A Stick and a Stone put haunting spin on modern struggles with ‘Long Lost Art of Getting Lost’

We’re navigating through some rough times. I say that as a person with not a ton to worry about beyond the day-to-day, so I only can imagine what others less fortunate or a part of groups that push beyond the perceived norm must have to face. The political and societal climate here in America is a sandstorm (don’t read the comments section anywhere), and it’s getting worse and worse with every passing week.

How one stands up to face the tumult is a sign of one’s strength and character, and “The Long Lost Art of Getting Lost,” the third record from A Stick and a Stone, tackles some of that territory. While many bands confront these forces with equal amounts of chaos and destruction as what’s pushed upon them, this band does the opposite. Immersing yourself in these seven songs could help you branch beyond, at least psychologically, and find the tools to overcome. The band—bassist/vocalist Elliott Harvey and viola player Myles Donovan (also of Disemballerina, Negative Queen, Ominous Cloud Ensemble)—use ambiance, doom, goth-rich melodies, and even some sludgy power to create these songs. Harvey, a transgender male, has a voice that confounds and arrests. The press materials describe his singing as “androgynous,” and that’s certainly accurate, but it’s also haunting, arresting, and perfectly suited for this moving material that can grasp the heart and soul. Finding true comparisons for this band’s sound is nearly impossible, but think an amalgamation of various elements from SubRosa, Chelsea Wolfe, Kate Bush, Amber Asylum, and My Brightest Diamond’s edgier moments, and you at least have a starting point.

“Erosion” starts with rubbery bass work and vocals swimming over the mire, as the track opens and starts bleeding. The strings swell as the chorus bustles, as the track truly comes to life. The singing is rich and emotive, the melodies slip into liquid, and everything fades away. “Arrow” has a gentle introduction, letting fog rise, as the track chills the blood, and the doom hammers drop slowly. The track floats into the darkness, eventually rupturing with added force and the drums bursting. The back end of the song has a soaking, rainy feel, as the song eerily slips away. “Prescription” lets bass slide in, as Harvey begs for a doctor to create a unique concoction, calling, “I’ve been waiting so long.” The rhythm pops as the strings add glaze, leading Harvey to strike, “Cut your hair and feed it to your demons, so you can’t hear them shout anymore.” The song is visceral and rattling.

“Spider Bite” has a solemn start, with Harvey observing, “You built a highway through the mountain of your body.” Strings scrape, as the darkness re-emerges and envelopes, with strong singing weaving the tale, and the cut coming to an echo-flooded finish. “Hawk” has strings being plucked and drums being tapped in calculated manner, as Harvey’s singing again drives the cause, and the emotional glaze leaves a bloody oil slick behind. “Why have you gone?” Harvey wonders, as the tempo is pulled back a bit before being released and swallowing everything whole. “Willow” serves a sinister riff, as the vocals bellow and strings moan. “We tried to warn you, don’t build your forts on top of graves,” slithers darkly from Harvey’s mouth, serving as a warning to the times that often has gone ignored. The rhythmic tap out is trance inducing, but also a sobering message to the past, present, and future. Closer “Return” has a dark bassline that bubbles like tar, as the singing quakes, and strings swarm. The song is enough to lull you into hypnosis, as Harvey calls, “And our eyes return to the sun,” as the sounds blend, mystical strings slip into the shades, and the track escapes into the distance.

A Stick and a Stone remain one of the most unusual, yet musically rewarding bands floating at the outer edges of metal’s ever-changing sea, and “The Long Lost Art of Getting Lost” is a record that you won’t soon forget. The music is moving and gripping, while the songs build emotion and, hopefully, psychological strength to help face whatever bullshit spews out of our world at any given moment. This isn’t the heaviest record you’ll hear this year from a decibel standpoint, but it might be on a psychological level.

For more on the band, go here: https://www.facebook.com/A-Stick-and-a-Stone-162036303838692/

To buy the album, go here: http://sentientruin.com/releases/a-stick-and-a-stone-the-long-lost-art-of-getting-lost

For more on the label, go here: http://sentientruin.com/

Venomous Maximus inject gothy darkness, blast of doom power on super fun, punchy ‘No Mercy’

This is going to sound like me complaining and going on like a broken record, but one drawback to doing a site such as this one is you often get lost in a haze of like-sounding music. Despite that, I still find a lot of new stuff to enjoy every year. But it’s becoming far less common to hear a band and walk away feeling like they’re onto something a little different.

Houston’s Venomous Maximus have been around for a little while now, and they’re always one that leaves an indelible impression with each record. That carries over to their new third release “No Warning,” an album that centers on strong songwriting, music that has an unmistakable personality, and the element of fun. You remember that, right? I know it’s not exactly cult AF to admit getting into and actually enjoying yourself with a record, but I’ve done that every damn time I’ve visited with these 10 tracks. Out front is vocalist/guitarist Gregg Higgins, whose singing sticks with you far after the record has finished and has a voice that immediately will strike you as one unique within metal’s confines. It’s a blast to hear him sing and sell the hell out of these songs. With him are essential parts including guitarist Christian Larson (formerly of Eternal Champion), bassist Trevi Biles, and drummer Bongo, and combined, they spread a charming B-movie sense of horror over these doom metal-laced pounders. But it’s not just metal here. You can hear punk and goth influences as well, which adds even more color. That’s especially the case with Higgins’ singing.

The record starts with “I,” a quick instrumental introduction full of quivering keys and cosmic zaps, and then it’s on to “Spellbound,” which drives right into goth-smeared punishment. “I shall run, run, run away,” Higgins wails as the riffs chew a nice bit of the scenery. The melodies grab you hostage, and Higgins ends by adding, “They always said I was lost.” “Pray for Me” has a rainy haze at the front, as murky keys join the fray, and Higgins wonders, “Where are the saints and where are the saviors?” Guitars travel fluidly though the mire, as the track comes to a punchy end. “Return of the Witch” is a definite highlight, as the guitars drive up a storm, the chorus dominates, and Higgins’ singing brings back memories of early-era Iron Maiden. “You said I was yours until you die!” he calls out, as the track gets thrashier, and everything disappears into the darkness. “All of My Dreams” starts in a bath of acoustics before creaking speak-singing enters and carries the track. The drama hits a first-half crescendo, as the music bubbles up, and Higgins howls, “Only true love can break your spell!”

“II” kicks off the second half with a synth fog rolling, giving off a heavy ’80s vibe, and then it’s onto the title track, where heavy riffs split faces, much like classic Priest, and a true sense of vintage metal haunts the halls. Gang “hey! hey!” shouts get the tempo and blood pumping, while the music adds its own fireworks, and Higgins belts, “Time keeps ticking every day.” “Blood for Blood” also chews on metal’s roots, as vampiric visions sink their teeth into the cut, and heavy echo on the voice makes the song feel even stranger. The guitars lather up the scene, creating lightning that blinds you in your steps, while massive chugging and wild calls into the night bring the song to its end. “Endless” is a quick instrumental built with acoustic guitars, thunderclaps, and a soaking rain, then it’s on to closer “Sea of Sleep.” The track wastes no time unleashing its energy, though it also sinks into doomy territory for a bit, trudging toward Black Sabbath territory. Molten soloing turns the earth to liquid, some heavy punches are landed, and the track heads off into the cosmos … until is mysteriously returns a few minutes later to deliver a couple more crunchy riffs.

Venomous Maximus continue churning out really strong material, and “No Warning” is their finest hour (well, 42 minutes) to date. This band is ripe for breaking out to a larger audience, and if this record gains traction, they could follow in Ghost’s footsteps and swell their audience. Every moment of “No Warning” is rock solid, and if you’re still cool with putting on a metal record and having fun, look no further than this swaggering beast.

For more on the band, go here: https://www.facebook.com/VenomousMaximus/

To buy the album, go here: https://shadowkingdomrecords.bandcamp.com/album/no-warning-2

For more on the label, go here: http://www.shadowkingdomrecords.com/

Taphos Nomos, Urðun combine deadly forces, spread chaos on blood-feasting split effort ‘R.I.P’

Many relationships are built on rocky, unsteady terrain, where the slightest disturbance could set things barreling toward oblivion. Then there are other that, no matter the tumult and the chaos, cannot be torn apart, even with a chainsaw. Today, we have one that falls in the latter category. Let the weeping and outpouring of emotions commence.

See, Pittsburgh’s own death assault unit Taphos Nomos knew one day they would collaborate on a split offering with like-minded Icelandic horde Urðun, but it always seemed that getting the two bands to commit to getting material done seemed to crumble to hell. Band lineups shifted, energies tumbled, yet these two bands would not hear of throwing in the towel. Finally, in March of this year, their split “R.I.P.” saw the light of day via cassette release from Caligari Records, but that wasn’t enough to allow this evil force to spread. Now, Our Ancient Future is committing the seven-track effort to vinyl for the first time, and you would be advised to act soon, as only 200 are being pressed. And you’re going to need one of these if you give fuck all about true, abominable death. That’s what these two bands are all about after all, albeit in much different ways. Taphos Nomos are concentrated largely on death over long periods of time, the fossilization process (as if you couldn’t guess that from their name), and geological horrors, while Urðun are slightly more traditional, immersing you in terror and violent destruction. It all blends together so very nicely.

Taphos Nomos’ section is called “Rarely Investigated Phenomena,” and it opens with “Arboreal Tombs” and its sea of noise and warbled voices singing. Then the song opens, and the death march is on. The pace mauls and slithers toward you, with muddy growls gurgling underneath everything. The tempo then begins to stomp bones, hitting a thrashy fury dressed in scathing shrieks and a blistering finish. “Autocannibalism Beneath the Avalanche” lets sounds hang before the vocals break through. Slow-driving death drags bodies through the muck before the guitars light up and send the fires into screaming madness. It feels like the band is bending time, while the growls turn to disorienting singing before changing back, and everything ends abruptly. “Lightning Stroke Obliteration (Bolt Catcher)” has a serene, acoustic beginning before the violence arrives. Monstrous growls and lumbering guitars lead the way before the thing changes faces suddenly. Bass charges and the whole thing ignites, and while there’s a brief moment where the force is pulled back, it ends with gruesome mauling that tears out your heart. We in Pittsburgh already know of Taphos Nomos’ power (if you’re local and haven’t seen them yet, WTF?), and now it’s time for them to spreads havoc across the world.

The Urðun part is named “Rigorously Intensified Putrefaction,” and that gives you a good hint about what’s ahead. “Tortured to the Grave” has a belchy start before the rhythm section delivers welting, and weird vocals lead to a disarming path of physical death. The riffs destroy, while the playing causes dizziness, and a serving of doom darkens the room before closing the door forever. “Immense Rot” has a bruising start, as the guitars spiral, recoil, and strike, and the drums devastate everything in its path. A bizarre voice speaks out, while eeriness sets in like a death cold, and then the soloing goes off and tears holes in its surroundings. The playing tramples and buries, keeping up the intensity until the song fades into the distance. “Wrath of the Zombies” just obliterates, as killer riffs sink in their teeth and also make maximum impact over the chorus. The track is chewy and menacing, blasting toward a thunderous end. Closer “Grafir & Bein,” named after the chilling Icelandic cinematic thriller, is a calculating beast, unloading at its own leisure but always knocking you for a loop. Doom bleeds into the track, while a section of vomitous choking adds a deeper sense of unease. The song then catches fire again, horrible shrieks send waves of panic, and sooty, marring riffs bring the terror to its final resting place. This is strong, classic death in the vein of Autopsy (the cassette version has their cover of “Charred Remains”), and more of this can only serve to further sicken the underground anew.

This union of Taphos Nomos and Urðun always was meant to be, and despite matters that would tear other bands apart and put such projects on the backburner, both sides bled and strived to make “R.I.P.” a reality. The fact that it contains a sampling of two of death’s true up-and-coming maulers should be even more reason to dig into this and devour. Death reigns supreme again, and these two groups will have a large role in furthering that into the future, whatever of it is left.

For more on Taphos Nomos, go here: https://www.facebook.com/taphosnomos/

For more on Urðun, go here: https://www.facebook.com/urdun

To buy the album, go here: https://www.ourancientfuture.com/collections/all

For more on the label, go here: https://www.ourancientfuture.com/

PICK OF THE WEEK: Integrity fear no changes, pack unique chaos into stunning, fiery ‘Howling…’

Photo by Jimmy Hubbard

About a month ago, I saw Iron Maiden for like the millionth time. About halfway through their show, it made me realize that these guys, almost entirely in their 60s, are in front of me pouring more energy than I could even imagine into an elaborate stage show. They’re not relying on the hits. They’re pushing challenging new music and related visuals that pretty much make these guys timeless. They cannot die.

I had the same thought taking on “Howling, For the Nightmare Shall Continue,” the 12th full-length effort from long-standing metallic hardcore institution Integrity. This band already has a well-regarded reputation and always have been known as one of the heaviest, most aggressive bands in the world, balancing almost entirely on vocalist Dwid Hellion’s shoulders. This 11-track, 47:30-long record (if you buy it digitally, you get three bonus cuts) isn’t just a run-of-the-mill Integrity record, nor is it one that just shows up and proves there remains power in the Integrity name. Instead, Hellion takes a ton of chances on this record. Yes, much of what’s contained on this album does feel like classic Integrity, but there are so many new twists and turns, and it almost always works. This is an ambitious record that refuses to back down both musically and philosophically (we’re talking an album walking the path of humanity’s final days), and the fires burning within Hellion, guitarist Domenic Romeo, and everyone else collaborating on this collection are unmistakable, making them as dangerous as they’ve ever been.

“Fallen to Destroy” and “Blood Omen” are connected and open the record, as guitars light up, and Hellion’s snarls become pronounced. The song continues to speed ahead, with stellar leads catching fire, and the track ending with a wild, solitary howl. “Hymn for the Children of the Black Flame” has strong guitars sprawling, as Hellion’s animalistic roars come bursting through. Metallic soloing splashes shades of chrome onto the music, and the song ends in a fury. “I Am the Spell” is slow driving and punishing before it launches into a hardcore-style assault. Guitars bubble as the vocals exude emotion, and a raucous section of chugging meets up with eerie voices, leading into the void. “Die With Your Boots On” is not a Maiden cover, but a track that does lean much closer toward the metal spectrum. Strong riffs, glorious melodies, and scraping vocals fill the guts, while the soloing lights up, and Hellion screams the title until his point is bloodily made. “Serpent of the Crossroads” is the first in a stretch of longer songs, clocking at 6:41 and beginning clean. The song itself has a Southern, sunburnt feel, with its slide guitars and Hellion’s gravelly signing. As the song stretches on, so does the weight of the journey, as Hellion calls, “I can never be free!” with the track winding to a thunderous end.

“Unholy Salvation of Sabbatai Zevi ” is a 7:25 track that starts with haunted house-style organs that chill to the bone and guitars cracking open and sprawling. The track is both doom-stained and heavy as fuck, as the pace burns, the growls devastate, and the final moments are drenched in speed and blinding soloing. “7 Reece Mews” is a 6:57 pounder that also adds some different elements. The guitar work is steely, and Hellion snarls over much of this, sounding threatening and pained. “Tonight, we shall bleed them,” he declares over dusty noir, as the guitars bask in the heat, the tempo takes on some swagger, and the last remnants bleed away. “Burning Beneath the Devil’s Cross” has drums kicking in, the bass slithering snake-like, and the song going off. The vocals punish the soul, while the guitar work slices through skin and bone, leading to a blistering big finish. “String Up My Teeth” is an interesting one. Taking on more of a rock n’ roll flavor, the chorus features soulful female backup singers, something you might expect from Roger Waters, and admittedly, it was hard to swallow at first. It sounds fine; it’s just a little strange to hear and absorb. The title cut finishes the set, a 6:46 track that starts with warmer guitars that are split by Hellion’s gruff vocals. Momentum keeps building, as the guitars explode with life, and we head into an unexpected trippy tunnel. The haze thickens, as Hellion’s growls stretch and scar, and everything melts in a molten tributary, with the record heading out into a noise vortex.

Integrity has been one of the most respected, powerful names in extreme music for three decades now, and after all this time, Hellion and his collaborators keep making challenging, relevant statements. “Howling, For the Nightmare Shall Continue” is both a logical next step for the Integrity sound but also an unpredictable turn into exciting new territories. This album grasps you by the neck from the opening moment to the end, and in between, you take a volcanic trip that will leave you devastated.

For more on the band, go here: https://www.facebook.com/INTEGRITY.HT

To buy the album, go here: https://store.relapse.com/

For more on the label, go here: https://www.facebook.com/RelapseRecords

Expulsion continue horrifying work of making grind bloodier on debut EP ‘Nightmare Future’

Photo by Jay Valena

Sequels, for the most part, never end up being all they could be. There’s a ton of hype, ridiculous tie-ins to chalupas and phone plans and goddamn cell phones. Then the movie strikes, and it’s just a bunch of all talk and no real substance. Unless we’re talking about “Empire Strikes Back,” the greatest movie of all time, no arguments accepted.

I doubt that’s why Repulsion never followed up their classic 1989 debut “Horrified,” a record that was one of the basic building blocks to the grindcore genre. That record has taken on a life of its own (Decibel Magazine is one of the many outlets that has heaped praise and exposed it a much wider audience), and while the band still performs live, they never gave us the sequel to that world-toppling effort. It’s inaccurate to call Expulsion’s debut “Nightmare Future” a proper follow-up. But it’s as close as we’re going to get to one anytime soon. Matt Olivo, longtime guitarist for Repulsion, teamed up with a stellar lineup consisting of vocalist Matt Harvey (Exhumed, Gruesome), bassist Menno Verbaten (Lightning Swords of Death), and drummer Danny Walker (Intronaut, Exhumed, Phobia) to create a new document that pulls from the players’ ugly roots. With seven tracks spread over 14 minutes, this effort is fast, relentless, and over before you even realize the steamroller is flattening you to the pavement.

“Total Human Genocide” kicks off the record with a blast to the gut, as the tempo smashes, and the bass rollicks hard. The riffs take on a killer groove, as Harvey wails, “The final holocaust!” as things come to a devastating ending. “Altar of Slaughter” packs thrash into the mix, as wails of, “Kill! Kill! Kill!” deliver bruising. The leads infuse air into the picture, but then the vocals smash you in the head again, and things crunch right up to the abrupt end. “Mask of Fear” has vocals spat out, with the tempo grinding, and the rhythm section pounding away. The relentless chaos pushes from front to back, as the bass strikes out, and the songs blasts into oblivion.

The title track is speedy and meaty, giving off a Motorhead vibe. The band again delves into thrash goodness, and then Olivo’s soloing goes off and sets fires, leaving you blinded. From there, they hit a nasty punk vibe before spiraling out. “Funeral Bells” chugs and charges, with Harvey warning, “There’s no room in hell!” The grinding tempo chews up the road, but then things change up and take on a different vibe. Doomy winds start to blow, as bells chimes, and funereal winds blow shut the gates. “Compulsions” is speedy and spindly, with the riffs throwing back some major heat, and a hurricane-like force sending your possessions flying into the neighbors’ yard. Closer “Comatose” has a blistering start, with Harvey wailing about rotting in a hospital bed. The riffs dizzy and smother, while the vocals retain their power, and a massive dose of soloing brings a volcanic force that burns to the end.

Expulsion gives listeners a glimpse of what a post-“Horrified” future might have been like with their awesome debut “Nightmare Future.” These killer players deliver a strong, death-filled grind assault that’s dangerous but also fun to take on. Hopefully this band is only scratching the surface of their capabilities and have a full-length assault ready to unleash on us in the near (nightmare) future.

For more on the band, go here: https://www.facebook.com/ExpulsionOfficial/

To buy the album, go here: https://store.relapse.com/

For more on the label, go here: https://www.facebook.com/RelapseRecords

Suicide Forest’s bruising initial two EPs get churning new life on morbid ‘Descend Into Despair’

Not every record gets its just due upon initial release. There is so much music out there, and most of it runs underneath the surface, so it’s sensible that there is music that takes some time to make its mark. With a label such as Fólkvangr churning out regular releases of some of these albums, we’re bound to have dark discoveries pretty regularly.

Often concentrating on cassette versions of albums that had first life elsewhere, Fólkvangr has a strong new effort out this month that comes at you with utter depression and darkness. Suicide Forest, named after a deep wooded place in Japan known for numerous people taking their own life within its confines, will not make you feel good inside, and that’s pretty much by design. “Descend Into Despair” is a combination of the “Indifference” and “emptiness” EPs, both released last year, and this union of those two releases is a strong, albeit furiously depressing collection that’s all from the mind of sole creator A. Kruger. The songs are dark and grainy, almost like you’re hearing this thing second hand from someone who discovered an old suicide note committed to tape. That’s not a negative at all, as the cloudy sound and far-off ambiance add to the murk and authenticity of these emotions, which are raw and bleeding.

“A Declaration of Misanthropy” starts the collection with strange, ambient noise before settling into “The Embrace of Solitude,” a 10:11 challenger that has a clean start that eventually leads to the song breaking open like an egg. “Loneliness is my god!” Kruger wails, as the song crushes before going cold. The track keeps reaching as cries wrench and bruise, and then the music reveals its guts. The feeling of desolation never subsides, while clean guitars trickle, and the track bleeds way. “This Silence” has keys that feel cold and wintry, and the pace is slow and trudging. Guitars cut through, while grim growls make things uglier, and the misery is poured like generous syrup. The song feels like it’s coming to an end, but the guitars awaken and send echoes, while the vocals quiver, and melodic riffs send us to a conclusion. “A Sobering Reflection” is a shadowy interlude built with somber keys and dark melody.

“Not For a Lack of Trying…” starts the second half with stormy keys and a strange section of melody before heading into 8:52-long “Woods of Indifference” that has a clean open before heading into strong tidal wave of emotion. The pace kicks open as the drums follow, and an onslaught of synth melody gives the song a chamber feel. From there, guitars chug while harsh growls wail, and the song catapults toward a powerful ending that could floor you. “The Pain of Existence” has a crushing start, as the growls scrape, and the synth has an alien feel. The song slowly devastates, as clean and prog-fueled sections eventually give way to an elegant gust of synth that leads to one of the most unexpected moments of any metal song. A “Rick and Morty” clip from the “Rixty Minutes” episode?! It makes sense, weirdly, and then things come to a deadly end. “Sea of Glass” finishes the record with baroque-style melodies and keys bubbling, before the song comes to an end.

The band name Suicide Forest should tell you all you need, but putting on “Descend Into Despair” should only amplify those premonitions. I am not happy A. Kruger revels in such darkness, but the music he creates from that space is entrancing and something with which I can relate. Life isn’t exactly sunshine, and a band like this not only knows that but makes you live the torment through the music.

For more on the band, go here: https://www.facebook.com/SuicideForestDSBM

To buy the album, go here: https://folkvangrrecords.bandcamp.com/album/descend-into-despair

For more on the label, go here: https://www.facebook.com/folkvangrrecords/

False unleash ‘Hunger’ EP that dices up their black metal epics but still remains awfully scary

It’s very rare that we devote a single entry to a 7” release. Not that we don’t find them worthy (though my 7-inchers often tend to be neglected in favor of full-lengths, because I’m a terrible person), but usually we like to get a bunch of them to display for you at once. It’s more economical or something?

But most bands aren’t in the league of Minnesota-based black metal squadron False, and our affection for them probably is borderline disgusting. Oh well. Get your own site. Anyway, the band is back with their two-track “Hunger” EP that is being presented by Gilead Media on 7” vinyl and digital, and it’s a curveball for those who have followed this band over the past decade. Typically, False songs are marathons, often hitting the 12-to-15-minute mark. They never fail to present compelling scenes either, with thunder-storming playing, break-neck curves, and utterly terrifying vocals. But this time, the band decided to pull back and try their hands at shorter cuts. These two songs combined are shorter than every selection on their untitled debut record, so that’s a pretty remarkable change. It turns out the band has a stranglehold on these lengths of songs as well, as this EP is devastating and panic-inducing, just in smaller doses. They sound as bloodthirsty and powerful as ever, and they can add these cuts to their unstoppable live set in between their normally time-challenging monsters.

“Anhedonia” has a murky start, with the synth crawling over black metal tentacles, and then the punishment begins in full. Rachel’s harrowing vocals, some of the scariest in the business, begin rolling out, meandering on purpose like a sickened animal out of control. Mournful melodies sneak under the darkness, giving the music a sort of ghostly feel, but then the carnage renews. The vocals pierce the flesh, while the intensity picks up, the guitar work shreds, and the song comes to an abrupt end. The title track storms hard from the start, with glacial keys that remind of Emperor’s frigidity that spill and ice over. Rachel’s snarls gasp over the guitar work, which smothers and crushes, and the band finds a raucous energy that sends fire-spreading sparks. The assault continues to surge, while the guitars loop and strangle, the drums are set to pulverize, and the throat-gnashing vocals dig away at fresh wounds, continuing until the pain finally fades away.

False remain one of the States’ (fuck it, the world’s) best, most refreshing black metal bands, and “Hunger” adds a deadly new aspect to their game. One must wonder if their following full-lengths also will contain shorter blasts like these, or if they’ll lean back on their epic approach. Either way, their future music is bound to be as combustible and punishing as ever, and “Hunger” has added sharp new tools to their repertoire.

To buy the album, go here: https://gileadmedia.bandcamp.com/

For more on the label, go here: http://www.gileadmedia.net