements of drone and the occasional heavy trek into doom/sludge realms, and also operate as a kind of collective entity, with collaborations and compositional work the order of the day. In case you hadn’t already guessed, the music on Tocsin is very heavy, very depressive and very slow. It’s also very damn good.
Opening track ‘Tocsin’ clocks in at nearly fourteen minutes and doesn’t really do much until about halfway through when a menacing post metal riff makes its presence felt through the ambient noise like a mastodon emerging from fog. This, accompanied by some squalling guitar noises and simple, yet devastating percussion sets the scene for a near hour long crawl between the two pillars of doom and dissonance, a place where there is little, if any light. By contrast, ‘Géhenne’ is a mere six minutes and employs some much quicker tempos. Imagine Baroness covering a My Bloody Valentine track via an endless field of amplifiers and the crushing wall of noise that is the Year of No Light modus operandi begins to make sense. At this point it may be advisable to check that your ears aren’t bleeding.
‘Désolation’ is a much more sombre affair, the morose keys more than embodying the track’s title as we take a turn into more depressive territory. Or should that be swan dive? Either way, the feeling of utter emptiness is an oppressive one, in no way helped by the deep bass notes and mounting wall of distortion that threatens to consume all and sundry within its devastating path. You almost wish some vocals would come along to indicate a human presence, but tough luck; there aren’t any, just the drone and the void.
The haunting synths that open ‘Stella Rectrix’ are little more than a false dawn, scattered rays on the aftermath of a battlefield, perhaps with funeral doom monarchs Skepticism as the overseers. The funereal pace of the crushing guitars, marching ever onwards is utterly devastating, while the use of repetition never becomes dull, as the music subtly evolves and changes texture. This is akin to having your soul crushed in slow motion, and the thing is, you want it to happen. That’s only how the hazy drone and blackened, pummeling riffs of closing epic ‘Alamüt’ are capable of being withstood without collapsing, weeping to the floor under the sheer weight of the whole thing.
Not for those with short attention spans or those who like music with a sunny cheerful disposition, Year of No Light create challenging, intense music, and it wouldn’t be too much of a stretch to call it art. It’s art of an outsider nature however, and for those who have been looking for an act to bridge the gap between Cult of Luna and Sunn 0))), this is an undiscovered Rembrandt. And vocals? Who needs them anyway?