Deafheaven recently sent me an email that basically said, "New experimental band out of San Francisco, CA.", and included a link to their Bandcamp page. I had absolutely no idea what to expect, but within a minute I had been thoroughly blown away and had already purchased their debut four-song demo. I can't remember the last time that happened, but they're just that good. I wouldn't refer to them as an "experimental band", though. I'd call 'em a black metal band. Perhaps that cheapens what they're doing a bit, since it's not just stripped down, raw, "kvlt" black metal or whatever, but… hey, it is black metal. Blasting percussion; high-quality tremolo picking riffs; distant, sneering vocals… it's all here. And that's all great, but it is the little boundary-pushing bits and pieces that they offer that really pushes things over the edge – from the beautiful acoustic passages to the epic, surging melodies, and even some "post-rock" textures, too.

Now, I hate, hate, hate the term "post-rock", and I generally hate the fact that so many bands have been taking those influences and integrating them into more aggressive musical styles in recent years. But, every once in awhile a band flirts with characteristics that have that "post-rock" sort of quality in a really tasteful manner that makes sense and fits, and that's definitely the case here. There are no obnoxiously shimmery effects, they don't do the completely overdone loud/quiet/loud/quiet crap, etc. But there's something to the melodic resonance/sustain of some of the tremolo picking here that's coming from that sort of angle. And there are other outside influences creeping in as well. For example, one or two slower, sludgier passages where you really get a feel for some of the texture of the distortion; and even sparse moments where the riffs kind of seem like they'd be well-suited for a really good, powerful emo band (I know that sounds crazy, but I swear they're there, and I swear it's not a bad thing).

I'm probably scaring people away with some of these claims, but please don't let that happen. Amidst all of this, they really retain a sense of aggressive feeling. It is black metal, when all is said and done. And it's fucking awesome.

Deafheaven "Libertine Dissolves"

You can name your price for the entire demo at Bandcamp, so… be sure to help 'em out if you like what you hear. Just 'cause you can get it for a dime doesn't mean you shouldn't offer up a couple bucks, you know?

Purchase:

@ Bandcamp

Earlier this summer, Hellfish put together the extremely limited edition "7.17" compilation 7" – featuring new and exclusive tracks from Vegas, Gehenna, Unreal City, and Integrity – to commemorate the rare event of all four bands performing together in Anaheim, CA on 7/17/2010. The release seemed to come completely out of nowhere, and that's almost literally the case, as there was only about a month from the time the idea was conceived until the label had the finished product on hand (Apparently the Gehenna track was turned in at the pressing plant – how's that for cutting it close!?).

Vegas kicks things off with "Verklingen" (an awesome, dead-on cover of Integrity's "Fading Away"), followed by Gehenna's "I'll Always Say Forever" – which includes repetitious, plodding riffs and pounding percussion behind surprisingly well-spliced samples. Unreal City's "Oath" then begins with a similarly pulsing intro of percussion/distorted bass before breaking into one of their more energetic compositions, made up of the same driving power chords and melodic leads you'd expect. Integrity closes things out with "+Orrchida": Another short, raw burst of explosive material that really hits the spot. I'm not sure if the song title is supposed to be any kind of reference to G.I.S.M.'s Randy Uchida, but Integrity guitarist Robert Orr's work during the second solo is certainly reminiscent of Uchida's killer little dual-guitar harmonies, so… who knows!?

This was a one-time pressing of just 300 copies – 100 on black vinyl with covers screened in white ink (sold exclusively through Hellfish), 100 on black vinyl with covers screened in red ink (sold only at the show), and 100 on green vinyl with covers screened in silver ink (available only through the bands). There were also 12 box sets that included one of each color of vinyl inside a 7" mailer wrapped in twine, with the art screenprinted onto the mailer itself. Obviously this thing is pretty much sold out in all forms, but it's been said that the label still has a select few copies hanging around. So… if you'd like to get your hands on one, send an email to graceoftheunholy@gmail.com and see what happens…

As is often the case these days, Integrity has made their contribution available for free download, so you can grab that song here (scroll down), but I'm breaking convention and not posting excerpts from the other tunes. None of 'em have leaked out or been released by the bands yet, and I don't wanna be the guy to ruin the mystique of this release!

It's been a few years since the last full-length from Brazilian grinders Facada, but they're back in action with "O Joio" – released by Death Toll Records (which is sadly now defunct, due to an accident in which two members of one of their bands drowned), Gallery Productions, Kasamata Records, and Independência Records. Thankfully not a lot has changed. Perhaps there's a hint more of a churning death metal influence to some of the riffing these days, but the band generally keeps things ragingly fast and in your face (only one song tops the two-minute mark), so when all is said and done you'll get 14 tracks in a mere 21 minutes. Expect all the staples of the genre: Ripping tremolo picking runs and blasting percussion, surging breakdowns, high/low sneering/snarling/growling, sparse moments that suggest a hardcore/punk vibe, a few more chaotic bursts, and so on. They even close with two covers: "Satanist", by the Filthy Christians; and "Lucro é o Fim", by longstanding Brazilian crossover act D.F.C. Good stuff. The production's got a few little inconsistencies here and there (it sounds like there may have been two different recording sessions involved), but for the most part sounds really damn good. I don't know what else to say. As far as I'm concerned, this is exactly what grindcore should be, and I see no reason why fans of early Brutal Truth or mid-period Napalm Death wouldn't be all over this. I haven't been doing a good job of keeping up with a lot of these Brazilian bands, and it seems that many of 'em still deserve a lot more attention!

Facada "Arrogância é meu Privilégio"

Unfortunately this one's not very widely distributed, so to get your hands on a copy of the CD you'll need to email the band or use the MySpace links above to send a message to the band/labels and ask about ordering information.

"Colony Collapse Disorder" is the debut full-length from Brazil's Meant to Suffer, self-released on the band's own Blasted Flag label. I had never heard of these guys before they sent me the album to check out, but their approach is an interesting mix of death metal, metallic hardcore, and a little bit of grind. It's got a vibe similar to some of those early- to mid-90's death metal albums that started stripping down to simpler riffs with a little more groove, but the songs are all pretty short (12 tracks in just 21 minutes), which seems to make the hardcore influences feel more dominant throughout. As a result, it sort of reminds of that sorely underrated band Anger, from Florida, that was a hardcore side project from some members of Solstice and such – though Meant to Suffer occasionally changes things up with some weird dissonant riffs and quickly shifting arrangements to keep you on your toes. It's honestly a little bit confusing, though the blend of influences doesn't particularly come across as disjointed or anything like that. I don't have the lyrics, but also strange is the shift from (potentially) more serious song titles like "Gods Made of Clay" and "Minor Universe" to oddball tunes like "Ballerina Fetish" and "Lovely Chainsaw Incident". Who knows!? All that being said, if you stop over-thinking unnecessary questions about genre classification, it's a solid album with plenty of chugging riffs, forceful vocals, and just the right amount of quirkiness. Check out a song for yourselves and see what you make of it:

Meant to Suffer "Nine Ghosts"

You can't order the disc online anywhere at the moment, so you'll have to contact the band directly via email or MySpace to see what it takes to acquire a copy. They've been kind enough to offer the album up for free download to those interested in checking out the material, so definitely contact them for more information if you like what you hear!

[DOWNLOAD] Meant to Suffer "Colony Collapse Disorder" (@ MediaFire)

Integrity now continues what seems to be a prolific run of new material with the one-sided "We are the End" 7" (on Magic Bullet Records) – which includes two new tracks, "We are the End" and "Beneath Black Flames We Ride", for about five minutes of music with the band's skull logo etched onto side B. If "The Blackest Curse" was an impressive foray back towards the shorter, more intense songwriting of the band's early years, then this 7" is even more so. This is easily some of Integrity's most explosive work since "Systems Overload", and the record's title track actually would've fit in perfectly during the "Seasons in the Size of Days" era. Both songs are just loaded with chaotic lead bursts and driving power chord rhythms, and even the vocals feel a little more concentrated here. Short, furious, straight to the point… and fuckin' great. I hate to keep it so short, but I don't know what more to say here. It's well-documented that I've been a huge fan of this band for the past 15 years, so if I ramble on I'll just be repeating myself!

Integrity "Beneath Black Flames We Ride" (excerpt)

I'm not sure how limited the first pressing of the record is, but it's already sold out from the label (you can keep checking the link below for repress availability), so if you want a physical copy you should snag one from a distributor while you still can. The 7"s come with download codes, but you can score the tracks straight from the bigger digital outlets as well.

Purchase:

@ Magic Bullet Records (7")
@ Interpunk (7")
@ RevHQ (7")
@ Amazon.com (mp3)
@ eMusic (mp3)
@ iTunes (mp3)

Here's some more absolutely amazing metallic hardcore from Finland, via Helsinki's Foreseen (and the increasingly awesome German label Take it Back Records). This material's in more of a late-80's/early-90's NYHC crossover style, so you can expect vicious breakdowns, scorching solos, and top-notch riffs that balance a midpaced hardcore crunch with raging thrash metal. A lot of current hardcore bands seem to be drawing inspiration from these types of influences right now, but many of 'em tend to fall into the rut of sticking with the chugging, midpaced power chords – which often results in one-sided releases that can leave you feeling somewhat unsatisfied. That's not the case with Foreseen at all. These guys definitely have an edge in that there's a hell of a lot more energy to their riffs and arrangements, which really hits the spot. There's nothing about their overall sound that really breaks the mold (and I'm very much fine with that), but their higher quality songwriting/musicianship really stands out and leaves a mark. You just can't argue with this brand of explosive, fast-paced rhythms and tight picking patterns. I'm totally loving this shit and can't wait to hear more from this band. Excellent.

Foreseen "Contrast's Clear"

The record's in the pre-order stage at the moment, and should ship around mid-September. Every copy will come with an mp3 download code, so you can't lose. Pick one up if you like what you hear!

Purchase:

@ Take it Back Records

I highly doubt there are many people out there who ever thought they'd see the day that Amebix would reform, much less that said day would arrive more than 20 years after the band's initial demise… but indeed that day did come. Rob "The Baron" Miller and his brother Stig joined up with new drummer Roy Mayorga (it seems absolutely inconceivable that Amebix, of all bands, would ever share a member with Stone Sour, but let's not forget that Mayorga got his start with Nausea, who – along with Amebix – are probably amongst the top five most noted bands associated with the "crust punk" genre) in 2008, and a few years later this EP, "Redux" (from the legendary Profane Existence), sees the (even more legendary) band revisiting a handful of classic tracks.

Despite having been a longtime Amebix fan, I have to confess that when I found out this EP was going to consist solely of re-recorded material, I was a little disappointed. In some ways the band may be overlooking just how good their original work sounded "back in the day". Those old school recordings have such a weird sense of distance to the mixes, and a truly unique ruggedness that always played a significant role in the feeling of their work. So, do I think this was necessary? Nah. But that being said, I've been very pleasantly surprised by how good "Redux" is. There's absolutely no denying that these re-recordings are instantly identifiable as Amebix. For the most part they've stayed well true to the original arrangements and really do seem to simply be using modern technology to bump up the overall clarity and atmosphere of the compositions. The guitars are heavier and much more focal, but they haven't restrained any of the noisy textures or ringing dissonance, and the basslines are still fucking outstanding (and hugely prominent) – as are the vocals. The biggest change is that eerie synths (which are generally very tasteful) add subtle melodies or ambient soundscapes in far more obvious fashion here. This is only questionable during "Chain Reaction" (from "Monolith", easily my favorite Amebix release), which is the one track that feels ever so slightly "off" to me, as it's been slowed down and saturated with keyboard melodies that alter the original vibe of the piece more than I'd prefer. Perhaps they also went a little overboard with the intense reverb on its vocals. "Winter" sounds totally stunning, though: I think I could even argue that this rendition's better than the original!

The digital download version of the release includes a live rendition of "Progress?" as a bonus/preview for the band's forthcoming live album/DVD, which sounds shockingly awesome. It's well-documented that I almost always hate live performance recordings, but this shit sounds damn near as convincing as the three studio cuts. I'm impressed. When all's said and done this EP has me very eager to hear the new full-length the band is working on, so it certainly does its job…

Amebix "Winter" (excerpt)

The 12" comes with a download card (which means you'll be able to get the bonus live track) and a 5" x 6" embroidered patch, so… the vinyl kinda trumps the CD in terms of physical copies here.

Purchase:

@ Profane Existence (12")
@ Profane Existence (CD)
@ Amebix (mp3)
@ Amazon.com (mp3)
@ eMusic (mp3)
@ iTunes (mp3)

Gods and Queens' latest untitled effort comes to us from Italian label Sons of Vesta, and sees the band unloading six more title-less tracks (one of which is an awesome cover of Quicksand's "Head to Wall") in just under 16 minutes. Overall I'd say this material is very comparable to their debut, just with slightly shorter songs, so expect a moody fusion of indie/noise rock interspersed with guitar textures that some would probably characterize as "shoegaze", and maybe even a little "emo" in the melody department (and I mean no offense there). It's also entirely possible that many, including the band, might say I'm completely full of shit and off the mark there, who knows? I know I'm not familiar with a lot of the influences these guys are building from, but… I really like what they do, and that's what it sounds like to my ears. The natural warmth of the recording accentuates the pulsing rhythms of the lightly fuzzed basslines and dry percussion, the subtle textures and intricacies of the angular riffing, and the way vocals are mixed right in alongside the instruments, and you can't complain about any of that. Once again I look forward to hearing more. Check 'em out for yourself and make your own assessment…

Gods and Queens "Untitled 8"

The vinyl's limited to just 500 copies, so act fast if that's your chosen format…

Purchase:

@ Gods and Queens (12")
@ Sons of Vesta (12")
@ Robotic Empire (12")
@ Amazon.com (mp3)
@ eMusic (mp3)
@ iTunes (mp3)

If you support the band/label with a digital purchase, you won't get the Quicksand cover. However, the EP's also available as a free download, so you can always score the added track that way:

[DOWNLOAD] Gods and Queens "Untitled 2" (@ Sons of Vesta)
[DOWNLOAD] Gods and Queens "Untitled 2" (@ Gods and Queens)

Add another release to the list of reasons why I love the Finnish hardcore scene! This cooperative effort between Killing the Legacy Records and Poolside Records sees Ill Omen teaming up with Get Stitches! to offer up two songs apiece for about 12 minutes total of high-quality, no bullshit metallic hardcore. Ill Omen kicks things off with their strongest material to date, spicing up standard doses of power chords with loads of thrashy picking patterns and hints of subtle melody that lend a slightly more metal-based feel to a good chunk of the riffing. Get Stitches! then follows with a similar approach that leans more heavily on chugging midpaced grooves and carries a bitter sneer to the vocals, not to mention a really crisp recording that works well for their straightforward style. They do occasionally layer in some additional guitar work or suddenly break into a fast-paced charge of thrash, but the overall vibe is definitely one of straight up, traditional metallic hardcore in the NYHC type of vein. I hate to keep this so brief, but the material cuts to the chase and speaks for itself. Both bands make a great showing here, and I'd love to hear more from each of 'em…

Ill Omen "Dear Friends" (excerpt)
Get Stitches! "80 Cent Days" (excerpt)

The 7" is limited to just 300 copies, so I'd imagine it will sell out sooner than later. If you're interested in scoring a copy, contact the bands/labels via the links above to inquire about ordering information while you still can!

Bastard Sapling – from right here in Richmond, VA – started out as a one-man band in 2007, and has now grown to include members of Inter Arma and Battlemaster in its five-piece lineup. "V: A Sepulcher to Swallow the Sea", is their latest output: A 10-minute, two song (technically one song divided into two parts, I guess) 7" released by Tension Head Records (a label so underground I still can't find so much as a MySpace page for 'em). This is actually my first exposure to the band, referred to on their MySpace page (probably jokingly) as "typical Richmond black metal". I didn't know there was such a thing, but that phrase absolutely sounds like something you might overhear someone from Richmond say about a local black metal band, ha. And that's especially amusing because, if this is "typical Richmond black metal", I'd love to hear the rest of the bands doing it, 'cause this is some fuckin' great material! They're not trying to reinvent the genre or push the boundaries per se, and that's absolutely fine. In fact, that's a good thing. This is generally what I want black metal to sound like: Blasting percussion, rugged tremolo picking and pounding midpaced rhythms with just the right amount of dissonance, audible bass, viciously snarled vocals with a hint of reverb creating depth in the mix, a recording that's neither overly raw nor remotely polished, and songwriting that creates a certain sense of feeling/atmosphere. Just solid, straightforward, true to form black metal. This is awesome. Apparently they're working on a full-length now, and I'm really looking forward to hearing it.

Bastard Sapling "V: A Sepulcher to Swallow the Sea (Part 1)" (excerpt)

7"s are $4 plus shipping, so send an email to Tension Head Records to get your hands on one. I'm assuming at least one or two distros will be selling copies online in the coming months, but who knows?

One more long-awaited gem recently seeing the light of day via Deathwish Inc. is "This Sheltering Night", the latest from another of my all-time favorite bands, Starkweather. It's been about four years since the release of "Croatoan", and these recordings have actually been finished for about two years (half of them have roots in the "Croatoan" sessions), but as is all too often the case various setbacks and delays hampered the final release date. The presence of only six new Starkweather tracks may create the impression that this is an EP, but be not misled, as all but one of these compositions top seven minutes, so Starkweather's material alone surpasses the 45-minute mark. Furthermore, the CD also includes ambient experimental noise interludes from Sophia Perennis and Oktopus, making for more than an hour of music when all is said and done.

Somewhat comparable to what I cited was going on with Integrity's latest full-length, this material sees Starkweather putting forth consistently longer songs that are significantly more involved than much of the band's past work. Whereas the vocals may have been the initial "stumbling block" for some listeners during the band's early years, the songs of "This Sheltering Night" often build from core riffs with layer upon layer upon layer of gnashing chords/textures; an even wider vocal range of screams, snarls, and croons; wildly blistering solos provided by "auxiliary" contributor Bill Molchanow; Forbes Graham doing some trumpet and euphonium work (which, when recognizable at all, is still rather abstract); and other assorted effects that often result in a swirling cacophony of sound that takes some time to wrap your head around. Even "Bustuari", one of the tracks started during the "Croatoan" sessions and bears the most immediate resemblance to that material, starts to bend in a different direction when these additional layers are piled on and peeled away.

All the staples of the Starkweather sound are still present: Rennie's insane and inimitable vocal delivery (obviously); Harry's absolutely amazing, freeform drumming style (and I'm actually starting to notice that his brother Vince often takes a similar approach with his bass runs, which is just awesome); unexpected clean passages or surging melodies; etc. It's just generally more twisted and fucked up now! Is that a good thing? I don't think the answer to that question matters. In many ways I think that Starkweather fans have to possess a certain reverence for what the band creates, and if that means being a listener requires some actual effort, well… that makes sense. This is a band that's been doing whatever the fuck they want to do in their own little world for more than 20 years now – whether anyone knew about it or not. They don't care about any of the petty, extraneous bullshit that most bands concern themselves with. This is it. And that's why we love 'em…

Starkweather "One Among Vermin" (excerpt)

Rust washed skies embittered and enraged. Sweltering heat just out of reach on the boundaries. Unmistaken the keening wail of machinery. Craving collapse again…

Purchase:

@ Deathwish Inc. (CD)
@ Deathwish Inc. (LP)
@ Amazon.com (mp3)
@ eMusic (mp3)
@ iTunes (mp3)

Released by Local Cross Records, this two-song EP (it's also known as the "Disaster Prone" 7", but my philosophy is that if there's no title on the packaging, the name of the first song shouldn't automatically become the "title" of the record) is the latest output from Detroit's Bill Bondsmen. The band has released a few other 7"s and a full-length since 2004, but this is my first exposure to their work, which I find to be pretty interesting. Honestly, I'm usually not really into this style of stripped down and intentionally "dated" sounding traditional hardcore/punk, but there's a darker sort of atmosphere to these tracks that really grabs my attention and gives the Bill Bondsmen a completely different feel than any other band of this nature that I've encountered. Hell, the first half of "36th" even reminds me of Joy Division or something with its droning guitars over pulsing bass (the basslines are great throughout the entire EP). And even when they're dealing with the more straightforward hardcore/punk structures they throw in a lot of angular, Fugazi-esque riffing that keeps the material from feeling stale and rehashed, which is just awesome. I'm not sure how this compares to their prior work, but if it's all along these lines I'll have to pick up some of those records, too. I've been very pleasantly surprised by this 7". Nicely done…

Bill Bondsmen "Disaster Prone"

Purchase:

@ Local Cross Records

"No Light for Mass" is the first full-length outing from Norway's Okkultokrati (released on CD by Fysisk Format and on LP through a cooperation between Fysisk Format, Lilla Himmel, Odio Sonoro, and the band's own Ormeyngel Records label), which sees the band unloading nine tracks in about 25 minutes. Their energetic brand of unusual hardcore/punk remains intact with loads of rocked out power chords and D-beat styled rhythms, some sludgy midpaced churning, unexpectedly angular riffing, and even the occasional wisp of dissonant black metal (which works well with the strained and often maniacal snarls/yells of the vocals). The production is absolutely awesome, too. Everything is super crisp and well-balanced, with plenty of grimy texture to the distortion and a really natural sense of warmth for the rhythm section. Excellent work there, without a doubt. The recording really gives the material a heavier punch that brings out different qualities of the band's approach, and I think that might help more listeners take note of what Okkultokrati's doing here. Great work from a curious band, and I'll again look forward to hearing more…

Okkultokrati "On Mouth of Hells"

Purchase:

@ Fysisk Format (CD)
@ Fysisk Format (LP)
@ Lilla Himmel (LP)
@ Ormeyngel Records (CD)
@ Ormeyngel Records (LP)
@ Amazon.com (mp3)
@ eMusic (mp3)
@ iTunes (mp3)

"The Blackest Curse" (once more from the Deathwish Inc. label) is the ridiculously long-awaited new full-length from the almighty Integrity. It's been seven years since Integrity's had a release that contained more than a handful of songs, and many would consider this the first true Integrity full-length since 1997's "Seasons in the Size of Days" – which is probably at least part of the reason why so many parallels are being drawn between said masterpiece and "The Blackest Curse". There are similarities, however… and not just the black and white aesthetic of the absolutely massive 36-page booklet (which can barely be contained by the slim digipack), with its sinister portraits of the band members and obscured imagery that probably has all sorts of suggestive conceptuality buried beneath the surface.

For the majority of Integrity's heyday most of their songs were less than two or three minutes apiece, and in their current age (which I'd consider to encompass their post-"To Die For" output) the band has been moving towards longer, darker, more involved compositions. Here, the running times are generally moving back towards that slightly more concise format, but the overall atmosphere of the material still takes a little more time to digest. Therefore, "The Blackest Curse" is a 37-minute album that actually feels more like an hour-long album. And of course there are tons of chaotic, Melnick-influenced solos to be found here (that approach is a huge staple of the Integrity sound, after all), as well as some crunchy grooves reminiscent of "To Die For" (especially during "The Last Great Seance"). But the bulk of this work is forged in the slightly different forms of explosive aggression and experimentation heard on the "Walpurgisnacht" and "Love is the Only Weapon" EP's. For instance, the insane blasts and tremolo picking of "Simulacra" damn near come across as blackened thrash metal; and then there's the eight-minute "Before the World Was Young" (which also boasts the esteemed mystique of joining the trio of tracks towards the end of the album that have their lyrics omitted from the booklet), with its whispered vocals over winding, dissonant riffs and midpaced palm-muting – bookended by Roses Never Fade/"Heaven Inside Your Hell"-esque acoustic passages.

Perhaps some of these added twists and turns result from the band's increasingly collaborative approach, what with the booklet noting that every track was composed by multiple band members and additional contributions are made throughout by the likes of Boyd Rice, Mike Cheese (Gehenna), Nick Brewer (Pale Creation), Thorsten Wilhelm (Vegas), etc. Whatever the case, "The Blackest Curse" proves that Integrity is still producing intriguing, creative material that holds true to the apocalyptic vision the band solidified in the late-90's. There are always going to be stubborn old school fans out there who'll refuse to acknowledge anything Integrity records that doesn't feature the Melnicks, which I can understand to some small degree due to the band's historically significant impact on the genre and therefore their back catalog's personal impact on individual listeners. But that really is an irrelevant line of thinking now (and I'll take this time to quickly point out that the bass playing on this album really stands out, and is arguably the best Integrity's ever had). Is it the same? No. But it's not supposed to be the same.

Integrity "Learn to Love the Lie"

As the lies are unwound and hell is forgotten we bleed alone beneath the stars. Barren light pours out of our eyes. We finally see the breathing dawn…

Purchase:

@ Deathwish Inc. (CD)
@ RevHQ (LP)
@ Amazon.com (mp3)
@ eMusic (mp3)
@ iTunes (mp3)

"Restored to One" (released by The Ajna Offensive and Feral House) is an incredibly unique outing from Sabbath Assembly, a project formed by Jex Thoth and Dave Nuss to "re-process" the hymns of The Process Church of the Final Judgment. Here's some quick background from the album's press release, which gets the job done better than I would:

"Restored to One" is a modern response to the musical activities of a cult known as The Process Church of the Final Judgment, who used music to spread their visions of Gnostic reconciliation in a time of cataclysmic change. Sabbath Assembly has re-charged the original hymns of The Process Church and worked them into moving renditions that unite the trinity of rock, psychedelic, and gospel into one triumphant re-awakening.

The Process Church was an intensely creative, apocalyptic shadow side to the flower-powered '60s and New Age '70s. The influential group opened chapters in London, Europe, and across the United States. Dressing in black cloaks and walking the streets with German shepherds, they created their own intricately designed magazines, and promoted a controversial, quasi-Gnostic theology that reconciled Christ and Satan through deeper awareness and love…

Many reading this site may be aware that some of Process founder Robert DeGrimston's early writings (mainly "Humanity is the Devil" and "The Gods on War") played a role in the inspiration behind Integrity's first all-out "holy terror" assault during the mid- to late-90's – which is what initially sparked my interest in The Process – so I've had photocopies of many old Process magazines and assorted documents laying around for years. Thus, I was super excited when I first heard about Sabbath Assembly. I mean, recording an album full of interpretations of decades old cult hymns? Who does that!?

In some ways, the album feels like a bit of a companion piece to Feral House's recently released (and also highly recommended) book "Love Sex Fear Death: The Inside Story of The Process Church of the Final Judgment", and this interview with Jex actually points out that the book is what brought these recordings about:

…inside the book, one will also find… the sheet music to three original Process hymns. We asked Timothy if he knew of any recordings that might exist and he said, to the best of his knowledge, they had never been recorded. With that, we began to conceive of "Restored to One". We played through the hymns (of which there are more than 60) to determine which of them felt like a good fit for us. We also contacted several original Process members, the ones we could find, and asked them which ones were their favorites. We continued whittling down the list until we settled on these.

Even if this isn't your thing, you've gotta respect the amount of effort and dedication it must take to put something like this together. I've honestly not been a fan of Jex Thoth's other work, but her vocals and approach are absolutely perfect for this project, and my conceptual interest in this release has brought with it a greater appreciation for the overall aesthetic and atmosphere of what's going on here, so I should probably revisit some of her other music now to see if my impressions have changed. I realize I've said absolutely nothing about the actual music on this release, but the press release's reference to the material's blend of "rock, psychedelic, and gospel" is dead on. Everything sounds shockingly authentic (and dated), and I'd have no idea how to properly describe the subtle nuances here since everything's outside of my general realm of experience. You've gotta hear it for yourself to understand, anyway. Here's an excerpt to give you a taste:

Sabbath Assembly "Judge of Mankind" (excerpt)

I haven't picked up a physical copy yet (though I damn sure will, since this is such a cool outing), so I'm not sure what the complete packaging holds, but vinyl fanatics should be pleased with the fact that the LP's pressed on 180 gram gold vinyl. As always, make the grab if you like what you hear…

Purchase:

@ Ajna (CD)
@ Ajna (LP)
@ Feral House (CD)
@ Amazon.com (mp3)
@ iTunes (mp3)

A few months ago, Adel from The Feast of Hate and Fear asked me if I would host the next episode of his online radio show, so of course I agreed. Having been aware of his show in the past, I'm ashamed to admit I had never really taken the time to explore any of his complete playlists prior to preparing to put together my own, and that was a huge mistake. His knowledge of/interest in a wide range of musical styles puts mine to shame, and while some of his interests spread beyond what I enjoy listening to, I was thoroughly blown away by both "The Dark Side of Folk Music" (show #14) and "My Heavy Metal Weighs a Ton" (show #17) episodes. I've already purchased a number of albums based on those two shows alone, so I highly suggest going to download them immediately. And check out some of the others while you're at it!

Obviously you can listen to or download my episode at the top of the page while you're there. It's a little over an hour's worth of various hardcore and metal, some of which I've never covered here, so hopefully you'll encounter something new to explore. My complete playlist with links and purchasing information is below. I absolutely hate the sound of my own voice, so do your best to ignore my awkward ramblings as you try to enjoy the tunes! And please do let me know what you think!

[DOWNLOAD] The Feast of Hate and Fear Internet Music Show #19 (@ The Feast of Hate and Fear)

1. Lash Out "Caress of Solitude"

   From the Lash Out/Ambition split CD (1996), released by Discipline Records.
   Purchase: This song will appear on an early discography collection slated to be released on Get By Records later this year.

2. Invocator "Through the Nether to the Sun"

   From the "Weave the Apocalypse" CD (1993), released by Black Mark Records.
   Purchase: Out of print. And sadly, for some reason this is the only one of the band's early albums that's not available digitally via iTunes, eMusic, etc. Try eBay.

3. Mongoloid Village "Shittown, U.S.A."

   From the "s/t" CD (2008), self-released.
   Purchase: Contact the band via MySpace to inquire about getting your hands on this one.

4. Benümb "Struggle On"

   From the "Soul of the Martyr" CD (1998), released by Relapse Records.
   Purchase: @ Amazon.com

5. Temporary Insanity "Arrogant Fuck"

   From the 1991 demo CS (1991), self-released.
   Purchase: Contact the band via MySpace to inquire about getting your hands on more material.

6. Parallax "Momentum"

   From the "Mediums & Messages" CD (2006), released by Counterintelligence Recordings.
   Purchase: Out of print.

7. Place of Skulls "Feeling of Dread…"

   From the "Nailed" CD (2002), released by Southern Lord.
   Purchase: Out of print. Try eBay.

8. No Escape "Silenced"

   From the "Rebuilding" compilation 7" (1990), released by Temperance Records.
   Purchase: @ Amazon.com

9. Arkangel "How We See the World"

   From the "Hope You Die by Overdose" CD (2004), released by Private Hell Records.
   Purchase: @ Goodlife Recordings

10. Crux "The First Key"

    From the "Řev Smrti: Scream of Death" CD (2007), released by I Hate.
    Purchase: @ Relapse Records

11. 16 "Fucked for Life"

    From the "Cry Now, Cry Later Compilation 2" 2×7" (1994), released by Pessimiser / Theologian Records.
    Purchase: @ Amazon.com

12. Kilara "Travels of a Handgun Pt. 2"

    From "The Funeral Fix" CD (1997), released by Rhetoric Records.
    Purchase: Out of print. Try eBay.

13. Caustic Affliction "Cremation"

    From the "All Thrashed Out and No Place to Go!" compilation CD (1989), released by 97 Underground.
    Purchase: Out of print.

14. Apartment 213 "Mutilation"

    From the "Vacancy" 7" (1994), released by Dark Empire Records.
    Purchase: @ Interpunk

15. Rigor Mortis "Foaming at the Mouth"

    From "The Decline of Western Civilization Part II: The Metal Years" CD (1988), released by Capitol Records.
    Purchase: @ Amazon.com (mp3)

16. Calhoun Conquer "You Mean Nothing"

    From the "Lost in Oneself" CD (1989), released by Aaarrg Records.
    Purchase: Out of print. Try eBay.

17. Deadeffect "Driving

    From the "s/t" CD (2002), self-released.
    Purchase: Out of print.

18. Seance "Reincarnage"

    From the "Fornever Laid to Rest" CD (1992), released by Black Mark Records.
    Purchase: @ Amazon.com (mp3)

19. Fall of Because "Merciless"

    From the "Life is Easy" CD (1999, recorded in 1986), released by Alleysweeper Records.
    Purchase: @ Amazon.com

20. Geisha "Bondage Death"

    From the "Mondo Dell'Orrore" CD (2005), released by SuperFi Records.
    Purchase: @ Interpunk

[DOWNLOAD] The Feast of Hate and Fear Internet Music Show #19 (@ The Feast of Hate and Fear)

"A Rage of Rapture Against the Dying of the Light" is the debut self-released EP from Dutch act Terzij de Horde (technically they released a demo, but they were known as Liar Liar Cross on Fire at the time), and an impressive debut it is. Expect four songs in about a half-hour that seamlessly combine black metal, doom, and even what could arguably be referred to as subtle "screamo"/hardcore influences. Yeah, I know that the prospect of fusing anything of that nature with black metal sends up the "bullshit flag", but trust me, there's nothing to worry about. This shit is great. There's a good amount of completely ripping, precisely-delivered tremolo picking; blasting percussion; bent up and warped dissonant chord phrasings; droning hums and earsplitting feedback; pounding, sustained power chord rhythms; etc. And then there are some peculiar passages from beyond that scope that are slightly melodic, occasionally harsh and chaotic, but definitely not black metal. And that's perfectly fine, I'm not complaining or passing judgment in any way, just making an observation. While the vocals are relentless screams, they really do have more of a hardcore type of vibe (in that they're not completely over the top and fall into more of a bitter, midrange snarl), so I actually think that helps all of the varying influences blend together so well. The recording's nice, too. Obviously they're not going for any kind of brutally raw, "true" black metal aesthetic here, so it's fairly crisp without coming across as polished, and they can get a grating bite out of the guitar work/vocals without drowning out the basslines. Good stuff. I'll look forward to seeing where they go from here.

Terzij de Horde "Non Timetis Messor" (excerpt)

If you like what you hear, please do pick up a copy from the band through the link below. They're hoping to secure better distribution, or perhaps a release on vinyl, so get in touch with 'em if you'd be interested in any of that, too!

Purchase:

@ Terzij de Horde

Still kickin' after nearly two decades of (unwarranted) relative obscurity, Pale Creation has suddenly resurfaced with this brand new, self-titled, two-song 7" on A389 Recordings. This time out the band's ever-shifting landscape of gloomy metal with smatterings of hardcore is largely driven by reverberated clean guitars and monotone singing countered by chugging power chords and raw, stripped down screams – including some guest vocals from Dwid during opener "Wake of Temptation", which also features loads of droning melodies that occasionally open up into scorching, Integrity-esque lead bursts. And before branching out into a similar approach, "Rose Colored Haze" even starts out with some eerie ambient drones, piano, and martial percussion – proving once again that Pale Creation remains unconcerned with the traditional limitations of their core genre(s). Since the entire EP's just two tracks in about 10 minutes, here's an excerpt to give you an idea of what to expect:

Pale Creation "Wake of Temptation" (excerpt)

I believe the red vinyl pre-orders are already sold out, and the remaining copies (on black) will likely follow. Each record comes with a digital download card, so you'll be good to go even if you don't have time to spin the vinyl. Pick one up if you like what you hear, as always…

Purchase:

@ A389 Recordings

"Destroyer | Borderlines" (released on CD by Let it Burn Records with Apil Records handling the vinyl) is the latest full-length outing from prolific German act Goldust, unloading another 12 tracks/nearly 40 minutes of their always solid metallic hardcore. Going off track for a minute, I must say that I really appreciate Goldust being so good about keeping me posted on their latest activity. The majority of the bands that I write about never really keep in touch after the fact, and I'm so busy/absent-minded these days that I have a really hard time trying to follow-up with hundreds of MySpace pages to determine when bands have new material available, etc. Goldust, however, is always quick to let me know when a new release is on the horizon – hence this is already the fifth time I've written about this band (two splits, an EP, and two full-lengths since 2007), and they even did a demo and a 7" before that!

With such a constant stream of output, you'd almost have to expect the quality of Goldust's material to start fading out a little bit, but that's not the case at all. In fact, this is easily their strongest outing to date. Once more the band has started to introduce subtle new shifts that make a huge difference. This time out it's a handful of sludgy, slightly rockin' riffs/leads; and more importantly some unexpectedly melodic fare that provides an almost catchy sense of energy. This may suggest some sort of significant stylistic shift, but fear not, as the core of the band's approach is still straight up metallic hardcore with plenty of those chugging rhythms and a dark, dissonant edge – accented by occasional fits of more metal-based influences like near-grinding blasts and thrashy picking patterns. Though I must admit that I think the intriguing melodic tendencies heard in "The Clawed One", "To No Avail", and "Passage" should definitely be explored further! Since I've posted about these guys so many times now I feel like I'm running out of stuff to say, so… here's a track to judge for yourselves:

Goldust "Passage"

Purchase:

@ Let it Burn Records (CD)
@ Apil Records (LP)
@ Interpunk (CD)
@ Amazon.com (mp3)
@ eMusic (mp3)
@ iTunes (mp3)

Carrion Spring is a relatively new band from Portland, OR that formed late last year and has already released this two-song demo of completely fucking awesome, totally top-notch "screamo" (or whatever the hell you want to call it). This is definitely the best material of this nature that I've heard in quite some time, and I'm really flippin' out over the excellence of the songwriting here. The overall approach is fairly familiar in terms of utilizing softer clean passages and lush melodies that explode into surging bursts of frantic drumming and loosely chaotic riffing – loaded with hard-panned guitars that piece together all sorts of dissonant chord phrasings and hammer-on/pull-off runs. And the screaming/shouting vocals don't go overboard either, which is always a plus. The recording is perfectly balanced with just the right amount of acerbity to the guitar parts, a huge bass tone that always hammers away right in the center of the mix, and an overall aesthetic that matches the 90's-styled angle of the music without venturing into overly raw/stripped down territory. The songs completely hit the mark on every level, and I can't wait to hear more from these guys. Love it.

Carrion Spring "Scumfuck Angels"

…these hands may appear to be folded and dormant. Well, these hands they will appear someday around your fucking necks. This year's model has been breaking ground, while last year's heroes are buried, still breathing. So let the bodies pile high. We're bringing out our dead to begin again.

I don't even know if physical copies exist, but you can download both tracks for free over at Last.fm:

[DOWNLOAD] Carrion Spring "2010 demo" (@ Last.fm)