By: jonathan.horsley Posted in: featured, freeOn: Monday, October 8th, 2012
UK underground champs Dead Beyond Buried are giving their new album, The Dark Era, and that’s pretty cool, right?
Everyone likes free stuff. That’s a given. And especially free music. Eight out 10 features with bands at some point touch upon the music industry’s perilous position right over yon great fiscal abyss, into which it’s sure to fall if it collectively fails to find a new business model. And of course it’s all because of illegal downloading … BLAH BLAH BLAH. Like, Godwin’s law now comes with supplementary clauses arguing how Illegal downloading/”the fucked music business” is to music journalism what Hitler/the Nazis are to Internet debating. Whatever. We’ve had the Internet and mp3s for yonks now, pretty much nothing has changed and, shit, the pro/anti- downloading debate was never ever going to be an edge of the seat affair. And debate has never inspired anyone to stagedive off a monitor.
English death metal band Dead Beyond Buried have, though, and they want to take the debate right out of the picture (they’d never use a phrase like “right out of the picture”; they’re more down with eviscerating, brutalizing, etc.) The only way you’ll get your hands on their third album, The Dark Era, is to download it, and they’d get really angry if you paid for it because this whole thing is supposed to be free.
QUOTE/UNQUOTE from the band: “We just feel that we want as many people as humanly possible to hear the material, in this day and age there’s no real money in cd sales and illegal downloading happens regardless so we thought fuck it let’s give it away and hope people appreciate that fact buy the t-shirt or come see us play instead”.
You might not have heard of Dead Beyond Buried so here’s their whole deal in brief: Formed in ’98, they came shredding straight out of the non-descript overfill of east London’s extremities, Essex/Romford. They’re influenced by all that malevolent Florida death metal; debut LP Condemned to Misery had plenty of Morbid Angel and Deicide going on, with elements of Suffocation’s bruise slamming around in there, too. And for a while, like ‘round about 2010 when their second album Inheritors of Hell dropped, they got kinda sold on adding about of Behemoth’s black metal edge to the riffs. They’ve shared stages with the likes of Decapitated, Dark Funeral, Obituary, etc.
But this new one is what they’re really all about. From the outside it’s like they’ve gone for latter period Morbid Angel (e.g. Formulas… not Illud, dude) with an ear for the DM epic a la Vital Remains, and atonal darkness, the likes of Demigod once dealt in …
Well, come to think of it it feels a bit weird referencing Vital Remains as a core influence as they don’t crop up that often, but for Dead Beyond Buried it’s kinda apt. Bassist Simon Lee always wears Vital Remains shorts on stage, it’s in his contract, and the first time I ever saw them cutting around they were at a Benton-free Vital Remains show and using the word “brutal” as a verb, and “beef” as an adjective.
Dead Beyond Buried cut the The Dark Era at Hertz Studio in Poland, with Weislawscy Brothers (Vader, Behemoth) in charge of mixing/mastering.
Here is their video for new track “Cold Black Stars”
By: Chris D. Posted in: diary, featuredOn: Monday, October 8th, 2012
by Scott Evans
Ian wrote Part I right after Friday, our setup day. I’m writing this a month or two later, but I’ll pick up where he left off.
Besides Ian’s rig relentlessly shitting the bed during setup, our tracking weekend went pretty smoothly. Since I engineer and play in the band at the same time (not recommended), I set up a laptop in the live room so I could control Pro Tools remotely. THE FUTURE.
We spent Saturday and Sunday doing basics — drums, bass, and guitars. We do keeper takes for everyone at once, so during basics, we’re actually recording the majority of the record. Tracking goes like this: 1. Tune up. Play the song once or twice. 2. Go into the control room and listen. 3. Pick one of those takes or go back to step 1.
And that’s what we did. We had 10 songs to track in 2 days; that’s not bad.
Here are some pictures I took.
Jeff’s drums. This Sonor Force 3000 is pretty much the only drum kit Jeff has ever owned. He saved his pennies to buy it 20 years ago and he’s played it ever since. Fuck yeah. He knows this kit very well, and it always sounds great — it doesn’t matter what mics you point at it. Which didn’t stop me from pointing 50 mics at it. Not pictured: Blumlein pair in front of the kit; room mics off in the corners.
My guitar rig. It’s a little different than the last few times we recorded, but no matter what I play, I pretty much sound the same (i.e. like a gorilla trying to figure out which end of the guitar to hold).
Jeff listening to a take. That’s the side of his face that wasn’t all fucked up.
[Laughs] Bergantino bass cab. Actually it sounded great. And it worked, unlike the two Ampeg cabs sitting in the hallway. Do you play bass? This cab is for sale and was used on a recording that literally tens of people will hear.
Hmmm… there are some interesting releases coming up, but the next couple weeks look a little dry.
I’ll start with the horribly named BETWEEN THE BURIED AND ME, who are releasing The Parallax II: Future Sequence. This is a follow-up to the The Parallax: The Hypersleep Dialogues, both in concept and sound. This isn’t my thing, but there’s a reason this stuff is popular. They are very talented, but, you know, not for everyone. There’s a lot of starts and stops in this, some wacky time signatures and stuff like that. Screaming, acoustic parts–this is pretty spazzy. I may actually be able to tolerate this more if they actually dug into a riff and kept it up. As a follow-up to the EP, if they want you to follow the thread through this and the first half of the concept, they do a pretty poor job at it. I have no idea what this about. Although preformed aptly, it is a little interesting, but the noodling is just too much for my beaked tastes, and it seems that they are playing tech for the sake of doing so. Check out the song “Bloom”–it just doesn’t seem to fit. I mean, I’m all for diversity, but this seems a lot like genre-hopping; plus there’s expansive progressive elements that I just don’t get. Hopefully my review is less scattered. This will not disappoint fans of this, but it has more noodles than a Chinese restaurant. Let’s keep it, you know, between the buried and them. 3 Fucking Pecks. ENSLAVED, wow, does this band just progress entirely on every record? I mean this record sounds like Enslaved, but not at all. I know, I’m pecking helpful, right? Catchy choruses, some “djent” drums here and there, this nods to both Opeth and Neurosis at times without sounding like either. Riitiir has parts that are wholly opposite yet complement each other, and I daresay one of the most courageous outings the band has had to date. Gone are the black metal elements–well, any traditional black metal elements anyway. I like this… I think, anyway. There’s not a lot to compare this to, which is a good thing. I mean, at least they’re changing things up. I can’t get over the catchiness of the chorsuses; it’s strange at best, but executed so well. This is epicness defined. All the songs stand alone or as a whole. Check it out. 8 Fucking Pecks.
WEAPON‘s Embers and Revelations is black metal–think more first wave of classic black metal. There’s Bathory in here, for sure. It’s good, but not amazing; the production should have a little more bite for something like this. It feels mean, but not mean enough. This has trad metal elements, and one wonders what they’d sound like live–probably pretty nasty. The death metal really shines through on some of these tracks, and the black metal on others, making it seem a little scattered. The solos have a middle eastern feel, which is spot-on since I think they are from Bangladesh and now in Canada. If blackened death or deathened black is your thing, then by all means pick it up. I think in another record or so, they’ll be great. There are some great riffs here; I just think the production doesn’t give it the teeth it needs. Cool logo, though. 5 Fucking Pecks
Wednesday’s Presidential debate wouldn’t have been so boring if Jim Lehrer had asked the candidates whether Onward to Golgotha was a top 20 death metal album of all time, or merely top 40. Alas, he choked, leaving it up to your friends at Decibel to nerd out about Incantation history. And honor it on flexi disc.
All you old-schoolers know that axemaster John McEntee ripped for tech-thrashers Revenant prior to forming Incantation. Well, our latest flexi features Incantation covering the former’s “Degeneration,” which originally appeared on Revenant’s s/t 1989 demo. This deathed-up reimagining is exclusive to the flexi series, and should whet your appetite for Incantation’s forthcoming Vanquish in Vengeance, which will drop on Listenable Records this November.
Incantation’s new take on “Degeneration” explodes in black-on-blood-red plastic in the December Decibel. Don’t forget that you can now preserve it and the rest of the flexi series in our brand new limited edition collector’s box! If you’re not an existing subscriber, become one by 9 a.m. EST on Wednesday to ensure your subscription begins with this disc.
Manetheren’s Time is about as casual an experience as the sprawling dozen-plus-tome story that gives the band its name. (Robert Jordan’s Wheel of Time series became so outrageously complex that now, even five years after Jordan’s death, a secondary author is still finishing the three books needed to complete the tale.) Don’t belly up to Time expecting a quick blackened snack. These 10-to-17-minute mountains of drear play as movements more than songs, and patient repeat listeners will be rewarded as this very personal music tunnels deeper into psyches with each successive spin. Some metal lovers live for this stuff, and others are already checking the next blog on their list. If you’ve got time for expansive post-black compositions meant to communicate a depression writ large, push play and lose yourself.
Decibel got in touch with main man(etheren) Azlum for some track-by-track analysis action, but even that wouldn’t satisfy us, so he was gracious enough to answer a few stray questions about his eight-year-old project and his monolithic fourth album.
Azlum: To begin the track by track write up, I’d like to say that the first four tracks were actually from my first album but were completely redone and adjusted to fit the new style of music we wanted to play.
I. This track is essentially is the beginning of the man lost in the state of purgatory consciousness. Unable to comprehend what is happening around him, doors leading to unknown destinations, and the sorrow that follows. In the past this was the first song I ever wrote for Manetheren, obviously the lyrics and music were adjusted since 2004. The last part of the song was a complete new addition to the music.
II. This song is actually my favorite song on the album specifically for a part that comes about during the beginning few parts of the song. Lyrically this song is about the next phase of this man’s journey through the agonizing purgatory, only to realize these doorways lead to more tunnels along the bleak hallways. He has no idea where he is or where he is going, and just continues to walk on and on through many doors. The end of this song is one of my favorite parts on the album, due to the jazzy feel to the bass, and the guitar work. I threw in some drawn out clean vocals as I felt those would be best suited for that parts structure.
III. This song is probably the slowest song on the album, and has many different parts of atmosphere in it. Lyrically this song is about the same man finally realizing where he is seeing visions of his past life. Seeing terrible things he had done, things he is unable to take back, and feeling as if there is no way for him to find redemption for such a parasitic life.
IV. This song is actually a faster song, but now because of blast beats or double kicking, the tempo was faster than the rest of them. The song is a bit similar lyrically to the previous song, though he is now realizing that there is nothing he can do to bring any sort of peace to himself for his terrible acts in the past. Though as he his travelling on his path he believes he sees another entity there with him, or he hopes to see this other person, who is in fact a woman.
V. This song was a brand new song that had nothing to do with our first album. I wrote it and kept it on the back burner until I was ready to put it on an album, and of course I found a place for it. The song continues with the man having found the other entity that seems to be leading him along his path of sorrow. He believes there is a voice calling out to them attempting to guide them further and further through the purgatory. The pain he feels is so strong he believes it will entrap him within madness for eternity, telling the woman to go on without him.
VI. This song is the longest song on the album, and has the most atmosphere out of all six songs. I really had a lot of fun doing this one just for the fact the last 5 minutes had about 7-8 guitar layers over it. Lyrically it is about the end of the man’s journey, lost in his state of darkness. Seeking the chance to find the woman who had been with him most of his journey. He holds onto those last moments until finally he reaches some sort of peace with a vision of himself looking into her eyes. Finally he is freed from the purgatory he had been in for so long, which is represented by the last 4-5 minutes of the music.
1) You were extremely prolific during the band’s first years of existence. What caused the gap between Solitary Remnants and Time?
Azlum: I kept trashing material that I was writing and I was having trouble finding a drummer to do the music and such. I was not intentionally trying to take 4-5 years to release an album.
2) How different was your experience writing/recording “Time” as opposed to earlier albums?
Azlum: It was a very different than the last album considering they weren’t even really musically related. “Solitary Remnants” was still on a path of black metal, but it was slightly influenced by my friends band from Empires. Brian who also played for Manetheren most of its duration of its life, but he had too much on his plate the last few years, so we had to part ways. Andy from Wolvhammer also played live for us several times. The experience was quite different just because of the fact I was using different programs and equipment to create the atmosphere for the album. The previous album did not have the atmosphere that this one had, considering I wasn’t really trying to make post/black metal.
3) Your choice of band name is striking, especially for anyone familiar with Robert Jordan’s books. Do you think you’re music/ideals have grown closer to or further from your chosen band name over the project’s lifespan?
Azlum: Actually we had pondered about changing the name when we first got the offer from Debemur Morti, just because of the fact Manetheren connects to a more fantasy aspect of metal, which we have no connection to. I never had a strong connection to Robert Jordan’s writings, I have the first book, ‘The Eye of the World’ but I could never finish it just because of the fact that it’s so descriptive it bores the piss out of me. Literally several pages describing how the wind blows.
4) Do you feel that the music’s focus has turned further inward, or, conversely, outward?
Azlum: The music has been evolving over the years to finally reach this state of the post rock influences. I eventually want to branch out even further towards other genre’s. I wanted to even add elements of female jazzy type vocals, and perhaps saxophones, and any other sort of interesting element.
5) How do the new album’s title and artwork relate to the musical experience you’ve created with Time?
Azlum: The entire album was a concept about a man travelling through an endless time of purgatory. The artwork represents the man in the concept’s agony and such. The album was essentially all crafted to fit the concept I developed at the time I was writing it.
6) What kinship do you feel Manetheren has with other bands’ work (either active or defunct)?
Azlum: I’m not really sure. Originally Manetheren was very influenced by Abyssic Hate primarily, but now the band hasn’t really taken influence from traditional black metal bands anymore. Honestly I can’t even remember what really inspired me to make music like this, perhaps Solstafir, even though they aren’t even close to post rock. I think Krohm was the biggest and heaviest influence on us while I was writing this album. But now I am taking influence from all sorts of bands, Ihsahn, Enslaved, Woods of Desolation, etc. I’m not really sure what the music will end up sounding like in the next few years, but I can hope it will have Time’s same feel to it.
Usually, when some public relations goomba contacts me, spouting off about how I’m guaranteed to love whatever new band they’re promoting, I go out of my way to hate that band. I used to do it subconsciously (probably) and don’t mean it as a slight to whatever band is in question, but as I’ve gotten older, more immature, increasingly agoraphobic, I’m always on the lookout for new ways to entertain myself that don’t involve venturing outdoors and communicating with the outside world, I’ve turned this feature of my job into one-part personal game of “impress me, motherfucker” and one-part taking offense that someone thinks they know the inner workings of my weird brain better than I do.
Enter Norway’s Blood Command. Enter the just-doing-his-job-PR-pimpology by one of my oldest friends in this godforsaken business. Maybe he knows me better than I think (or want people to know me), but I quite enjoyed the varied, angular and slippery post-core, noise-rock, punk-ish metal and metal-ish punk of this Bergen-based band. They have a new album entitled Funeral Beach coming out soon on Fysisk Format and are apparently pretty popular in the land where $20 might buy you a Coke. The Deciblog caught up with guitarist Yngve Andersen for an introductory email chinwag.
First things first, seeing as I know little to nothing about your band (and I’m assuming that most people reading this are in the same boat), can you give us the summary version of Blood Command’s history?
Yup! Blood Command was started in 2008 by [drummer] Sigurd [Haakaas], [vocalist] Silje [Tombre] and me, urging to fuck up the music industry and to play rock n’ roll. We started to record three or four weeks after we started the band. The plan was to keep it a studio band only, but hey, things change. From 2008 ‘til today we have released three EP’s and now (soon) two albums, and have been on numerous tours in Europe. Today, we are a five-piece instead of the trio that we started out as.
If we’re being honest here, your moniker doesn’t exactly suit your sound. When I hear Blood Command, what comes to mind is death metal. How and why did you settle on Blood Command as the name of the band? Any regrets?
Haha, that’s exactly why, because we want people to believe they’re getting something else when they first hear the name. We came up with the name because we wanted it to consist of the 80′s cheesy action movies Commando and Bloodsport. We wanted a name that sounded like what a 14-year-old would call his/her deathmetal band, not something Fall Out Boy-ish like names with many sentences like the ones that has flooded the music scene the last 5 years (The Devil Wears Prada, Iwrestledabearonce, those kind of names). Blood Command stands out and you’ll remember it because it wasn’t what you thought it would be.
How would you say that the bands you’ve been in previously have impacted what you’ve created with Blood Command?
It defined our playing style I guess. Sigurd was in a shoegaze band called Simon Says No!. Silje was in a short-lived-almost-all-girl-band called Wheelers and I was/am in a punkrock/hardcore band called Jeroan Drive. Silje and I met during a recording of Wheelers, and Sigurd and I met during a recording of Simon Says No!, so in that way it had an impact, haha. We brought with us some tricks from the other bands into this one I believe.
Legend has it that you’ve been the recipients of various music industry awards in your homeland. Can you give us non-Norwegians the rundown?
We won a “demo-of-the-year” contest in our local newspaper in 2009, and were nominated for the state channel’s “underground band of the year.” We were also nominated for the Norwegian Grammy (Spellemanprisen) for our 2010 album Ghostclocks (Kvelertak won that one). That’s all of the awards worth mentioning.
When one thinks of Norway, the first and automatic image that comes to mind is black metal. Obviously you don’t play black metal. What is the scene like for a band like yours at home?
There are a lot of great punk, hardcore, rock n’ roll-ish bands in Norway like Turbonegro, Kvelertak, Purified In Blood, Haust, Livstid, Social Suicide, Die X Legend, Feilfødt and Wolves Like Us, to name a few, and the scene is great. Great bands, great guys. A lot of cool shows happening and the DIY underground is on the rise.
How would you describe your sound and categorise your band if asked to while having a gun held to your collective temples?
We play punk n’ roll with a small touch from some of the hardcore bands we love; “deathpop” we call it. We sound like if Refused, Hot Snakes, Roxette and New Order had a baby together and it was vicious, angry and desperate.
So, give us the what, why, where and how behind the writing and recording of Funeral Beach?
Funeral Beach was written between two European tours and some heavy sessions of watching HBO. We recorded it with long time friend, Dagger, in Studio Lydriket. We had some free-of-charge recording time left from the prize we won in a local newspaper a couple of years ago. Rock n’ Roll is in danger and is about to die and we’re here to save it from its doom. Making sure the torch will proceed to burn. Funeral Beach is our contribution.
Does the title Funeral Beach have any special significance or is there a story behind the name and why you chose to call the album that?
If you bury dead bodies on a beach they will eventually emerge to the surface because of the moist, sand and waves combo. Funeral Beach means that all your dead and hidden skeletons from the past will come back to haunt you. Every mistake will come back if you keep trying to bury it. No one gets away. Face your mistakes, face your weakness, face your self-pity or else you’re fucked. Many of the lyrics on the album are about this.
How would you characterise the new album when compared to your previous recordings?
This one has the most brutal sound and the most catchy songs. It has a decent amount of more punk n’ roll vibe than the other recordings and Siljes voice has even got cooler on this one. And there are a lot more sing-a-longs. We changed some of the basics from the classic BC sound recording tricks. The song writing has evolved and the drumming rules! Sigurd is at his best on this one.
I don’t think I’d be out of line in pointing out that you guys are influenced by Refused to some degree. Here’s this interview’s Sophie’s Choice question: if someone guaranteed you a million bucks to stop playing your originals and play and tour as a Refused cover band for the rest of your days, would you do it? If not for a million, name your price.
Haha, no, no, no! We all LOVE Refused and they’re one of our main influences. The Shape Of Punk To Come is simply one of the greatest recordings ever put on tape! But we could never do that. Never, not for any price. We have to keep sailing on and save rock n’ roll with our own songs. That is what we must, that is what we’re called to do. Refused has done their part.
Odds are that pretty much anything we cover would be the last thing anybody waking up from a long night of debauchery would want to hear. Just because your head feels like it might explode, however, doesn’t mean that comfort cannot be found via some quality tuneage. Just ask bassist/vocalist Jon DeHart of West Deptford, NJ’s Fight Amp, who meticulously put together a playlist for such a hungover occasion. Just think—by the time you eventually make it out of bed, you’ll probably be ready to blast his band’s impressive third full-length, the recently released Birth Control, and start drinking all over again. Well, at least that’s how we’d roll in South Jersey.
Cavity—”Supercollider” (from 1999′s Supercollider)
I’ve always been a big fan of Henry Wilson’s drumming, and I think this track in particular really showcases his ability to make complicated beats sound simple. The way the snare snakes its way through the upbeat makes everything really catchy. I also like that the vocals are down in the mix, blending nicely with the sunbaked fuzz of the guitars. Normally a heavier band like this won’t find its way onto my early morning playlist, but Cavity is one of the exceptions to that rule.
Dead And Gone—”Blood From A Ghost” (from 2002′s The Beautician)
My entire existence as a bassist has been an unsuccessful attempt at replicating the bass tone on this criminally underrated album. It has just the right amount of distortion to keep it from being cancelled out by the guitar and just the right amount of treble to keep its presence felt throughout every song. “Blood From A Ghost” stands out for me because of its slow trudge, and the way the guitar and bass switch roles as the dominant instrument, making the melancholy guitar lead much more poignant. I also like Shane Baker’s vocal delivery—he sounds like the bastard son of Tom Waits on this one. It’s a great song for piecing together the events of the night before.
Unwound—”Disappoint” (from 1995′s The Future Of What)
My favorite Unwound song from my favorite Unwound album—this tune just aches. The seesawing rhythm of the guitar, the steady stomp of the drums and the laid back vocals—everything about it is absolutely correct. It’s noisy without being overbearing, and I’ve always wondered if the rogue open notes happening in the main riff were intentional, or just a happy mistake for an unhappy song. Seems like bands from the Northwest in the early-to-mid ’90s had a knack for that sort of thing…must have been something in the rain water.
Sonic Youth—”Schizophrenia” (from 1987′s Sister)
One of the all-time best album openers, this track is deceiving in the way it piles four or five parts on top of each other without sounding disjointed. Even though there isn’t a single repeating verse, and no chorus at all, it still maintains the illusion of a structure. Some of that may be due to the tension-and-release vibe going on throughout the song. Everything bulids up slowly to the middle part where Steve Shelley opens up those big rolling drum fills, then the whole band follows it up with a crash and burn into minor note oblivion.
My Bloody Valentine—”(When You Wake) You’re Still In A Dream” (from 1988′s Isn’t Anything)
Usually when people talk about My Bloody Valentine, it’s in reference to Loveless…and rightfully so, since that album is damn near perfect. But Isn’t Anything captures the band trying to find its way towards a unique style, and that gives it a certain charm that isn’t necessarily found on the shoegazing mastery of Loveless. This song has a standard punk feel, the riff isn’t hiding behind MBV’s usual wave of pitch shifting, and I dig how Kevin Shields’ shaky vocals blend with the dreamy backups of Bilinda Butcher, something I wish they would have done more of. Whenever we’re on the road and I wake up on a beer soaked carpet in a house with seven dogs, this is one of my go-to albums when I retreat to the van for some fresh air.
Talking Heads—”Memories Can’t Wait” (from 1979′s Fear Of Music)
This is one of David Byrne’s more somber deliveries—it’s like they darkened up some disco rhythms and used it to mock the human race. This is also one of those songs where you can discover some new random noise in the background every time you listen to it, something I imagine is a result of Brian Eno’s contribution as producer. This is what’s playing over and over in my head everytime we’re wandering around New York City at sunrise.
Nick Cave And The Bad Seeds—”Sad Waters” (from 1986′s Your Funeral…My Trial)
“Sad Waters” sounds as if it wouldn’t be out of place on the soundtrack of a John Hughes film next to The Psychedelic Furs and New Order, especially when the drums pick up the pace for a quick run and the Hammond organ kicks in. And there’s something perfect about the imperfections of this song. To me, the slightly out of rhythm echoes are a reflection of the addictions Nick Cave was struggling with during this era. Of course, this could be nothing more than the result of recording limitations and time restraints, but hey, it’s still fun to fantasize.
King Crimson—”I Talk To The Wind” (from 1969′s In The Court Of The Crimson King)
Normally, a song featuring the jazz flute would send me running for the hills, but Fripp & company are undeniable. There’s a warm haze enveloping the entire song, giving it a sound that completely caters to shaking off the cobwebs in the morning. The drum tone is great too—the snare has a nice low end thud that makes it sound three feet deep. Actually, the overall tone of this album is something I’ve always admired, which is funny, because I’ve read it contains all types of unwanted distortion and frequency loss due to problems with the recording equipment they were using. Makes ya wonder.
Earth—”Tibetan Quaaludes” (from 1995′s Phase 3: Thrones and Dominions)
Straight from the mind of Dylan Carlson, there’s not much else you can say. This is for the wake-and-bake portion of a rough morning after, when it’s time to move from the bed to the couch.
19 Oct: Lindenwold, NJ – @ The Sex Dungeon w/ Braille, Window Liquor
20-Oct: Brooklyn, NY – @ St Vitus (CMJ Showcase) w/ Yakuza, Enabler
21-Oct: Baltimore, MD – @ Ottobar Upstairs w/ Big Mouth, Old Lines, Passengers
22-Oct: Fairfax, VA – @ Old Firestation #3
23-Oct: Richmond, VA – @ Strange Matter w/ Tombs, 16, Cough, Bastard Sapling
24-Oct: Raleigh, NC – @ Kings Barcade w/ Hog, Royal Nights
25-Oct: Atlanta, GA – @ The Basement w/ Whores, Hawks
26-Oct: Savannah, GA – @ The Jinx w/ Savagist
28-Oct: Gainesville, FL – The Fest 11 – @ The Laboratory w/ Enabler, Former Thieves, Raindance and more
29-Oct: Ocean Springs, MS – @ The Squeaky Lizard
30-Oct: New Orleans, LA – @ United Bakery w/ Classhole, Christpuncher
31-Oct: New Orleans, LA – @ All Ways Lounge w/ Fight Amp as Dead Kennedys
1-Nov: Baton Rouge, LA – @ Here Today Gone Tomorrow w/ Itto
2-Nov: Austin, TX – Fun Fun Fun Fest – @ Holy Mountain w/ Burning Love, Power Trip
4-Nov: Fort Worth, TX – @ 1919 Hemphill w/ Big Fiction
5-Nov: Joplin, MO – @ Cesspool Castle
6-Nov: Kansas City, MO – @ Art Closet Studio/Open Fire Pizza
7-Nov: Columbia, MO – @ The Hairhole w/ New Tongues, Jack Buck
8-Nov: Chicago, IL – @ Ultra Lounge w/ Millions
9-Nov: Indianapolis, IN @ Piss Haus w/ Millions
10-Nov: Columbus, OH – @ Carabar
11-Nov: Philadelphia, PA – @ The Barbary w/ Rosetta, Ape!, Dridge
***We update one Spotify playlist for each new Decibrity entry, so feel free to subscribe to that here. Past entries include:
Of all the bands to crawl back from the metal abyss here’s something we never expected. VON is releasing a new album at the end of October and dB got an exclusive stream of “Jesus Stain” from Satanic Blood. The band expects to play a limited run of shows.
Take a listen below and then read an interview with mainman Jason “Venien” Ventura (conducted via e-mail) where he talks about the new music and why he resurrected VON. You can preorder the album from Von records here.
Why did you decide to get VON back together after all of these years?
Long story, but since I started to put my little monster back together there have been a few people that have come and gone, and that includes the other founders. The decision was made a while back and bottom line it’s to finish what I started.
What was it like getting back together and writing? Did you ever anticipate it?
I started the process again, and attempted to bring all of us that started it back, but that was short lived. The one that did come back quit after the London reunion show just like he did in the 90′s and the drummer was nowhere to be found. I had been writing tons of material for years and most of it was for VON but there was so much, some of it was leaning more towards a solo album, so I really didn’t anticipate anything. I just lived it.
I am the only surviving original creator of VON that survived the cut to record. The rest moved on and it’s for the best. I can’t work with bullshit anyways.
The band’s now legendary demo had a run of about 100 copies. Yet here we are about to premiere your first new track. Does that seem strange?
Not really, people like shit that’s raw! It’s intense things that drive us over the edge and this stuff tends to do that for a lot of people from what they tell me, so not really, I feel comfortable
Can you tell us about the song we are premiering?
Stains of Jesus are everywhere and this reflects that so well. This is not a religious thing; this is for those that push it on to others. I dictate my own way. This is an old one from the incubation period of VON.
Will you play live in conjunction with the new album?
Ritual Of The Black Mass is where I will present material from this album (Satanic Blood), the Dark Gods Trilogy of albums, and my solo album Tribal Blood. (I’m working with) Chris at Hate War putting this thing together over at the Black Castle in South Central LA Nov 9th. I’m also in talks with others for shows in New York, San Francisco, Chicago, and anywhere else that will bleed pure rage!
When is the new album coming out? What can people expect?
Oct 31st. Expect relentless rage and primal pounding from front to back.
By: Chris D. Posted in: featured, listenOn: Wednesday, October 3rd, 2012
It ain’t often we say, “Hey, check out this black metal band with a great bass player!” Normally, bass players in black metal get the Jason Newsted treatment, but Borre-based Nidingr have two in guitarists Blargh and Teloch. Why have a full-time bass player when you have two guys with enough talent to sound like bass players? Good ones, too. Just listen to new ditty, “Greatest of Deceivers”, and then re-listen. When not freezer burned by Nidingr’s post-black blast, the bass cuts its own rug. Throughout.
OK, enough about Nidingr’s four-string rumbles and weaves. The Norwegians have a new album coming out on Indie Recordings. If you haven’t heard Nidingr before, well, it’s because they’ve been trapped under ice—see what I did there?—on two obscure labels like Karisma Records and Jester Records, the latter of which is run by Ulver’s own Kristoffer Rygg. Now that the trio has a release coming stateside this November, it’s time the non-Metal Archives forum members get a whiff of Nidingr’s progeny. More like Thorns, Ved Buens Ende, or Ihsahn’s latest noisemaker, Greatest of Deceivers is black metal from another angle. You won’t find grand symphonies about dark castles in deep forests. Nope, this is raw, urbanly dissonant black.
“The first single is out!” exclaims Nidingr brainbomb Teloch. “This is the title track from our latest opus Greatest of Deceivers. In this song we introduce you to some of the new elements that we are using throughout the album. Some of it is in the vain of typical Nidingr and some not.”
** Nidingr’s new album, Greatest of Deceivers, is out November 20th on Indie Recordings. It’s available for pre-order HERE. Or, you can go back and listen to Velvet Cacoon.
The craft beer world is still trying to undo the damage done by shitty pale American lagers to canned beer’s reputation. It’s a sad fact that most craft beer drinkers think that bottled beer is “better” than canned beer, when the exact opposite is actually the case. If we all agree that craft beer is most importantly about, well, the beer, then cans win hands-down. Here’s why: they take care of the beautiful, tasty and refreshing liquid inside much better than bottles. They don’t let any light inside—which can turn hops skunky with minimal exposure—and they keep oxygen out and the beer tasting like it’s supposed to. The common myth that cans add a tinniness or metallic taste to beer is patently false. You might have noticed that kegs are made from metal, right? Well, modern cans are specially lined, so that nothing taints the flavor.
Plus, we don’t need to tell you that cans are much lighter, a helluva lot easier to haul around and a whole lot less breakable. If you’ve got some hang-up about drinking from a can—especially when you’re at home—pour the beer into your favorite glass (which you should be doing with bottled beer anyway). Beer poured directly from a small opening—be it can or bottle—doesn’t show its best. You want to be able to see the color and head and get a good whiff of all the elements that going into making craft beer so delicious. This is why there are so many different kinds of glassware for the different styles of beer; they show off the beer’s best assets.
We are not only in a golden age of craft beer right now, we are in a golden age of canned craft beer. Some of the best beers in the U.S.—New Belgium, Surly, 21st Amendement, Midnight Sun, Maui, Oskar Blues and on and on—are being put in cans. And we can assure you it’s not just lawnmower beer. You can get imperial stouts, massive double IPAs, wet-hopped ales, doppelbocks, saisons—you name it! Don’t believe us? Then you’ve gotta check out Reno, Nevada’s annual CANFEST, which will be held November 3 this year. There will be dozens of breweries on-hand with their canned creations ready to convert the masses. This is the festival where no apologies are made for beer in a can. It is celebrated for the near-perfect craft beer delivery system that it is.
Let the hipsters have their $2 PBR tallboys. We’re here to tell you that beer in a can gets a lot better than that. It may cost a little more, but it’ll probably have a higher alcohol content and a lot more flavor.
Photo by Cambria Griffith • www.drinkeattravel.com