Decibel’s “Under the Tree, Under the Wire” subscription offer is back!

By: mr ed Posted in: featured On: Monday, December 17th, 2012

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If you’re as lazy and contemptuous of friends and family as we are, you probably still have some holiday shopping to do. Luckily, Decibel is here to offer you an escape from empty-handed embarrassment. Yes, it’s time for our annual Under the Tree, Under the Wire subscription special.

All you have to do is subscribe to Decibel by December 20 at 10 a.m. EST. We’ll expedite a copy of issue #100 — along with a limited-edition holiday card — so you’ll have it on-hand to give to the future inmate in your life as a physical present. And this one’s assured to ignite a Decibel love affair: Occult crossover troublemakers Ghost grace the cover to commemorate their hotly anticipated major label sophomore effort, and unsung doom veterans Evoken offer their take on a Paradise Lost classic via the Flexi Series. If that’s inexplicably not enough for you, we also offer our revelatory annual take on the most anticipated extreme albums of the new year. Give and receive pronto.

Dragged Into Sunlight vocalist interviewed

By: Chris D. Posted in: featured, interviews On: Monday, December 17th, 2012

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You performed with your backs to the audience for most of the MDF set this year. Is that part of the overall aesthetic or were you afraid of looking us Yanks in the eyes?
There were bands at MDF intent on goading their audience, that isn’t our style. We do what we do for ourselves and no one else. That principle has been at the molten core of Dragged Into Sunlight from the outset and is integral to everything we’re about. We’ve always stated that should such a time arise that we no longer feel Dragged Into Sunlight has something to offer, we’ll stop giving. We most certainly aren’t afraid of looking anyone in the eyes.

Seriously, the set at MDF was blistering. I had heard you got your ritual stand through customs but not your gear. What’s the story there? Also, what’s the stand made out of?
Thanks. There are strict weight limits for every touring band, we prioritized. Our candelabra and goat skull were packed, other items deemed of a lesser necessity, were omitted. The candelabra is made of cast iron, it hangs either a mounted ram, goat or Sika deer skull.

Is music a ritual?
Music is music. The sound of one human eating the face of another can be music to some ears, it depends what you’re into. Your interpretation may differ to ours and vice versa. Dragged Into Sunlight focus on delivering a feeling, like a tentacle to the brain. There exists an aesthetic in which everything dismal, bleak and depressing will thrive. We’re not drinking goat’s blood anytime soon.

You separate your personal and band lives. Why is that important from your perspective? Kids like to ‘know’ who they like as musicians, thinkers, etc.
We’re not your friends and you don’t need our life story. Ask yourself whether you listen to a band because you like what they’re doing or because they look good. Kids don’t need to know who they like as musicians. It’s just the norm. It is a normality, which has undersold extreme music for decades. If people want to ‘know’ Dragged Into Sunlight—put the record on, read the interviews. Extreme metal musicians are more often than not grown men in corpse paint, so ask yourself whether its kids who like to know who they like as musicians or whether it is the musicians who like kids to know who they are. We separate our lives because we live in a world where nothing is a secret, knowledge is a thirst and everyone ‘needs’ to know everything about everyone else. We make music. Either you like it or you don’t. We’re not going to lose sleep if you don’t. How many authors or academics can you put a face to?

What do you mean by this statement, [Widowmaker] “would be a mistake to consider as a follow up to ‘Hatred For Mankind’”?
Widowmaker is very different in nature to Hatred for Mankind. The recordings aren’t related. When one recording is released on a date sequent to another, it is not mandatorily to be considered a follow up. It is simply another recording by the same artist. Dragged Into Sunlight recordings are concurrent and Widowmaker is one of several new roots.

Widowmaker is a concept album. What are you aiming to communicate via the concept? The press release said something about jumping out of a four-story building as a good idea.
We’re not telling a story. It’s not entirely clear when a conceptual piece of music became about story time. If you want a story, listen to an audio book. If we’re looking at art of any given century and there is a message to be observed, that is a concept. In a similar capacity, Dragged Into Sunlight have produced a piece of music which communicates a concept. The concept is that feeling of total isolation, loneliness and depression embedded into our music.

Was the track meant to be a single 40-minute track? I thought I had read you were pursuing that option instead of 3-4 distinct tracks.
The first part of Widowmaker was to be the first installment. The second part was to be the second and so on. Three parts, unsurprisingly, form a trilogy. Perhaps there was a more general misunderstanding; however, three 40-minute tracks were not intended.

If kids went off the first song, “Part 1”, they’d think they were listening to a horror score. Think the opening is a bit misleading, or is the intent to lead them into a false sense of security the goal?
It’s neither. It’s a part of Widowmaker, the opening in fact. It explores relatively obscure ambient and noise influences.

Did you know when to stop the writing process? Realistically, songs, as Dragged into Sunlight present them, could go on for ages with multiple variations on theme and style.
Every piece of music has an end, unless it’s an infinite static. Dragged Into Sunlight encompasses many different genres of extreme music and often our recordings writhe until the bitter end. That is not to say that our recordings continue indefinitely, each track has a life span and capacity determined at the first note.

So, are the three tracks remnants from the Hatred for Mankind sessions or something else entirely?
It is, as above, a new root. After Hatred for Mankind, we felt we’d like to explore our slower, heavier and louder influences. That is Widowmaker. We won’t be repeating the exercise anytime soon, so in that respect, it is something else entirely. It was created with intent and we have achieved what we set out to do.

How would you describe Dragged into Sunlight at this stage? Widowmaker’s more sludge-doom than, say, black metal. Actually, maybe it’s a dingy combination of both.
Dragged Into Sunlight isn’t boxed-in, our goal was to explore the many genres of extreme music. We comprise a collective of extreme musicians at best and at worst; we’ll deliver a different turn of events each and every time.

Where do you think British metal music is headed? For a while, bands were aping the American metalcore thing. I gather that’s diminished a bit.
There are so many killer UK bands delivering great music and some punishing live shows. Unfortunately, they’re submerged by whatever wave of alternative music is popular. When their wave eventually comes around, they’re often too burnt out, broke and jaded to care. All in all, the UK has always had a vibrant extreme metal scene and it’d be good to see some of those bands touring Europe and the US. Whatever is next, inevitably, isn’t something Dragged Into Sunlight will be a part of as it is very much its own being.

Where do you see Dragged into Sunlight headed, musically and as a live act? I think a lot of people into the sludge-doom/crust scenes would dig the band if it were presented to them.
We’ve had a busy year—geographical inconsistency and manic lives make Dragged Into Sunlight a continuous challenge. The US tour was a mind blowing 3 week trail of destruction, however it’s likely that we’ll begin work on new material. Eventually.

** Dragged into Sunlight’s new album, Widowmaker, is available HERE. And, trust us, don’t try to friend them on Facebook. They’ll act like you never existed. You’ll end up creating a Live Journal site about how bands are arseholes and why mom didn’t let you go to the party.

Limited Edition EVOKEN Flexi Disc Available

By: mr ed Posted in: featured, flexi disc On: Friday, December 14th, 2012

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Ever wonder what Jersey extreme doom crew Evoken covering death/doom progenitors Paradise Lost might sound like? We did! So, we asked them to rework the old-school PL classic “Rotting Misery” for our vaunted flexi series. The stunning results can be heard below and—for a limited time—ordered via our webstore here.

Throw Me a Frickin’ Label Hack: Town Portal

By: Dan Lake Posted in: featured, interviews, listen On: Friday, December 14th, 2012

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Because every day another band records another song.  Because 83% of those songs are unlistenable and you can’t be bothered to sift through the dreck.  Because metal is about not giving a shit and waking your own personal storm.  Because music is universal, expression is boundless, and even indie labels (whatever that means these days) don’t know everything, Decibel brings you Throw Me a Frickin’ Label Hack.

Listening to Danish export Town Portal’s engaging Chronopoly makes us thankful that, while needle-burying misanthropic rage can be a glorious trip to take, we can also appreciate the more relaxed detours into quirky melodies and less dense textures.  Town Portal work both sides of their Blizzard Entertainment-derived namesake: they bring overworld delicacy and proggy wit down through metal’s shadowy dungeon; they ascend back into safer territory with razor-edged messages from Hell itself.  Like many of their contemporaries, Town Portal bring the tech-heavy licks sans vocalist, so if you’re not usually down with the sounds of Dysrhythmia or Don Caballero, for example, then Chronopoly may not be your cup of math equations.  But hey, give “Chronoceros” a listen right here while you read up on the band’s history and current direction, and if you likey then you can check out the whole thing on their Bandcamp page.  This week, take a break from hacking and slashing and raise your mana and skill levels!

Can you give us the Town Portal lowdown?  How did the project come together, and what did you want to accomplish with it when you started?

The band came together in the last months of 2009. Jeppe (guitar) and Christian (guitar) had previously been playing together in a band called Shelflife. They knew Malik (drums) from some teenage jamming sessions, and got him to join. I (Morten) was playing bass in a band called Nightpass at the time, and invited Town Portal to come on tour with us after only having heard a handful of their songs. They accepted the challenge and were forced to take their band from a rehearsal space project to an actual band out there playing for people. When we got home, they decided that it might be a good idea to add some low frequencies to the mix, and I decided that I really wanted to supply those frequencies, and that was that. After recording an EP with that lineup, we played a few shows, amongst others supporting Polvo, before Jeppe quit to move to Hawaii, and we were reduced to the guitar/bas/drum trio that we are today. We have pretty much just been busy either touring, writing or recording ever since.

How do the different members’ musical backgrounds combine to form the Town Portal sound?

By the time Town Portal came together, everyone played in other bands. Christian was playing shoegazey stuff, Malik sported blast beats and obscene lyrics in a death metal band, and I was in a math-pop band. We do have overlaps in our music collections, but certainly a lot of differences as well. Still, as if by some stroke of magic, we really quickly found some kind of musical middle ground, where we all felt that the output was representative of our respective musical ideals. I guess you could describe our ideal song as a surprisingly timed magical kick in the balls, that somehow still leaves you wanting another one. If that makes sense.

What’s important in writing a Town Portal song?  How do songs come together?

I think all songs have some element of surprise to us. Most ideas grow out of some messed up experiment that hits a nerve, and then we build on that and shape a song from it. As with all collective songwriting our music is a compromise of all the different backgrounds and preferences mentioned above. The word compromise in its nature have both negative and positive connotations, but in our case we mostly experience the positive ones, in that we always end up with a different result than what the band’s three individuals set out to create initially, and in most cases this result is something neither of us feel we could have thought up alone. It’s definitely an exercise in letting go of artistic rigidity, but I think we all pretty quickly found this exercise pretty rewarding, making it worth the hassle.

What is your touring experience like?

As we’re writing this we’re actually sitting in the backseat of a van, floating through beautifully fall-colored German landscapes on the Autobahn heading to Paris.  This is the third European tour in the history of our band, but it’s the first one where we’re actually touring with a record and headlining if you will, so that’s a new experience. We booked all tours ourselves, and have no press mechanism to back it up or anything, so each tour is a fight to win just a few more people over in a given city, so that we’ll have a few more to play for next time we come back.  Fortunately we feel like these fights are paying off on this tour. We’re not playing for humongous crowds, but just being able to leave for distant cities, and have 40-50 people come out to see us – that’s crazy for us.

What kind of music/art/etc. is exciting to you right now?

Touring is always a fantastic way to discover new music, with endless hours spent in the van pitching new stuff to each other. This time around is no exception, touring with Baltimore’s/New York’s Feast of the Epiphany A.K.A. Nick Podgurski, who’s not only captivating us with his own music every night, but also the man for obscure recommendations during the day. New York bands like IconChasm and Time of Orchids caught on, and have been in heavy rotation on at least my iPod; both quite orchestral and experimental in their very own ways. As for other art we recently spent quite a bit of time together debating potential artists for the album artwork. Even though we didn’t end up using any of the artists we went over, they’re still a very good example of what fascinates us visually. On is New York painter Dean Monogenis, who works mostly with surrealistic takes on architecture. I guess surrealism is generally a winner for us, whether it’s in visual art or literature, and I think it has a great deal of influence on our music.

My only experience with “town portals” are from the excellent fantasy adventure game Diablo.  How did you decide on the name?

Unfortunately our only experiences with Town Portals are from Diablo as well, even though we’ve often dreamt of having them at hand in real life, i.e. for touring purposes.  And yes, the name derived from Diablo, which we all played as kids and probably all think of as one of the best games ever. At the same time one could imagine a town portal being some kind of 90’s like website, containing a grand link collection for stuff like the local library, public pools and the chess club. Somewhere in between the dark occultness of Diablo and the more grey humdrum online municipal administration, lies the kind of vibe we’re aiming for with this band, which made it a suitable name.

What comes next for Town Portal?

We just finished a small line of Danish shows, and only have one more to go this year. After that we’ll definitely have a hiatus from shows, and focus on writing new songs, possibly for a release next year. We’ve been playing the same songs live for a very long time now, and I think we all feel that the band needs a new creative injection for things to remain fun. Other than that, things are pretty open, and we definitely hope to be back out on the road in not too long to present people the new stuff. Hopefully in North America too some time.

EXCLUSIVE STREAM: ILSA’S INTOXICANTATIONS

By: kevin.stewart-panko Posted in: featured, free, gnarly one-offs, listen, uncategorized On: Thursday, December 13th, 2012

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If you’re like me, chances are if the name “Ilsa” somehow comes up in conversation, thoughts immediately turn to the triptych of ridiculous 70s Nazi exploitation films Ilsa: She-Wolf of the SS, Ilsa: Harem Keeper of the Oil Sheiks and Ilsa: the Tigress of Siberia. If you’re really down with your B-movie trivia and haven’t left your parents’ basement since the Bush I administration, your thoughts might even shift to what was supposed to be the climactic closer to the Ilsa series, the never-officially released Ilsa Meets Bruce Lee in the Devil’s Triangle.

Ilsa, the DC/Maryland-based sludge demons may have a fight on their hands, but with their Intoxicantations album, are making valiant stabs at altering your immediate thought processes. Instead of pnumatic-breasted, sadistic blondes, when you hear the name Ilsa, they want you to think of a miserable mainline injection of Celtic Frost, Burning Witch, Eyehategod and satanic rituals. It’s going to be a tough, uphill battle and they’re going to need all the help they can get, so we present a stream of said album. Here’s your opportunity to listen repeatedly and see how long it takes you before Ilsa becomes synoymous with brutality and beards, like this…

…instead of Dyanne Thorne and these:

Intoxicantations is available from A389 Records.
www.a389records.com

Decibrity Playlist: Kowloon Walled City (Part 2)

By: zach.smith Posted in: featured, interviews, listen, lists On: Thursday, December 13th, 2012

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In honor of the recent release of Kowloon Walled City’s Container Ships, last week we presented Side A of the band’s tour van mixtape. Chock full of A.M. gold, it was the perfect driving music for vocalist/guitarist Scott Evans and bassist Ian Miller (not to mention, they clearly know their shit about it). Guitarist Jon Howell, however is not quite on the same page as his two bandmates. We’ll let Scott and Jon take it from here in explaining Side B’s theme:

“Jon is our new guitar player. He joined on about a year ago. Unlike his predecessor, Jon does not enjoy soothing adult contemporary hits of the ’70s, so he wears headphones and reads The New Yorker a lot. I imagine that when Jon was a boy, his Mom listened to In The Wake of Poseidon while she worked on her ECON 301 lesson plan. Here are some Howell favorites to block out lovingly composed and performed songcraft.—Scott Evans

Yes, yes…Evans and Miller listen to tour music that’s better suited for crying over relationships and wetting the bed. That said, I’m not fully allergic to melody and a well-written song. For tours/long drives, I need to listen to albums I love.—Jon Miller

You can whip our your favorite pair of headphones and listen along here.

Side B: Jon Howell’s Headphone Jams

Form Of Rocket’s “El Bandito” (from 2003′s Lumber)
Form of Rocket is a SLC band that’s been around since the late ’90s. They’ve put out three albums and though I don’t think we’re getting a fourth, Lumber is probably my favorite. The music is riffy and driving in the vein of ’90s Touch and Go but these guys somehow do it both differently and better than every other T&G-inspired band. I listen to this song at least once a week.

Aloha’s “Setting Up Shop” (from 2004′s Here Comes Everyone)
These guys started out writing long-form, epic jazz-inspired tunes, but as much as I love the early stuff, on Here Comes Everyone they just started writing great songs. This album has a lazy summer vibe that is perfect for long drives and “Setting Up Shop” exemplifies the mellow/happy feel.

Shora’s “Parhelion” (from 2006′s Malval)
I could never get into instrumental bands like Pelican or Explosions In The Sky. No offense to them or their fans, but it just seems like music in search of vocals. For me, Shora is different. They started out as a blistering, noisy hardcore band a la Botch/Dillinger Escape Plan, but things took a dramatic turn on Malval. The music has a structureless feel but the songs just grow and grow ’til you get lost in them. Any song off this album would do but, I’ll pick “Parhelion”.

Ventid’s “Dirty Light” (from 2011′s Remember Your Audience)
These guys are friends of mine and, while they were active, their music consistently blew me away. Great ’90s Dischord/math rock feel. And Scott recorded Remember Your Audience, so it sounds great. “Dirty Light”, aside from being a fucking perfect song, has my favorite snarky one-liner: “remember your audience as a weak study.” Yep, pretty much.

Fugazi’s “23 Beats Off” and “Sweet and Low” (from 1993′s In On The Kill Taker)
Best band. I could pick any album, but these In On The Kill Taker songs always struck me as one of the better “one-two punch” songs. You get Ian screaming about some important shit and a feedback meltdown, immediately followed by the best, hooky instrumental song ever recorded. I’m gonna cheat and pick both of ‘em.

*Order a copy of Container Ships here.

**We update one Spotify playlist for each new Decibrity entry, so feel free to subscribe to that here. Past entries include:

Aaron Stainthorpe (My Dying Bride) (Part 1) (Part 2)
Early Graves
All That Remains
Bison B.C.
A Life Once Lost
Fight Amp
Witchcraft (Ola Henriksson) (Magnus Pelander)
Vision of Disorder
Grave
Anders Nyström (Katatonia) (Part 1) (Part 2)
“Best of” Rush (Part 1) (Part 2)
Dawnbringer
Ufomammut
Shadows Fall
Horseback
Greg Mackintosh (Paradise Lost) (Part 1) (Part 2)
Torche
“Best of” Meshuggah
Astra
Pallbearer
Barren Earth
Shane Embury (Napalm Death) (Part 1) (Part 2)

STREAMING: Bloody Hammers — “Black Magic”

By: justin.m.norton Posted in: featured, listen On: Wednesday, December 12th, 2012

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It looks like “occult rock” (i.e. heavier music with discernible song structures and radio potential) isn’t going away in 2013. We’re not sure if we were swayed by necromancy or the fact that there’s a naked lady on the cover (likely the latter) but we’re streaming an exclusive premiere of the track “Black Magic” by the Charlotte-based Bloody Hammers. It’s an original, not a cover of the old-school Slayer song that started the flip side of Show No Mercy.

The eponymous album will be released February 3, 2013 in North America via Soulseller Records, distributed by RED. The album was produced by bassist/vocalist Anders Manga at Greystone Studios in North Carolina. The band was named after a Roky Erickson song (an artist name checked numerous times by dB approved Devil’s Blood guitarist Selim Lemouchi).

Listen to the track below and get in touch with the band here or visit their Bandcamp page. Then tell us what you think.

Johan Edlund (Tiamat) interviewed

By: Chris D. Posted in: featured, interviews On: Wednesday, December 12th, 2012

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You’re on your 25th year, your tenth album and your fourth record label, at this point. What keeps Tiamat humming?
Johan Edlund: That’s never been a problem. We’ve decided to allow ourselves complete artistic freedom. We don’t do this for the money nor for pleasing anybody else. We still love doing it because it still excites us.

The Scarred People, I feel, ups the quality missing on your previous full-lengths. What makes it different from, say, anything in your past from last 10 years?
Johan Edlund: I don’t have a clue. We just do it. The result is secondary for me. The working process and the cooperation with the other guys in the band, that’s what’s important.

Is there a particular flow to the album? I tend to think the songs are grouped together for a reason, whether it’s for the track ordering or for emotional heft.
Johan Edlund: I think the order of the songs is very important. Or, at least as important as everything else on an album. Music, lyrics, artwork. And song order. Everything must come together.

I see you’re still very much into Sisters of Mercy. The title track and “Thunder & Lightning” are very much homages to the Brits. What’s so fascinating, to you as a songwriter, about Sisters of Mercy?
Johan Edlund: I’m not listening much to music at all these days, and honestly I haven’t heard Sisters in many years. Still like them, but there’s nothing to it when it comes to influences. I prefer silence before any music.

“Thunder & Lightning” was originally a LucyFire tune, correct? How’d that end up on The Scarred People?
Johan Edlund: It’s a LucyFire cover. Along with covers of Lana Del Rey and Bruce Springsteen.

You have two pretty different instrumentals on the record. What distinguishes “Before Another Wilbury Dies” from “Tiznit” creatively and emotionally?
Johan Edlund: I don’t know. We just did what felt right at the time. I leave it to the listener to analyze it.

How’d you find Roger? He’s pretty spectacular, actually. Reminds me of the first time the world heard Magnus on the Wildhoney effort.
Johan Edlund: Friend of friends who needed to get on with something new in his musical life. He and me are two opposites in many ways, but we’ve found a good way in combining the best of us two. At least we think so. Love him!

Did you give Roger freedom to play and compose his parts or did you already have thematic ideas in place?
Johan Edlund: He did some very important songwriting for the album and we spent ages in the studio together with Siggi Bemm, trying to find the best arrangements. I can’t take any credit for Roger’s guitar playing, obviously, but I really had a very big part in producing him.

Who are The Scarred People?
Johan Edlund: They’re all in there, on the album. I’m one of them.

666 appears on “The Red of the Morning Sun”. What does this number mean to you at this point?
Johan Edlund: It’s a good looking number, but I believe that everything is of equal value, so it’s none a bit more sexy than 384. Or 33. Or 2.

Sounds like “The Sun Also Rises” is about former lovers. Lyrically, what are you discussing here? And, the mandolin was a nice touch. Gave the song a bucolic, lazy Sunday feel.
Johan Edlund: It’s automative Dada, jumping from cold to hot in split seconds. The music is so damn monotone that I had to make the jumps in the lyrics. From fact to fiction, from down to earth to religious dogmas. Love/hate. All that contrasting stuff that we love.

What’s happening on the cover? There are layers behind it, correct?
Johan Edlund: There are lots of layers behind everything we do. When you’re rotoscoping video files, you’d sometimes call it onionskinning. If Tiamat would ever be a root fruit, we’d be an onion.

Why did you decide to revisit Woodhouse Studios? Is it more comfort with the studio and Siggi or were you looking for something missing from visits to other places?
Johan Edlund: I have nothing clever to say about it more than that it seemed like a good idea at the time. Worked out fine. Great place and a very nice and inspired atmosphere.

What did you make of ex-band mates reuniting under the Treblinka banner for the release of the Swedish Death Metal book and why didn’t you participate?
Johan Edlund: I don’t have an opinion about it. I was not interested.

Amanethes had some old-school death metal vestiges on it. “Equinox of the Gods,” for example. It’s something you moved away from The Scarred People. Was that more a one-off experiment?
Johan Edlund: I don’t know. When I write a song I try to go along with the song and give it what it needs. I’ll stay open-minded to any kind of ideas also on future albums.

Does the death/black metal thing interest you anymore? I understand a lot of years separate you from the late ‘80s/early ‘90s.
Johan Edlund: I’m not listening much to music. I honestly don’t like sound so much. And I’m not nostalgic. The past doesn’t interest me.

OK, what’s the next chapter for Tiamat look like?
Johan Edlund: We hope to play live a lot. Hopefully going back to US. We’re doing the 70000 Tons cruise in January, and possibly a few shows around that.

** Tiamat’s The Scarred People is out now on Napalm Records. It’s available HERE in a few different—some very limited—formats. Or you can wait for the new Fleetwood Mac record, which promises, if anything, to be boring.

7 Inches of Hell

By: Jeff Treppel Posted in: featured, listen On: Tuesday, December 11th, 2012

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Man, I love Hells Headbangers. They’re one of my favorite labels. Even when I don’t like the stuff they put out, I appreciate that someone is dedicating their time to dredging up the absolute scummiest acts from metal’s deepest cesspools. They’ve been cranking out a bunch of 7″ singles lately, and while we don’t have the space in the print edition to cover all of them, that’s what the Internet is for!

Bestial Warlust - Satan’s Fist (Demo 1996)

This one is 12 inches, which means you get three songs instead of two, but who’s counting? I have to give these Aussies credit for the extremely literal cover art – that’s Satan, and there’s his fist! Presumably demos for their never-recorded third album, if you’re into blackened death metal delivered by guys called “Marcus Hellcunt,” “Joe Skullfucker,” and “Damon Bloodstorm,” this trilogy of terror will punch your goat.

Children of TechnologyMayhemic Speed Anarchy

Band name is ironic, but the title is right on the money – the only technology that these punks use is whatever they can scrounge up in the industrial-park-and-junkyard version of the postapocalypse that they’ve turned into their personal skate ramp. A-side contains the Engrish-infused title track, b-side an obscure 80s Swedish hardcore cover – combined with a logo design straight off of a Sega Genesis game, what more do you want?

Hic IacetProphecy of Doom

Each side consists of a separate “ritual” (creative!), which basically boils down to echoing black metal, presumably recorded in Baphomet’s bathroom or something. Points for general creepiness, but you don’t really need these two songs on top of the 666 hours of other stuff you have that sounds exactly like this.

Sathanas/Spawn of Satan - Split

I can’t tell if that’s supposed to be Cerberus on the sleeve or Dante’s three-headed Satan, but hey, nice work re-creating the cheapo “my friend drew this with colored pencils” style popular with 80s underground metal musicians; appropriate, since that’s the epoch that both bands hail from. Spawn of Satan provide some evil thrash with that charming hollow drum sound (plus superliminal messages telling you to kill for Satan), and Sathanas go for a full on death rattle. Probably a reason they never hit it big back in the day, but hell with it.

The Cult Reconvenes

By: Shawn Macomber Posted in: featured, listen On: Tuesday, December 11th, 2012

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Candlelight Records much-beloved Cult Series returns early next month with an unholy trinity of relentlessly brutal, crazy diverse offerings from Nine Covens, Zatokrev, and Kontinuum. All three records are available for preorder now, but for those frugal readers who would prefer a sample of the aural violence before they bring their daughters to this particular slaughter, Decibel presents a representative stream from each below.

Happy blaspheming!

Nine Covens:

Zatokrev:

Kontinuum: