The purveyors of great underground music at Sentient Ruin Laboratories have partnered with Ghost Cult today to stream the new album from French extreme metallers Karcavul, Intersaone, out tomorrow. You can hear the stream of the album at this link or below:
Sonically adventurous, brutally unrelenting, and mysterious in aura, Karcavul’s Intersaone makes good on the promise of their earlier death metal/sludge-toned releases with an increased maturity and polish. Fans of Dragged Into Sunlight, Coffinworm, Undergang, Coffins, Neurosis, Wolvhammer, Eyehategod, Noothgrush, Portal and Acturus are sure to unhinge their jaws and swallow this release en mass.
Karcavul- Intersaone track listing:
Intersaone will be released on July 8th 2016 as a 12″ vinyl LP and as a digital product on Sentient Ruin in North America, and through a collective of european labels overseas: Crustatombe, Deaf Death Husky, Et mon cul c’est du tofu, No Way Asso, Repulsive Medias, Saka Čost, Underground Pollution Records, and Witch Bukkake Records. The record was recorded live by Karcavul themselves, and mixed by Lizard. Mastering was done by Guillaume “Commissaire” Odile, while the cover art is by Rafaël Houée, and the LP will also feature and insert designed by the band.
Pre-orders are now live on our shop or on Bandcamp.
From highly-rated Belfast quartet War Iron comes a morose, ponderous noise infected by the pure evil of Andrew ‘Baggy’ Bagwell‘s nefarious, slurring rasp. Dual leads pluck the heartstrings at intervals through the crushing riff and crawling, titanic rhythms of ‘Bludgeon Lord’, the opening track of third album Precession of the Equinoxes (Independent). A warm, crackling production heightens the sinister feel and prevents the quickening bridges from exploding into a full-on Death assault; instead applying the reins enough to make one marvel at how such a precariously-balanced pace is kept.
The desolate peal of ‘Summon Demon Scream the Abyss’ is initially accompanied by a penitent chorus before that terrible lascivity seeps over the body; a funeral groove, twisting with the slowing power and weight of a dying anaconda. Baggy’s repetitive early vocal has the sneering perversity of ex-Lord Mantis‘ screamer Charlie Fell, the track fizzing and swelling with all manner of sadistic sorrow. The introductory bass notes of the title track cause concussion, some unsettling low growls whispering around the floor before the most fetid scream tightens the sphincter: whilst colossal, almost Blackened riffs make the tension nigh-on unbearable. Oddly-pulsing leads at the mid-section combine with bone-crunching rhythmic gymnastics and brutal chops to the coda, all the while staying close to the Doom template. Closer ‘From Napalm Altar’ sees a return to that funereal hostility: the intermittent quiet moments filled with eerie language, setting the teeth on edge for the forthcoming bludgeon; every chord, note and single beat flung from Thor’s Hammer; the accompanying roars and rasps the embodiment of despair and terror.
Finally, the UK has a contender in the Blackened Doom market. Although the winding noise of an Indian or Coffinworm is absent, it’s replaced by an Ophis-style mournful tolling which adds to the ominous feel rather than detracting attention from it. The resonant, single-kick sequence closing this fine, startling album chills the spine, and leaves the feeling that nothing good will ever happen again. To Serpentine Path: if you want to scare the shit out of people at a snail’s pace, this is how you do it.
Psycho California is now set for May 15, 16 and 17, 2015 at The Observatory in Santa Ana, CA with Sleep, Pentagram and Cult Of Luna as headliners.
The rest of the previously announced acts include:
Kylesa Earth OM Russian Circles Orange Goblin Bedemon Conan Eyehategod Indian Earthless Pallbearer Crowbar Stoned Jesus Old Man Gloom Cave In Acid Witch Truckfighters Tombs Bang Electric Citizen Coffinworm SubRosa Eagle Twin Mammatus True Widow Anciients Bellwitch Lord Dying Death By Stereo Radio Moscow Ancient Altar Samsara Blues Experiment Elder Mothership The Well Deathkings Wo Fat Rozamov Destroyer of Light Highlands Bloodmoon Slow Season Crypt Trip Lords of Beacon House Tumbleweed Dealer Sinister Haze Blackout Red Wizard Banquet Loom
Poppy, bit more symphonic than I was expecting. Went down a storm at Wembley with Within Temptation too.
DEVIN – Dark Matters
Aka Ziltoid 2. The heavier, more symphonic, more metally of the two parts of the double album. I like it, just a bit too much monkeying around at the expense of the songs, for me.
DRAGONFORCE – Maximum Overload
Not quite as good as ‘The Power Within’ but still proving they write better songs since changing vocalists. Some belters on here, tbf.
ENGEL – Raven Kings
Like In Flames, but heavier guitars and catchier choruses. I like this one (well, I like them all on here, or they wouldn’t be on here, but this surprised me). Wrote about it, too. https://ghostcultmag.com/engel-raven-kings/
Took me by surprise this one. Adding a large dose of Ulcerate to their sound, but all the better for it. Rather than rattle clattering through a load of sterile overly tight DM/core, they wrote some (very) heavy songs, too.
Interesting album, this one. Don’t think I’ve quite given it all the time it deserves, but another I’ve liked this year that doesn’t just sit in a box. It starts from Death Metal but doesn’t stay there.
OBITUARY – Inked In Blood
Really good comeback album. Big grooves. Big riffs. Great tunes. Well done. Best Obi’s album since ‘Cause of Death’ , for me.
ORIGIN – Omnipresent
This is a relentless fucker, this one. Love the aggression, love the riffing, love the technicality, love how much it just wants to punch you in the ear drums.
SLEEP OF MONSTERS – Produces Reason
Babylon Whores are one of my “hidden treasures”, probably the most underrated band of all time, always loved Ike’s vocals, too. He doesn’t quite hit it with his new outfit, but some cool gothy, dark/death rock going on. Grabbed this one for review as soon as it appeared in the inbox. https://ghostcultmag.com/sleep-of-monsters-produces-reason/
SLUGDGE – Gastronomicon
Only heard this once so far, but really impressed me on first go, will be getting a fair few listens going forward. Interesting modern melodic death metal.
The countdown to the Official Ghost Cult Magazine Album of the Year for 2014 continues. Please consume and enjoy the results of our 2014 Writers’ Poll. We hope it will introduce you to some of the incredible works of art you may have missed that we have had the immense pleasure of listening to and writing about this year.
In our second installment we bring you albums 40 through to 31
40. JOB FOR A COWBOY – Sun Eater (Metal Blade)
“Evolution from deathcore to a more compact, yet technical, death metal… complex and melodic structures accompany a diversified approach” DIOGO FERREIRA 7/10 Full review here
39. AGELESS OBLIVION – Pethos (Siege of Amida / Century Media)
Marrying both technical and atmospheric forms of Death Metal, Ageless Oblivion create their own brand of chilling yet punishing aggression, presented in a show of impressive progression.
38. KILLER BE KILLED – Killer Be Killed (Nuclear Blast)
“Cavalera, Puciato, Sanders, and Elitch put their stamp on this recording, making a memorable, political-flavored, heavy album that certainly lives up to the hype” KEITH ‘KEEFY’ CHACHKES 8.5/10 Full review here
37. AEVANGELIST – Writhes In The Murk (Debemur Morti)
“If you’re able to get past the initial disorientation and look inside, you’ll find an album that follows its own perverse ambition flawlessly, with not a shred of compromise, dilution or failure” RICHIE HR 10/10 Full review here
36. FEN – Carrion Skies (Code666)
“Fen are the rawer, rockier, more achingly human cousin to Tombs’ Neurosis-driven thunder, and among the richest and most emotionally expressive Metal albums of 2014” RICHIE HR 9/10 Full review here
35. JUDAS PRIEST – Redeemer of Souls (Epic/Columbia)
“Judas Priest has released a retrospective that nods to their career, recalling everything that has made them genuine legends of our metal world, Redeemer Of Souls has a beautifully warm and classic Priest feel”. STEVE TOVEY 8.5/10 Full review here
34. COFFINWORM – IV.I.VIII (Profound Lore)
The phrase “Doom” doesn’t do justice to the ugly, polluted, measured sludgy bludgeon of IV.I.VIII; a beautifully horrible record of nihilistic malevolence, that dissolves doom, death, black and sludge in its fetid path.
33. TRAP THEM – Blissfucker (Prosthetic)
“My advice? If you have never listened to Trap Them, get on this bandwagon before these guys run you over with it”. TIM LEDIN 8/10 Full review here
32. YOUNG AND IN THE WAY – When Life Comes To Death (Deathwish Inc)
The hardest of hardcore punk fused with the blackest of Darkthrone’s black metal offspring, creating a crusty hell in aural format.
31. AGAINST ME! – Transgender Dysphoria Blues (Total Treble)
The gutsy pop-punk outfit release a cathartic biographical concept album of frontwoman Laura Jane Grace’s experiences for their sixth album.
If you ever want to get some perspective on the insular, incestuous musical world we live in, spend some time lurking on the Metal Archives forums, especially the threads where they discuss which bands have been blacklisted. A group of self-appointed cultural guardians seeking to define an incredibly narrow, clearly broken definition of Metal by striving with one hand to fit those bands they don’t approve of into different labels, and with the other to think of excuses to justify the bands they want to include anyway, it is the perfect reminder that the walls between genres are not – SHOULD not be – as firmly defined as we would sometimes like them to be.
Steve Austin’s perennial hate machine Today Is The Day fall very much outside of the Metal Archives High Council’s definition of Metal (they are “noise rock” or “sludge-core”, or some other short-hand for “we do not approve”), but when Animal Mother’s (Southern Lord) first track thunders in on a wave of filth and despair the question is instantly rendered irrelevant. Animal Mother’s main musical coin is the filthy, heaving riff topped with Austin’s pained, furious roars and screams, but these collide with deliberate awkwardness into melodic passage, uncomfortable acoustic explorations and electronic noises.
Despite some surprisingly catchy riffs, Animal Mother is not the most accessible of releases, and there are moments which can sorely test the listener’s resolve. Repetition is generally used well, but some songs stretch a little beyond their welcome, and occasional jarring transitions between passages and tracks can leave the reader a little bewildered. These aren’t so much criticisms, however, as simply how Austin does things. He could write a catchy album of dirty riffs if he chose, but he’d much rather air his musical dirty laundry in public and drag you through the cramped, twisting, uncomfortable labyrinth of his thoughts.
Easily taking its place alongside Coffinworm, Indian and Primitive Man as one of 2014’s most overwhelmingly filthy and hateful albums, whether or not Animal Mother is Metal is a question entirely devoid of meaning.