Portal Detail New Album, New Song “Phreqs” Streaming Online


Portal will be releasing their highly anticipated new album, ION, on January 26th via Profound Lore Records, and we have your first taste of the new material today. Continue reading


Cognitive Dissonance III


Ghost Cult’s dive beneath the crust into the dirty, disgusting and sub-underground is back, as Richie HR returns with a round-up most fetid for your vulgar delectation…Continue reading


Pallbearer, Portal, Full Of Hell, Loss, Krieg, And More To Release New Albums Via Profound Lore Records In 2017


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In a post to Facebook, Profound Lore, one of the premier record labels for underground music have announced their partial release plan for 2017. In addition to the already announced Pallbearer and Krieg albums, the label plans to release many notable and cult bands albums in the new year!
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Howls of Ebb – Cursus Impasse: The Pendlomic Vows


Howls of Ebb - Cursus Impasse The Pendlomic Vows cover ghostcultmag

Howls of Ebb’s latest album Cursus Impasse: The Pendlomic Vows (I, Voidhanger/Nuclear War Now) is monster of an album. Starting off with track ‘The 6th Octopul’th Grin’ which shows a menacing display of low-end power and ferocity: gurgling death growls and blackened guitar. There’s a real textural vibe to it, reminiscent of Portal, with a mix of blackened death metal and discordant jazz.

The confident predatory swagger of the drumming provides a framework for sheer sonic madness. The atmosphere is permeated with unique riffs appearing relentlessly as snarling vocals swirl around. This gives the song a chaotic soundscape which bristles with dark energy and an undulating yet majestic thumping beat.

The bridge on ‘Cabals of Molder’ is out of this world, a shuffling beat, but with a real organic feel to the production. A soundscape rich with decay punctuated by the wail of screaming guitars; demonic vocals whispering hypnotically throughout like an ill wind and the bass line slithers around the piece rattling with menace. The soundscapes seem to alternate between telling a story and summoning some Lovecraftian nightmare. It really feels like a living entity, pulsating, slithering, crawling and Howls of Ebb have to be congratulated on bringing it to life.

The album takes a slower, more doom laden turn at ‘Maat Mons’ Fume’, jangley soundscapes with a raw underlying power reminiscent of Ahab give the sense of being toyed with by an unknown predator. Howls of Ebb’s world is a dark and scary place and this album is the musical equivalent of psychological horror, and instills the listener with a sense of panic.

The next few tracks take a more traditional approach unlike their other releases, after a few listens this can be a little disappointing given the brilliance so far. It’s still good however and throughout there’s a nice rhythm and pace; varied drumming and some really nice percussion and particularly on track 4 more than a passing nod to Pestilence’s spheres album.

Subliminal Lock_ A Precursor to V’ is the most obvious Black Metal infused track with hissy malevolent guitar work and vocals almost providing the rhythm at times whilst the drums go on a free-form whirlwind around the song. But the middle of it is somewhat tame compared to the wild inventiveness of the rest of the album.

Last track ‘The Apocryphalic Wick’ starts of slowly with a feeling of rebirth, reminding me a lot of the atmospheric doom of Botanist before kicking in halfway through with some frenetic drum work, and a flat-out Slayer inspired guitar solo taking the album out on a bit of a high before terminating the journey with an abrupt stop.

8.5/10

RICH PRICE

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Exclusive Stream: Karcavul- Intersaone, Full Album Stream


Karcavul Intersaone album cover ghostcultmag

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:

https://soundcloud.com/sentientruin/sets/karcavul-intersaone/

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:

1. Mangepierres

2. Illuminaschichs

3. Crackleurres

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.

karcavul.bandcamp.com

Karcavul Official Site

http://sentientruin.com/releases/karcavul-intersaone

https://sentientruin.bandcamp.com/album/intersaone

Labels :

Crustatombe

crustatombe.free.fr

Deaf Death Husky

deafdeathhusky.wordpress.com

Et mon cul c’est du tofu

moncul.org

No Way Asso

nowayasso.blogspot.fr

Repulsive Medias

repulsivemedias.blogspot.fr

Saka Čost

www.facebook.com/saka.cost

Underground Pollution Records

undergroundpollution.e-monsite.com

Witch Bukkake Records

witchbukkakerecords.blogspot.fr


Vastum – Hole Below


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Vastum’s second album Patricidal Lust (20 Buck Spin) made quite an impact when it was released in 2013, offering Death Metal fans who weren’t convinced by the Portal-inspired trend towards abstract dissonance a more conventional but equally engaging alternative. It also made waves due to Vastum’s unorthodox use of sex and relationships as lyrical content, though it has to be said that they address those topics in a straight-forwardly Death Metal way – when their new album opens with a track called ‘Sodomitic Malevolence’, you know we’re talking World’s Greatest Love Songs.

After two years of waiting, Hole Below (20 Buck Spin) continues both the band’s fascination with the dark side of human relationships (‘In Sickness And In Death’, ‘Empty Breast’) and their mastery of cavernous but melodic morbid Death Metal. Vastum’s sound is much more rooted in DM orthodoxy than Portal and their imitators, but this is no crude exercise in “Old School” revivalism, either. A thick, powerful production enhances song-writing that forges Autopsy’s murky melodies to solid, punishing grooves and even a touch of the abyssal atmospheres explored by many modern Death Metal bands.

Hole Below sees Vastum explore their Doom and atmospheric elements more deeply than they did on Patricidal Lust, and the result is an album that perhaps lacks a little of its predecessors instant appeal, but which rewards perseverance. Big, decayed riffs drown in treacly feedback are still the core of their sound, but songs are structured less for violence and more for a slow-building of atmosphere.

Along with Cruciamentum, Vastum have produced some of the best straight-up Death Metal of the year. Not as brutal, as abstract or as alienating as some, but firmly treading a path which embraces Death Metal’s past as well as its future.

 

8.0/10

RICHIE HR


Ramon Ortiz – Portal


Ramon Ortiz PORTAL CD cover 2015

Being stuck between three cultures is interesting, although also difficult at times. The metal and rock worlds always draw me back in but so do my Boricua roots so it really shouldn’t have been any surprise that I became emotional over a recording of Coquis singing. Like the saying goes; la sangre llama.

Today’s review is brought to you by the letter R, as in, Ramon Ortiz and his second album, Portal (Self-Released). Taking a look at the title track, ‘Portal’, has some groovy moments with a lot of weedly, weedly, woo. The chorus sounds like something that could have been featured in an action cartoon from the 80’s. I believe that it would be one that I would look back on with fondness.

At twelve and a half minutes long, closing track ‘Yukiyu II’ is a beautiful mix progressive metal elements with Spanish guitar and touches of Latin percussion. This is also one of the songs where you can actually make out the bass in the background every once in a while. The downside is that this eventually turns into your standard progressive metal track around the eight minute mark. It makes a slight recovery once you get to ten minutes before dropping off again soon after.

It may not be salsa or merengue but then again, Puerto Rico has always been a melting pot of cultures and music and Ramon is a great example of what can come out of it. I would have liked to have heard more Latin influences but maybe we get enough of that when Ramon’s running around with Puya. Personally, the albums highlights for me were the use of Spanish guitars. I may be biased, but I prefer Ortiz’s fusion style and this record has a bit too much of a general progressive metal record vibe to it. I was hoping for some more experimentation and expansion.

7.0/10

ALEIDA LA LLAVE


Albert Mudrian – Choosing Death: The Improbable History of Death Metal & Grindcore (Reissue)


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Released twelve years ago, Albert Mudrian’s anthology of Death Metal has stood the test of time; an engaging read taking you on a loose zig-zag through the birth and, um, death of Death Metal. Unveiled through the eyes of its’ progenitors, there is method to the tale that begins in England, moves to Tampa, takes in Entombed and Scandinavia and reserves a special mention for the oft overlooked Dutch input of Gorefest and Pestilence.

Undertaking a task as complicated as trying to find the true source of the Nile (Karl Sanders – badoom tish!), Mudrian begins his tale by trying to uncover the birth of what became known as Death Metal, settling on Napalm Death and their 1985 era hybrid (Siege meets Discharge meets Celtic Frost) of hardcore punk, thrash and a desire to be harder, faster, sicker than everyone else. The book then focuses on the influence of their Scum release (Earache) on other vital artists, like Morbid Angel (via Pete Sandoval, then in Terrorizer) and the incestuous, small nature of the scene where, due to tape trading and pen palling, most of Death Metal’s predominant protagonists all knew and inspired each other.

As the tales unfurl, you find yourself swept up and wanting to revisiting all the classic albums that are mentioned – Possessed ‘s Seven Churches (Combat), Pestilence Consvming Impvlse (Roadrunner), Massacre From Beyond (the story of Massacre’s signing to Earache being another fun aside revealed in the book) and Master Master (Displeased) forming part of my own soundtrack while reading.

The re-issue picks things up as the roots of recovery were just sprouting through the top soil at the tail end of the 90’s, highlighting the rise of a new DM general in Nile. After touching on the diversification of Death Metal of this millennium, including the mind-sucking brilliance of Portal and their focus on eldritch, dark atmospheres, Mudrian covers the popularity of technical Death Metal (a section that introduced me to Necrophagist and Obscura as you can’t help but be enthused to check all the recommends as you go) over the last decade. The tome now concludes by covering the return to the scene of the apex predators with Carcass, At The Gates, Death (DTA) and others reforming to reap the benefits of their respective legacies and the rewards of the now lucrative and high profile festival market, and to satisfy an urge that, in the case of Bill Steer, they didn’t even know they had. If you read the original, the added content is an agreeable appendix.

Peppered with short anecdotes, but above all an informative and enjoyable potted history of Death Metal, all imparted with the enthusiastic love that a doting parent has for a child, Choosing Death is an affectionate, if whistlestop, walk through of the story of Death Metal to date. In the authors’ own words, he is “Just a fan. Just like you.” He just happens to be a damn good writer who has written The Improbable History of Death Metal & Grindcore. And updated it.

Buy the book here:

 

8.5/10

STEVE TOVEY


Abyssal – Antikatastaseis


Abyssal-Antikatastaseis

In every musical movement, the leaders are the ones who bring their own twist, their own innovation, to the collective sound. Since Portal’s cross-over from novelty clock-head band to serious underground phenomenon, the number of bands following them into abstract Noise-damaged eldritch Death Metal have steadily increased until it constitutes a genuine – if deeply underground – trend. We’re still at the point where even the orthodox followers can still deliver a genuine impact, but the big hitters are already identifiable as the ones with their own distinctive contribution to the formula; Portal, of course, with their ferocious creativity and nightmarish song structures; Aevangelist with their super-dense wall of Noise overload and Impetuous Ritual with their underpants. With their let’s-have-fun-with-syllables third album Antikatastaseis (Profound Lore), British one-piece Abyssal step firmly up to join the top tier.

Having mastered their thick, oppressive brand of Murky Death Metal over two previous albums, Abyssal’s grand bid for innovation here is to mix it up with a hefty dose of what I’ll grudgingly call “post-rock” – the expansive, contemplative sound-scaping (another grudgingly used term) that’s been an increasing part of Metal’s musical landscape since Neurosis. On paper it sounds hackneyed and forced, and the first listen may not do much to dispel that impression – the more post-heavy passages sound surprisingly conventional, almost twee, to ears prepared for eldritch cacophony, and the transition between them and the more typically murky passages seem a little abrupt – but give it time and it develops into something genuinely distinctive and unsettling.

The key to Antikatastaseis’ success is probably that Abyssal haven’t softened the attack of their Death Metal elements in any way – they’re still as cavernous and oppressive as anything on Novit Enim Dominus… (Independent) – but they have put them in a different context. Whirlwinds of chaotic Death Metal are dragged and distorted into unexpected, atmospheric shapes that would almost be beautiful if they weren’t so ugly. Passages of genuine harmony collapse into sudden, jarring violence, or fade into chilling ambient drones. At times the effect calls to mind Black Metal bands like Fen or Winterfylleth, but with their bucolic pastoralism replaced with nightmarish horror. This isn’t Portal-lite – though it may have the potential to cross over to a wider audience than some of their peers – it’s the work of a band who are putting their inspirations into a new and distinctive form, just like all innovators.

The temptation to make a joke about Antikatastaseis being as hard to listen to as it is to say is pretty hard to resist, but they deserve better. It’s also not true – once you’ve adjusted to the combination of elements, it’s a surprisingly intuitive and engaging sound that develops with each listen. Whatever you think of the current state of spooky abstract Death Metal, Abyssal have simultaneously appointed themselves to the top tiers of the scene, and created an album with the potential to draw in fans from outside it.

 

9.0/10

Abyssal. Too kvlt for Social Media.

RICHIE HR


Luca Turilli’s Rhapsody – Prometheus, Symphonia Ignis Divinis


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Ghost Cult Ed and part-time Blaze Bayley impersonator Steve Tovey recently claimed that Power Metal needs its own version of Portal. Not a band with multi-coloured clocks on their heads playing abstract Noise Metal about unicorns (though that would be brilliant), but a band who can shake up a moribund genre by playing music that is entirely rooted within it while taking a very different approach to song-writing and composition. Having already given his chosen style a massive shock to the system with the original line-up of Rhapsody, Luca Turilli is in the position to do so again – if enough of his peers are prepared to listen.

Following on directly from 2012’s revelatory Ascending To Infinity, PrometheusSymphonia Ignis Divinis (both Nuclear Blast) sees Luca and friends fusing his original Rhapsody format with Italian Operatic and Symphonic Pop but integrating it more smoothly. Whereas Ascending declared this influence with a straight, guitar-free cover of Alessandro Safina’s ‘Luna’ alongside more traditional Rhapsody-style songs, Prometheus blends these elements – and the film soundtracks that Rhapsody had always aimed for but never achieved this well – into a seamless whole. If this leaves the album with nothing quite as breath-taking as Ascending’s stand-out ‘Tormento e Passione’, it creates a more consistent feel across the album, not to mention a subtle, understated piece of dark symphonic pop in the shape of ‘Notturno’, which is in an entirely different league to the ballads most Power Metal bands would settle for.

In case it hasn’t been clear already, this is not straight-forward European Power Metal. Just as Portal baffled many older Death Metal fans with their lack of recognisable riffs and melodies, there’ll be Rhapsody fans left frustrated by the unconventional song structures and the relatively minor role that the guitars often play compared to the other elements. Like its predecessor, it manages to capture the feel of classic Rhapsody while pulling off moves that they would never have been willing (or, frankly, able) to handle.

Prometheus, like its predecessor, is both a bold reinvention of European Power Metal and a celebration of its traditions, simultaneously familiar and challengingly new, and it offers a template of how the old warhorse could be given new purpose – the question is whether that’s what the rest of the Power Metal world wants.

 

8.5/10

Luca Turilli’s Rhapsody on Facebook

RICHIE HR