Psychedelic Prog-Folk band Hexvessel will release a new album this spring via Svart Records. Kindred is due out on 17th of April 2020, with cover artwork by renowned artists Thomas Hooper and Richey Beckett, which you can see below. A new single will be released on the 24th of January and full album details and pre-orders are coming soon. The bands back-catalog will also be reissued as well. The album promises a darker sound and owing to that, they returned to their original studio in Tampere, Finland, where they recorded their cult classic No Holier Temple, which fused Hexvessel’s folk roots with an occult undercurrent, with the new album mastered by John Davis (Gorillaz/ Led Zeppelin/ Lana Del Rey) in the UK. Hexvessel was formed by English/Irish singer/songwriter Mat McNerney (Beastmilk -now known as Grave Pleasures, The Deathtrip, Carpenter Brut, Me & That Man, Code, Dødheimsgard). Continue reading
Hellfest has announced its 15th-anniversary lineup for summer 2020, and it looks like a dream! Already announced Faith No More, and Down will be joined by Deftones, System Of A Down, Incubus, Korn, Mastodon, Opeth, Deep Purple, Judas Priest, The Offspring, Infectious Grooves, The Darkness, Obituary, Death DTA (the Death tribute featuring members of Death), At The Gates, Entombed AD, Sacred Reich, Devin Townsend, Meshuggah, The Black Dahlia Murder, Dying Fetus, Misery Index, Mayhem, Abbath, Rotting Christ, Primordial, The Great Old Ones, Wardruna, The Hu, Taake, Watain, Alcest, Borknagar, Gaahl’s Wyrd, Electric Wizard, Baroness, Om, Witchcraft, Black Mountain, Elder, ASG, Envy, Mono, John Garcia & the Band of Gold, High On Fire, Pelican, Killing Joke, Perturbator, Life of Agony, 3TEETH, Inter Arma, Body Count, Suicidal Tendencies, Youth of Today, Slapshot, Jesus Piece, Higher Power, Social Distortion, Anti-Flag, Agnostic Front, Reverend Horton Heat, Grade 2, Code Orange, and many more. Hellfest takes place June 19-21 in Clisson, France near Paris and ticket info is coming soon! Continue reading
One of our favorite underground record labels is Agonia Records, releasing killer music from bands like Arsis, Visceral Disgorge, Varathon, Lucifer’s Child, Demonical, Ragnarok, Halcyon Way, King Parrot, Aboyrm, The Moth Gatherer, Code, Glorior Belli, October Tide, Impiety and many more. The label is having a huge sale of all their digital releases and CDs on the label right now at a deep discount. Head over to their Bandcamp page right now to check out the sale, and support these great bands. Continue reading
The Ghost Cult album round-up is back in town, for your vulgar delectation… Continue reading
London-based Progressive Black Metal group code wanted to revisit some older material on their Lost Signal (Agonia) EP to see if they could cast it in a new light. This EP is six songs in total, comprising of three from the album Mut (Agonia) and three from their first three records. The band produced and mixed the EP themselves to show rich power melody and dynamics. Continue reading
Swedish atmospheric doom/sludge metallers The Moth Gatherer is streaming their newly released album The Earth Is The Sky, out now via Agonia Records, here. The album was recorded over a period of two years in three different studios. Mixing & mastering duties were taken care of by Karl Daniel Lidén (Dozer, The Old Wind, Switchblade, Terra Tenebrosa). The artwork has been made by SCG, while Swedish printer, EJG, prepared the layout, creating an exclusive painting for each of the six tracks on the album. The album features David Johansson (Kongh), Wacian (Code), The Cuukoo (Terra Tenebrosa) and Thomas Jäger (Monolord).
01: Pale Explosions
02: Attacus Atlas
03: Probing The Descent of Man
04: Dyatlov Pass
05: The Black Antlers
06: In Awe Before The Rapture
Alex – Bass and Vocals
Victor – Guitars, Electronics and Vocals
Svante – Drums
Boasting members from illustrious UK acts such as Fen, Binah and Code, London doom/death dealers Indesinence are packing a pretty impressive line-up. Having been lurking in the shadows of the underground for nearly fifteen years now, their previous two records Noctambulism (Goat of Mendes) in 2006 and Vessels of Light and Decay six years later won numerous plaudits but were too far under the radar for most people to take notice of the ominous darkness contained within. Third record, the imaginatively titled III (both Profound Lore) is unlikely to win many new admirers, but for those who already dwell in the shadows, it’s a welcome treat.
While most doom/death acts are content to rip off My Dying Bride and hope the listeners are too miserable to notice, Indesinence have their own clearly defined sound; one that uplifts as well as bruises, with shades of dappled light amidst the stygian gloom. They’re still slaves to the lengthy track however as songs evolve over several minutes, with riffs unfurling languidly to strike at their own pace, while the stark, pounding drumbeats batter the listener into submission.
First track proper ‘Nostalgia’ is appropriately titled, for it calls to mind the sheer bleakness of US masters Evoken, as the devastatingly sad lead guitar work provides the perfect counterfoil to the gut-punching of the rhythm section. ‘Embryo Limbo’ sets the scene with some stately clean-picked notes before giving way to some crushing riffs that flirt with mid-paced mid-90s death metal, like Incantation after a heavy dose of lithium.
The first real burst of pace occurs on ‘Desert Trail’ with brisk blastbeats and strange melodies contributing to a strong feeling of malaise but the best is saved for the end of the album as the tortuous crawl of ‘Mountains of Mind/Five Years Ahead (Of My Time)’ soon gives way to a frantic chugging section, aided by eerie keyboards before a gloriously exuberant solo emerges from the mire and it becomes apparent that the band have wandered into full-on dark prog territory. The triumphant end-section is worth the price of the whole album.
Most bands would call it a day there, but Indesinence decide that things need to remain grim, which they do with aplomb on the seventeen minute dirge of ‘Strange Meridian’, an oppressive crawl through agonized soundscapes. The riffs are depressing, the vocals are truly anguished and were it not for another burst of soaring lead-guitar to end things again on a breathless, stargazing note, the whole thing might get too much. There really is no need to tack on a ten minute dark ambient closing track to finish things off though.
A difficult and undeniably too-long album, III is nonetheless a masterful and imposing piece of work. Doom/death is a naturally restrictive genre, but Indesinence have proven themselves to be one of the finest acts working in its field. Full-on misery can often get a bit one-note without some other forces to counteract the despair, and there are enough ideas going on here to ensure that even for an album approaching eighty minutes in length, attention will be maintained and engaged. The heirs to Disembowelment? Why not, eh?