photo credit: Artemis II crew and NASA
(written by Islander)
As you can see from the post title, I decided to pack a lot of new songs and videos into this week’s SEEN AND HEARD column. To make that possible (because I got another late start and my free time this morning is limited), I’ve had to skimp on the verbiage and truncate this introduction — which ends now. Continue reading »
(written by Islander)
The Arizona atmospheric/depressive black metal band Suicide Forest began life in 2016 as the solo project of A. Kruger. Following a sequence of demos and a live recording, the band released its self-titled debut album in 2018 and a second album (Reluctantly) in 2021, as well as splits and an EP.
The third album, 2025’s IX of Swords, marked Suicide Forest’s studio debut as a more complete lineup. It included a revisiting of demo-era material as well as a new instrumental piece and a cover of Ceremonial Castings’ “Sweet Misery I Foresee”.
With their creatives fires still blazing, the band have now completed work on a fourth album. Titled World of Decay, it’s set for release on June 5th. The band tell us: “World of Decay is a bit of a new beginning for Suicide Forest as it is the first full-length recorded as a three-piece. Though still building on the sound and themes explored in the ‘solo era’ material.”
Today we’re bringing you the premiere of the album’s monumental opening song, a stunner called “Crushing Waves of Grief“. Continue reading »
(written by Islander)
As another largely abysmal week in global events draws to a close, we’re premiering an animated lyric video for “Abyssus“, a song by the Italian extremists Insania.11 that draws its inspiration from Nietzsche’s famous quotation about what happens if we stare for too long into an abyss.
More specifically, the song “stares at the concept of Cupio Dissolvi, the fierce desire of self-destruction”. The lyrics, mostly in Italian, “are archaic and primordial invocations directed towards an Immortal Mother whose embrace is hard-edged.” To quote further from publicist materials we’ve received:
She’s the primigenial entity who’s ready to tear apart “questa prigione di carne” (this prison of flesh) with her “falce affilata” (sharp sickle)…. According to Insania.11’s protestation, this is the process of self-destruction necessary to be thrown again into the endless spiral of reincarnation.
The song progresses heavily step by step like an unstable, tortuous, dissonant and lacerating organism to harvest and transfigure the lessons tought by “Bardo Thodol – The Tibetan Book of the Dead” and extract from it a corrosive essence of sounds and images. Continue reading »
(On March 13th FDA Records released Eulogy to Blasphemy, the fourth album by the Swedish death metal band Gluttony, and that motivated Zoltar to arrange the following interview with founding member and guitarist Anders Härén.)
Considering the rather ‘modern’ (for lack of better terms, as this had probably more to do with the average age of the musicians involved than anything else) take on death metal that MY OWN GRAVE had, it was too tempting to some to call them out as posers once the word got out that three quarters of its line-up all of a sudden decided to play it old-school with a full-on HM-2-fueled mindset as GLUTTONY. But if jumping on the SweDeath wagon is one thing, the band’s first proper album Beyond The Veil Of Flesh released back in 2014 was not.
Maybe it had something to do with having a singer (Magnus Ödling) with a more black metal background (the man did front SETHERIAL for fifteen years plus) or the unusually tight rhythmic approach à la VOMITORY, but a cheap DISMEMBER/ENTOMBED throw-off it was not. Twelve years later, the band are releasing their fourth and probably best record to date, Eulogy To Blasphemy, and it was all too tempting to ask their founding member and guitar player Anders Härén why his thirst for the HM-2 hasn’t dried out yet… Continue reading »
(written by Islander)
Last month we published an interview by our Comrade Aleks with the two members (U. and M.) of the Italian band Urluk, focusing on their new album Memories In Fade. Aleks introduced it with an explanation that although the band had remained true to their haunted lyrical themes, the music has changed direction significantly as compared to their last album More. Urluk’s U. acknowledged the change, commenting in the interview that “[t]he atmosphere surrounding Urluk today is less about aggression and more about reflection, decay, and memory — things slowly dissolving rather than burning violently.”
In the interview, the band’s members provided further insights into their music’s evolution from the doomed black metal of their last album. As U. described, “Memories In Fade draws from a broad palette: Post Black, Gothic Rock, post-punk atmospheres, touches of Dream Pop, and even hints of 60s folk-blues. Keyboards play a larger role this time, sometimes creating that bittersweet, almost life-affirming melancholy reminiscent of Type O Negative.”
What we have for you today is a full stream of this very interesting new album in advance of its April 10 release by Pest Records. Before we get to our own thoughts about it, let’s share one more excerpt from the interview which compares the new album with the one before it:
Conceptually, the albums are connected, but musically they stand quite far apart. More was still deeply rooted in black metal — dense, abrasive, and very direct in its emotional expression. Memories in Fade feels like the aftermath. If More was about the weight of experience, this new record is about the residue it leaves behind: fading memories, nostalgia, and the strange calm that follows turmoil. The sound has become softer in some ways, yet more vulnerable. Continue reading »
“Das Grausen” (1901-1903) – Alfred Kubin. Sourced from the Obelisk Art History project and serves as the Smiqra and Ὁπλίτης banner image. Expressionist symbolist and at times avant-garde Austrian artist who also wrote one novel.
(The release of the debut album Rɡyaɡ̇dźé! by the Chinese project Smiqra probably provided the motivation for our contributor Vizzah Harri to get in touch with the project’s creator JL, but the interest had already flourished due to JL’s other previous musical projects. In any event, the interview that Harri presents below was the result of a roughly year-long dialogue, and it is a fascinating thing to read at your leisure.)
The multi-instrumentalist, linguist, and shapeshifting artist JL, of Smiqra, Ὁπλίτης and Vitriolic Sage fame, graced us with a correspondence in a language they are not fluent in. It’s remarkable that they set aside time to read, translate, and answer our questions while they were still very busy academically.
The term avant-garde often gets thrown round without much thought as to what it means or pertains to. If you ask a philosopher, art professor, music theorist, and a critic you might come to a bunch of different answers as to how it relates to their context. Generally, it has to do with exactly what it means in the original French, advanced guard. That which pushes the boundaries of convention. In that comfortable niche of discontent with the status quo, Smiqra and Rɡyaɡ̇dźé! comes across as a logical evolution from Ὁπλίτης, an album that was reviewed here last year. Continue reading »
(This is DGR’s review of the swan-song release by Die Like Gentlemen from Portland, Oregon. The eye-catching cover artwork is a painting circa 1910 called “The Drinker” by German artist Erich Plontke.)
Many, many moons ago, in an era before space and time, when the world was just an idea in the eyes of the gods, we published an interview with Portland, Oregon’s Die Like Gentlemen.
That’s it, just wanted to check in and point people to an interesting interview we did about five years ago as we have some new readers on the site and sometimes it is nice to highlight the fact that we’ve been publishing stuff for a while at this point and there are plenty of rabbit holes to fall down. You can go about your day from here.
Actually, here’s the thing. While diving around the underground world and exploring music I saw the name and cover art for Die LIke Gentlemen’s recent self-titled – and apparently final – album go floating by and it must’ve re-lit some incredibly old neurons in my brain because it is one of the few times where I found myself doing the CSI detective thing of tapping the desk and going “why do I know this, why do I recognize this, why is this familiar?” over and over until I would soon discover that the primary suspect was well… us.
For some reason, be it the name, excellent choice of outfits, or the fact that I do make a valiant attempt to scroll through everything here, that previously mentioned interview for Die Like Gentlemen stuck with me enough that years later I would find myself very interested and intrigued by the group’s newest release, the self-titled Die Like Gentlemen, at four songs and nearly forty-minutes of prog-metal weird and avante-garde doom exploration at its most adventurous. Continue reading »
(written by Islander)
Gaze upon the daunting cover art above for Locus Damnatorum, the debut album from the diabolical Slovakian band Goholor — whose name is an Enochian word for “ascend” and begin to imagine what primordial terrors it holds in store. The album follows by a decade the band’s debut EP In Saeculis Obscuris, and it seized the attention of the esteemed Personal Records, which will release the album on May 8th.
On behalf of the label, the press materials describe the album’s music by invoking such names as Unanimated, Necrophobic, Sacramentum, Gates of Ishtar, and Sweden’s Sacrilege, and more general references to “black/death’s late ’90s heyday”. They also divulge that the album’s themes “focus on the dark and demonic side of society, such as hypocrisy, perversion, insensitivity, and obsession with religion.”
To delve further into the album’s marauding madness, what we have for you today is the premiere of its second single, “Divine Blood Invocation“. Continue reading »
(written by Islander)
We’ve been avidly following the evolving adventures of Cognizance for quite a while now. When Willowtip Records released the band’s Phantazein album in early 2024, our DGR wrote: “[W]hile Cognizance have remained a sleek and ultra-precise machine for over a decade since the release of their first full length – after having subsisted on a series of singles and EPs – they’ve also slowly hammered and forged their sound into something as fiercely creative and memorably groove-ridden as it is terrifyingly technically proficient.”
And so it’s no surprise that we’ve been greedily rubbing our hands over the prospect of getting the follow-up to Phantazein. Lo and behold, it will arrive on May 1st (again via Willowtip) in the shape of In Light, No Shape.
As DGR further observed in that previous review, Cognizance “always seem to be finding new twists on their particular style of Tech-Death – while still sounding like an absolute hurricane of riffs.” What twists might this new album bring us?
We’ve had a couple of signs so far, two songs from the new album that have already debuted, and today we present an official video for a third one — “The Zone“. Continue reading »
(Andy Synn presents a quartet of recently released Black Metal recommendations)
For reasons we may never understand a huge percentage of the Black Metal scene decided to release their new albums last week – including a surprise drop from long-time NCS favourites Ultha – and, despite our best efforts, we’re probably not going to be able to cover all, or even most, of them here.
But I’ve chosen four visceral examples from this veritable smorgasbord of blackened delights to highlight here today all the same, as I refuse to let the perfect be the enemy of the good.