We did best-of entries for the first three quarters of the year, and I’d be remiss not to do one for the fourth quarter of 2011. Yet, it seems a little stupid. We’re doing best-of-the-year stuff soon, and some of the stuff I’d point out is going to appear there. I hate redundancy, you know?

But I don’t want to ignore what’s been fun the last three months of the year. So let’s do this a little differently. Instead of rehashing what records I really liked from October until now, let me instead give you a taste of what some of my favorite songs from those albums were and post them for you here. That way, I still can praise these bands but instead give you an idea of what they sound like, in case you’re unfamiliar.

So here goes …

Antediluvian remind me of what it might be like if some really advanced cavemen were jettisoned to modern times, inserted into a room with a ton of instruments, and somehow managed to crank out an unhinged, sick, mind-blowing, technically astonishing death metal album with “Through the Cervix of Hawwah.” Look it up. I have a review in the next issue of Outburn so, you know, buy that. Also, buy this crazy-as-shit record that’ll remind you a bit of Portal, StarGazer and Impetuous Ritual.

For more on the band, go here: http://www.facebook.com/pages/ANTEDILUVIAN-Canada/142055909212205

To buy “Through the Cervix of Hawwah,” go here: http://www.profoundlorerecords.com//index.php?option=com_ezcatalog&task=detail&id=810&Itemid=99999999

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

“Dwellings,” the new record from Cormorant is an absolute triumph, one of the most enthralling, emotional, gripping albums of any genre this year. We raved about it right before its release, and NPR named it metal record of the year. Trust me when I say this won’t be the last time you hear about this record on our site this year. I love the song “Funambulist,” listed below. Just dreamy and savage equally. Do yourself a favor and buy this thing.

For more on the band, go here: http://www.cormorantmusic.com/

To buy “Dwellings,” go here: http://cormorant.bandcamp.com/

Chasma is another band we discussed on these pages, and their majestic, sprawling, epic black metal stood as some of the most exciting material released this year by Moribund, a label that hasn’t done much for me the last 12 months. The Mylene Sheath, a rad label that’s put out some killer stuff this year, handled the vinyl. This Portland, Ore., band made hellacious waves with “Declarations of the Grand Artificer,” and this album actually got me through an extended stay at the car repair shop without me wanting to strangle anyone. That’s a big victory.

For more on the band, go here: http://www.facebook.com/pages/Chasma/188370681184430

To buy “Declarations of the Grand Artificer,” go here: http://www.moribundcult.com/Merchant2/merchant.mvc?

And here: http://www.mylenesheath.com/catalog.html?Iit=456&Ict=33

Speaking of stuff released by the Mylene Sheath, the new album from Cincy’s Beneath Oblivion just crushed us under the weight of its doom towers. The record is really long. Like, really, really long, damn near double-album territory, but it’s unquestionably awesome. “From Man to Dust” never feels like a long document, which is key, and it’s one of the heaviest records in a whole sea of them from 2011. Scotty T. Simpson’s vocals will scare the hell out of the you, and the band’s mix of sludge and doom will leave you a whimpering heap in the corner of your room.

For more on the band, go here: http://www.beneathoblivion.com/

To buy “From Man to Dust,” go here: http://www.mylenesheath.com/catalog.html?Iit=435&Ict=37

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

There were many other strong records from the final quarter of the year – WOLD’s criminally misunderstood “Freermasonry,” one of their most interesting and elusive records ever; Giant Squid’s aquatically adventurous EP “Cenotes”; Panopticon’s excellent and anguishing “Social Disservices”; Locrian’s massive “The Clearing” – but we’d be here all day posting songs. Check out everything mentioned, as they all come highly recommended.

It’s an odd time of the year to get into new music because, well, 2011 is just about over. There’s a feeling that records released late in the year are done so as garbage dumps, and in many cases that’s probably true. But it isn’t always true.

First, we got the stunning new Panopticon record in late November, the incredibly moving, thought-provoking sophomore triumph by Cormorant, and now we have a new entry from sludge crushers Black Skies, who have not given us anything new since 2008’s promising EP “Hexagon.” But along comes their debut full-length effort “On the Wings of Time,” a devastating, psychedelically washed package of eight songs that’ll strike a chord with fans of bands such as Kylesa, Black Tusk and Rwake, among others. The Chapel Hill, N.C., trio is releasing this platter themselves, and I can’t help but wonder if the power of this album will cause a like-minded label (looking at you, Relapse) to give it proper re-issue treatment and greater exposure come the new year.

Black Skies, consisting of guitarist/vocalist Kevin Clark, bassist/vocalist Michelle Temple, and drummer Tim Herzog, have been kicking around since 2005 and have become quite the road warriors. Just look at some of the live photos on their Facebook page, and it’s pretty clear they’re down to play just about any place that’ll have them, indoors or outdoors. That’s the sign of a band whose collective heart is in the right place, and their music is just as raucous and filthy as some of the venues they’ve destroyed. They’ve kept things pretty DIY (they have hooked up with Earsplit PR to help them get the word out about their travels and creations, but that’s about as far as they’ve gone for outside help), and this late-year release is more example of that. It’s also dirt cheap for a download, so if you need some background noise to cancel out all that holiday cheer crap, this’ll do the trick.

Yes, they’re a sludge band, and no they don’t do anything all that different from many of the other groups in the sub-genre. But that’s OK. Not everyone has to be a trailblazer, and sometimes just turning in solid music is good enough. Well, Black Skies have been more than just solid, as “Hexagon” indicated they were a group worth following into the future, and their first proper album solidifies they’re bound to still be here half-decade from now when the other bands who jumped onto the sludge bandwagon have moved onto the next trend. Black Skies’ music sounds more like a way of life.

Clark and Temple do a nice job blending their voices together, with Clark taking most of the lead work and Temple providing harmonies. Those roles do switch every now and again, but no matter who’s in charge of the song, they figure out a way to make it seamless. “Rebirth” blasts open the collection with a fist-flurry, with Temple howling, “We were not born just to survive,” and the rest of the band steamrolling along. “Darkness” is a little bit grungy an eventually mind-altering, as Clark’s vocals take on more of a raspy growl than a shout. “Technologican” tears you apart with its galloping pace, paranoid fury and accusations such as, “Technology stole my soul from me.” You’re not alone on that one.  “Valley of the Kings” gets some Middle Eastern vibe and whirring guitar work, and eventually the band gets to noodling, a little bit too long, if you ask me. That’s really my only complaint about the album, though. “Earth Choker” sounds exactly how you imagine it will, with the band settling into a thrash stomp dressed with wah leads that should make Metallica realize they’ve been doing this same thing all wrong the last 15 years. Closer “The Sleeping Prophet” is an amazing musical journey with muddy trappings and some Southern rock vibe, before Temple kicks in with her mystical flute work, reminding me of Blood Ceremony.

Black Skies are as good as every other sludge metal band out there that’s gotten more attention and press. They deserve a step up, and if hard work really does payoff, as the cliché insists, 2012 should be their year. Even if that doesn’t come to pass, here’s guessing Black Skies will hit the road like the vagabonds that they are anyhow. Try to catch them if they land in a squat, club, basement or bar near you, and make sure you’re OK with parting with some of your hearing.

For more on the band, go here: http://www.blackskies.us/

For their Facebook, go here: http://www.facebook.com/blackskiesnc

To buy “On the Wings of Time,” go here: http://blackskies.bandcamp.com/album/on-the-wings-of-time

A decade ago today, the death metal world was robbed of one of its greatest minds when Chuck Schuldiner passed away due to complications from a brain tumor. He was only 34 years old. But even though he died very young, his influence and creations with his seminal band Death would go on to further shape the genre he helped pioneer and make him one of heavy metal’s true heroes.

Throughout Death’s run, Schuldiner was the only constant. A lot of people point to the band as sort of his solo project, since he always brought in a revolving cast of characters that would make each one of the band’s records unique.  But I never really saw it that way.  I always think of a solo project as one man’s vision that he collects hired guns to help him realize. Each member that gained membership into Death contributed to the group’s brain trust, and without, say, Paul Masvidal and Sean Reinert (both of Cynic) on “Human” or James Murphy (Obituary) on “Spiritual Healing,” those records likely would sound totally different. Schuldiner may have been the leader of the band, but he let his contributors etch their DNA into each record.

Death also helped take death metal out of the gutters. That’s not to suggest death metal ever was anything low brow or unworthy, because it never was. It always has been a misunderstood art and reduced by many to trash. But Schuldiner added an amazing level of musicianship to the genre, something that caused many others to follow suit, and his work also helped future artists branch into sub-territories such as tech death and prog death (something he did further with his other band Control Denied). Death metal didn’t have to be totally about blood and guts and didn’t have to be all raw all the time. It could sound good, be produced better and even push the lyrical boundaries into brainier, more philosophical topics. That’s not the suggest Death is the only band to go there, but certainly they were the most successful at doing so.

Relapse Records, along with having a stellar year putting out their own bands’ new releases, have helped solidify Death’s legend and given listeners reissued, remastered copies of their catalog. The project only has just begun, as we only have three of their albums in sparkling new form, but it’s been a worthy investment for Death and death fans, and I should know, as I’ve bought every piece. I want the best possible copy I can of my favorite albums and the genre’s best efforts, and the Relapse project has delivered on all fronts. There also is a ton of bonus material and new liner notes included with these albums, along with exclusive merchandise tied to each one.

The first of these efforts was released in February, and Relapse started with the end. “The Sound of Perseverance,” originally released by Nuclear Blast in September of 1998, was to be the final Death album before Schuldiner moved onto Control Denied permanently. The album features a rare instrumental track, the fairly quiet and serene “Voice of the Soul” and also includes a crushing version of the Judas Priest classic “Painkiller.” Also notable in the lineup is Richard Christy on drums, who went onto form Charred Walls of the Damned. You’ll also likely note that the album artwork was redone a bit to give it a sharper look. It’s pretty slick looking. Relapse offers a 2-CD set with the original album and demo cuts, as well as a 3-CD version with even more demo material. No matter which you prefer, you’ll still be celebrating the swan song of one of metal’s greatest bands.

Next up, released in June, was a reissue of “Human,” the aforementioned record that included members of Cynic in the lineup and saw Death take progressive leaps forward musically. This seems to be where Schuldiner really started to further expand his thinking creatively and offered some hints of where the band, and its leader, would go in the future. This also featured a more introspective, inward lyrical approach, as Schuldiner moved away from what had become a fairly clichéd gore focus. This album, originally released in 1991 on Combat, had to be remixed rather than remastered, and the explanation for that is that the original masters were lost by Sony. Nice work, jerks. But it sounds really good in its remixed form, and the reissue deal from Relapse contains a second disc packed with basic instrumental demo cuts for the album, as well as some more realized early versions of the songs. It’s a pretty neat look into the creative process. This stands as one of my favorite Death records, and my interest in the prog-death circuit more than likely plays a part in that feeling.

In late October, we got a new version of “Individual Thought Patterns,” originally released in 1993 by Roadrunner. The album features Andy LaRocque (King Diamond) on guitar and drumming madman Gene Hoglan (Dark Angel, Testament) behind the kit, and it continued the path the band started on “Human.” Once again, the style is prog-heavy and leans further toward jazz, and it was clear that the band was going in this direction with no hope of ever looking back. There even was a video produced for “The Philosopher” that served as my introduction to the band. I remember as a high school kid watching Headbangers Ball and being blown away by what I heard and saw. It was a little uncomfortable for me at first, I admit, as I hadn’t really gotten into death metal at the time, but it obviously made a permanent impact considering the make-up of my record collection. Relapse has both a 2-CD version, with the album and a live show from Germany in 1993, and a 3-CD package with a nice set of demo recordings.

Coming up in February, Relapse will issue a double-live collection called “Vivus!” that combines previously released concert albums from the band’s Whiskey A Go-Go performance in Los Angeles as well as their stint at Dynamo Open Air. Both shows were recorded with the band’s final lineup in 1998 and released individually in 2001. You also can get your hands on the reissue of Control Denied’s “The Fragile Art of Existence,” also released by Relapse. Find a link to that below.

Losing Schuldiner was devastating, and there never will be another musician quite like him. Luckily, he left us with an impressive, ground-breaking catalog with Death, a collection we luckily got to partially revisit this year. His legacy is still alive, and younger fans can get their hands on strong copies of these classic albums so they can hear death metal royalty. Or for those of us who are a little longer in the tooth, we can get something updated that’ll sound much, much better on our iPods. It’s a fitting time to celebrate Schuldiner’s life and work, and we’ll be listening to his music well into the night (as well as the future). Rest in peace, Chuck.

For more on the band, go here: http://www.facebook.com/DeathOfficial

For more on Schuldiner, go here: http://www.emptywords.org/

To buy any of the reissues, go here: http://www.relapse.com/search_result.php?search_by=all&q=death&x=0&y=0

To buy the Control Denied reissue, go here: http://www.relapse.com/search_result.php?search_by=all&q=control+denied&x=0&y=0

For more on Relapse, go here: http://www.relapse.com/

All good things must come to an end, though musicians often don’t realize this and go on making music way, way longer than they should. But those people are not Lee Dorrian, and he doesn’t want to overstay his welcome. His fans are sad, I’m sure, but you have to respect that decision, especially since the genre he helped make great is blossoming.

Dorrian announced this would be the final for his band Cathedral as far as a live unit is concerned, and they would disband permanently next year when they release their 10^th, and last, full-length effort “The Last Spire.” Yes, I know, bands reunite all the time. People swear they’ll never tour again and squeeze their fans for a “last-time-ever sojourn,” always going back on their word later. Hello, Ozzy Osbourne and Kiss. But what more do Dorrian and his band have to prove? On top of that, Dorrian runs the ultra-awesome doom-minded label Rise Above, home to acts such as Ghost, Blood Ceremony, Moss and Electric Wizard. So not only did Dorrian help shape the sound of doom metal, he’s also helping the new faces of the genre find an audience.

But Cathedral, as noted, aren’t going out with a whimper. We still have their final album to anticipate, and we have their recently released two-disc “Anniversary” to mark their 20-year reign. The band assembled in London last Dec. 3 in their original form to perform their landmark debut record “Forest of Equilibrium” (released in 1991 in Europe; 1992 in America) in its entirety, then they returned to the stage in their current form to serve up 12 more songs from their other nine albums (we actually get to hear what sounds like it’ll be the intro piece of “The Last Spire”). Basically, Cathedral performed two full shows, and anyone who had been a fan from the band from their beginning, it had to be a dream come true. For newer fans, it was an excellent history lesson. This double disc serves both of those purposes as well and sounds raw and majestic, allowing flaws to be heard, between-song tunings to remain, and Dorrian’s banter to complete the picture.

The eight cuts (although the album actually is seven, with the first two songs presented as one) from “Forest” sound incredible, almost as if they were re-created during the band’s heyday. Lone remaining original members Dorrian and Garry Jennings were joined once again by the lineup that helped make this doom touchstone, as guitarist Adam Lehan, bassist Mark Griffiths and drummer Mike Smail got their proper swansong. “Commiserating the Celebration” is a rush and a full serving of ’70s-influenced guitar soloing, leading toward the edgy, somewhat sludgy “Ebony Tears”; the gritty “Serpent Eve,” where Dorrian sounds a little shaky; devastating “Soul Sacrifice”; and the draining, slowly bleeding closer “Reaching Happiness, Touching Pain.” Any newcomer to doom metal who is unfamiliar with “Forest of Equilibrium” should consider this document required listening. Having this one-time-only live version of this masterpiece obviously qualifies as a priceless gem.

The second disc is more of a Cathedral best-of performance, though it oddly focuses on their early, glory years and their late-career resurgence. The middle of the band’s run is ignored in the setlist, and it’s up to the listener to decide if that’s a mistake. Depends on your tastes or, as some Cathedral fans may say, your tolerance. We get one track from their 2010 double album “The Guessing Game” in second-set opener “Funeral of Dreams,” a song I like much better translated live, and we get two nuggets from 2006’s “The Garden of Unearthly Delights,” the Celtic Frost-esque “Upon Azrael’s Wings” and the incredibly stupid, lone blemish “Corpsecycle.” Both 1993’s “The Ethereal Mirror” and 1995’s “The Carnival Bizarre” get the bulk of the attention, and those songs sound spectacular, most notably “Enter the Worms,” weird and trippy “Night of the Seagulls” and the crushing finale “Hopkins (Witchfinder General)” that practically ignites the crowd. They also do up the organ-heavy, ghostly “Cosmic Funeral,” found on both of their 1994 EPs “Cosmic Requiem” and “Statik Majik.”

It’s going to be a strange metal world without Cathedral an active part of it, and their contribution to doom in general is immeasurable. Hell, Dorrian even gave a ton to grind when he fronted Napalm Death and also etched a completeky different doom path with Teeth of the Lions Rule the Divine. You can be sure Rise Above’s artists will continue Cathedral’s mission well into the future, and even if we don’t have new material from the band after next year, we’ll have their catalog to visit. And we’ll have “Anniversary” to remind us how effective and mesmerizing Cathedral was as a live band. That’s not so bad at all.

For more on the band, go here: http://www.cathedralcoven.com/

To buy “Anniversary,” go here: http://www.indiemerchstore.com/item/12793/

For more on Rise Above, go here: http://www.riseaboverecords.com/

For more on Metal Blade, go here: http://www.metalblade.com

It’s finally really cold around here, and I cannot he happier. It’s the perfect excuse for indulging in those high ABV, warmer-style beers I love so much. As if I needed an excuse, really, but it’s also when these brews are more readily available. I literally cannot wait to leave to buy some.

But now I’m in the mood for some BBQ as well, and possibly some further mind alteration due to the music I bring you today. Not that you need to be rocked out of your mind to enjoy this stuff, but these two Southern-minded, stoner-friendly bands kick some serious ass, as much as I hate to use that saying. Sounds like something some dork would affix to Kid Rock. So sorry about that. But it’s also true. If you want some honest riff-ravaged metal, you cannot go wrong investing your time in either of these bands’ records, both of which are in that charred meats, chill-out frame of mind.

Now, oddly enough, even though both ((Thorlock)) and Red Fang have a decidedly Southern rock edge, neither of them hail from that section of the United States. Funny, because both would sound perfect rocking out in the swamps alongside the likes of Black Tusk, Kylesa and Baroness, but you would be out of luck if you traveled to Georgia hoping to see such a sight. Instead, ((Thorlock)) hail from Missouri, while Red Fang call Portland, Ore., home, so it’s more that their sounds were influenced by their tastes. At least that what I would guess to be the case.

Let’s kick things off with ((Thorlock)), whose 2008 self-titled effort is just now resurfacing for your listening enjoyment. If you look at those goofballs at the top of the story, you’d wonder if they have nothing but hijinks in mind. They don’t. It’s not that their music isn’t super fun, because it totally is, but it’s not some kind of joke. They just know how to have a blast in their Sunn 0))) robes while taking bizarre adventures into outer space. Who can’t get on board with something like that?

This ((Thorlock)) re-release is a joint effort courtesy of Handshake Inc. and Grindcore Karaoke, meaning you can just go download it and save your money for beer and hot dogs. You won’t be sorry for a second when you hear their scuzzy mix of Southern rock, sludge and doom metal, paying closest tribute to early Black Sabbath and The Melvins. The 10-track effort is spaced out perfectly like two album sides would be. They’re perfect halves. Each has a handful of fast, satisfying rockers, a couple of rowdy cover tracks that not only do justice to the originals but just may surpass them (Kiss’ “Deuce” and Neil Young’s “Rockin’ in the Free World”), and two cosmically shifting, corrosive epics (“Mississippi Wheelwash” and “Beyond Cosmic Dimensions”) that are caked in noise and drone. The vocals are harsh and barky, giving these songs more of an edge, and songs such as “Assneck,” “Man Will Lose,” “Extinct” and personal favorite “Triceratops” not only can get anyone pumped as hell at a house party but almost assuredly will get the cops called to your home.

This is a hulking, barbaric effort from a band that only has an EP to its name otherwise. I’m angry I haven’t heard this bastard until now, considering it’s three years old. But hey, better late than never, and for you cheapskates out there who only want to get their music from some dirty, filthy download site, at least your conscience will be clean when you grab this one. Or are you so out there, man, that you can’t feel remorse? If so, what’s the like? Oh, and check out the rest of what Grindcore Karaoke has to offer. All of it is free, and all of it will cave in your chest.

For more on the band, go here: http://www.facebook.com/LOUDERTHANSTUPIDITY

To grab their album, go here: http://www.grindcorekaraoke.com/album/thorlock

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

And here: http://handshakeinc.com/

Here goes one we’re just flat-out late in bringing to you, that being the sophomore effort “Murder the Mountains” from Red Fang. This band has been one that always had the chance to break out but for some reason hasn’t to this point. Maybe this effort, as well as that tour with Mastodon and Dillinger Escape Plan, is just what they needed. As it is, as the legend goes, this album is one that was recorded and in the can before Relapse was convinced to pick it up, and I bet they’re happy as shit that they did, because it’s a bruiser.

“Murder the Mountains” was produced and championed by guitarist Chris Funk of the Decemberists. Now, don’t go getting all bothered over that fact because one, Funk is a bad ass who can shred with the best of them, and two, have you ever truly heard the Decemberists’ music? Yeah, it may be folky indie rock, but it’s bloody. There’s murder everywhere. It might as well be metal. So he holed up with the band and helped them churn out this 10-cut burner that’s a little smoother and easy on the ears than their debut (released by Sargent House). Brian Giles and Aaron Beam still yowl and howl when the mood strikes them, but the singing is cleaner and more evened out on songs such as “Wires,” that has a Queens of the Stone Age vibe; the ultra-catchy “Number Thirteen”; and “The Undertow,” that’ll really take your imagination on a ride. But they still have smokers such as meaty “Malverde”; burly “Dirt Wizard”; sludgy, doomy “Into the Cage”; and punk-flavored closer “Human Herd” in case you need an overdose of violence to get you there.

“Murder the Mountains” is an impressive step ahead for Red Fang, and I would not mind if their creative marriage to Funk becomes a permanent one. He got the most of the band during their recording session, and Red Fang certainly sounded like they had something to prove on this disc. They just may be onto something. And as promised, the music will make you hungry for a feast. I’m now starving. I also am tired of being in the right frame of mind, so if you’ll excuse me, I have some cookies to go pick up.

For more on the band, go here: http://redfang.net/

To buy “Murder the Mountains,” go here: http://www.relapse.com/search_result.php?search_by=all&q=red+fang&x=0&y=0

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

There’s a line from Louis CK’s live show “Hilarious” where he laughs at overly positive people for thinking good things one day will happen. “Why would something nice ever happen?” he asks without a hint of his tongue in his cheek. I can get on board with that assessment.

I don’t know anyone who’s had an awesome year. It seems it’s just a furious countdown to Dec. 31, 2011, at 11:59 p.m. when we all can bid this calendar year good riddance. To steal another line from CK, this year, life’s been “shit wall to wall.” When that happens, it’s nice to have something to make you feel a little better, no matter what that is. I’m not making any judgments at this point. If it makes you happy, have at it. For me, as usual, I’ve sunk into music, and when days are grim and pointless, I like something that acts as a little kick in the face or a reminder that it’s OK to be pissed off at everything that’s gone wrong lately. This week, I’ve been indulging quite a bit in the two mini efforts unleashed by Obsessor, both of which you can have in digital form for free.

The band is a one-man act headed by Brandon Ferrell, who also plied his trade in bands such as Municipal Waste, Government Warning and Direct Control. He’s since gone on to become a record store owner, certainly not an easy role in this economy, and now is diving back into the world of punk-flavored thrash with his new band. As someone who remembers when thrash was in its infancy (meaning I’m old as hell), these two efforts and four tracks make me feel really nostalgic. Now, I know you’re probably wondering if I’ve missed this whole thrash revival business, and obviously I haven’t. I’ve even written about a few on the bands on this site and even liked some of the music. But rarely do those bands really capture that same magic and danger. But Ferrell manages to do just that with Obsessor, and it couldn’t make me any happier.

It’s typically not cool to throw the Metallica comparison around, but at one time, they were the world’s most exciting metal band. I remember hearing “Kill ’Em All” for the first time in its original pressing and not knowing what to make of it. But holy hell, was it awesome. Obsessor embodies some of that same spirit. The D-beat tag has been applied to Ferrell’s music, as well as homage to Celtic Frost, Bathory and Venom, and that’s all here too, but I keep coming back to the fact that I’ve not heard  music in some time that this perfectly connects me to how I was moved the first time I heard and indulged in thrash metal. It’s a welcome trip back into time by a musician who couldn’t be more modern.

Funny enough, as close as Obsessor is to Bay Area punk-emblazoned thrash and early Euro black metal, Ferrell is from Richmond, Va. But that’s a hotbed of metal in its own right, and he certainly has absorbed and understood the genres he tackles. On “Obsession,” he unleashes two tracks of furious metallic warfare that are riff-heavy, crushing, throaty and bruising. Both the title cut and “Underworld” dash by in a flash, and if you’re like me, you’ll find yourself continually hitting repeat to take it on again. “Sick Salvation,” his most recent release, is much of the same thing, though the music sounds a bit more refined. That’s not to suggest it’s polished, because it thankfully is not, it just sounds like Ferrell’s ideas are really coming together. On the title cut, he spits out, “Your clock is ticking … Your time is ticking away,” sounding like a vintage thrash-style warning that should have you running for cover. “The Demon” is the most reminiscent of punk and classic hardcore, as he shouts and mashes his way through the two-minute mangler, making you wonder what kind of violence he could dream up live.

So yeah, bad week, bad year, this stuff makes it all feel a little better. This is music that makes you forget the daily crap just because it’s so fun and heavy.  And as noted, it reminds me of when I was a high school hesher standing out in a crowd of jerks who were listening to bad Top 40 and would look at my back-patched jean jacket and scoff. I bet those people are still assholes.

For more on the band, go here: http://www.facebook.com/pages/Obsessor/102961169801674

To download “Obsession,” go here: http://downloads.tankcrimes.com/album/obsession

To download “Sick Salvation,” go here: http://downloads.tankcrimes.com/album/sick-salvation

To buy cassette versions, go here: http://www.tankcrimes.com/catalog/

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

It’s been an interesting year for Boris — for the band and their fans. If you were starved for new music from the band at the start of the calendar year, no doubt you are Thanksgiving-dinner stuffed about now.

Earlier this year, they hit their U.S. fans with two new records, the rock-powered “Heavy Rocks” (an album title they recycled from an earlier effort just to keep you confused) and experimental “Attention Please,” featuring vocals handled entirely by guitarist Wata. We praised both records on this site, and months later we stand by our assessment, even if we’re more in the minority with that opinion. The albums weren’t really praised as all-time-great efforts by many critics, and that seems based largely on how different the two records sounded from the bulk of the band’s catalog. Of course, Boris never were satisfied with sticking to one sound and always were all over the map, so the hand-wringing seemed a bit strange. But hey, to each his or her own.

Now comes a third new album, weirdly enough called “New Album,” that actually would be deemed an old album to their Japanese audience. That’s because two versions of this collection (via Daymare and Tearbridge) actually came out before “Heavy Rocks” and “Attention Please,” though we’re just now sinking our teeth into this thing domestically. Once you grab the record, you’ll also revel in the irony of the album title since “New Album” largely is comprised of different versions of songs that also appear on “Heavy” and “Attention.” You got all that? It’s a little odd, sure, but that’s Boris for you.

If you do like the material and direction on “Attention Please” and “Heavy Rocks,” chances are you’ll be cool with this album. It’s in the same vein and continues to take a gigantic step away from their noise drone and doom metal past. Yet, even when they’re lush and lovely, the songs are loud and probably will decimate your hearing live. It’s strange, however, taking on this record after their two 2011 domestic releases because “New Album” ends up feeling like a best-of remix effort with a couple of new songs. That’s not a complaint, mind you, just kind of how I perceived the record. Had I heard this one first (unemployment prevented me from indulging in the imports), maybe I would feel differently. All of that aside, I like this collection and find it really interesting and nicely trippy. It’s a great example of what I appreciate about Boris, in that they always keep me guessing and usually deliver.

Six of the songs you’ll know if you have “Attention” and “Heavy,” but you won’t recognize their new (OK, not  new, but you get what I mean) attire. “Hope” gets more chirpy and J-pop friendly, with Wata’s precious voice dressing the song perfectly; “Party Boy” is more synth heavy and has a bit of a disco touch; “Spoon” isn’t all that far removed and sounds just fine in this incarnation; “Jackson Head” is radically different, with more of a techno personality rather than a straight-up rock assault, and it’s the one track I definitely do not prefer over the one I knew beforehand; “Les Paul Custom ’86” is just huge, with big synth waves and programmed beats, and it’s a really interesting new perspective; and “Tu, La La” is loud and flattening, making Boris seem as dangerous as any song on the three albums they put out this year. As for material U.S. fans won’t know from the band’s two domestic discs this year, “Flare” and “Looprider” bookend the record and are kind of tied together with a melody line. Both are really catchy, with “Flare” having a pop-punk touch and “Looprider” coming across as more muscular. “Luna” is the longest cut on here, and it’s a mix of outer space dreaming and metallic, blast beat bombast.

How you feel about this collection likely will depend on how tolerant you are of Boris’ constant re-tooling and rejiggering. None of their albums sound alike, and they’re constantly in reinvention mode, though it seems like maybe they hit on something with 2008’s “Smile” because all three of their 2011 efforts at least can be discussed in the same paragraph with that album. I’ve enjoyed everything I’ve heard from the band this year, and I don’t mind being in the minority on that. I also don’t chalk it up to fandom considering I’ve outright rejected the last two Mastodon albums, and that band always reigned as one of my favorites. Boris is a fun band, a loud outfit, and a daring trio who refuse to be chained. I hope that never changes, though I do dream that next time around they’ll go down a different road instead of doing retreads of what they delivered this year. I’m not terribly worried about that.

For more on the band, go here: http://www.inoxia-rec.com/boris/

To buy “New Album,” go here: http://hellomerch.com/sh/index.php?page=shop.browse&category_id=157

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

It’s been a slow week here at Meat Mead Metal, what with it being December, the place new music goes to die. We’ll have a few more records to look at before 2011 is out, but for the most part, we’re working hard on year-end material that will take up a good bit of December.

Meat Mead Metal will offer its first top 40 metal records list ever, and we’ll start rolling that out for you Dec. 19. That day we’ll give you 40-31. The following day will be No. 30-21. Dec. 21 will be No. 20-16; Dec. 22 will be No. 15-11, and Dec. 23 will be 10-6. The following week, beginning Dec. 26 and going all week to Dec. 30, we will count down the top 5 records of the year. One entry each day. And let me point out, it will be my list of records I liked the most. I think it’s nearly impossible to ordain a best record critically. There are too many sub-genres and bands, and I refuse to tackle that. Always have. So I’ll give you the ones I enjoyed the most. By all means, if you have your own lists, send them our way.

We have a few news items for you today, two things that I’m very excited about and perhaps you will too. One’s something on one of my most anticipated albums of 2012, the details of which finally are coming to light, and the other an exclusive live performance you’ll only be able to witness in one place.

I really loved Earth’s “Angels of Darkness, Demons of Light I,” and a fun fact, I was listening to that album on Rehoboth Beach in August when an earthquake struck. What a weird coincidence. Or was it? But the “I” at the end of the record title clearly indicated there was another volume to come, and that second helping lands Feb. 14 with “Angels of Darkness, Demons of Light II.” Not sure how they dreamt up that title.

Part II was recorded in the same session as the first volume, and the music is said to be even more improvisational and energetic. According to a release from Earth’s publicists: “The line-up again consists of Adrienne Davies on drums and percussion (on this release there is more percussion of all sorts), Lori Goldston (Nirvana, David Byrne, Black Cat Orchestra, Laura Veirs) returns on cello, and Karl Blau (K Records, Laura Veirs, Microphones) plays bass. This also marks the first time the band on the record has toured outside of the U.S. West Coast in preparation for the album. As with the first part, it again has truly amazing artwork by Stacey Rozich.”

You can see the album art above the entry, and the track listing below. I’m excited.

1. Sigil of Brass

2. His Teeth Did Brightly Shine

3. Multiplicity of Doors

4. The Cora scene Dog

5. The Rakehell

For more on the band, go here: http://www.thronesanddominions.com/

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

We discussed the future of Gilead Media not too long ago, and it seems that the response to their plight was overwhelming. That’s the first bit of good news, but the second is damn-near celebratory with the announcement of the first-ever Gilead Media Music Festival. The event is set for April 28-29 in Oshkosh, Wi., and the venue will be announced once it’s nailed down for certain. The lineup is completely ridiculous, and we’ll supply that below, but it’s just been revealed that Thou will play their “Tyrant” album in its entirety. If that isn’t reason enough to venture out for this event, then I can’t figure what might entice you. I know I’m trying to figure out if I can make the trip (some home stuff could prevent it, but it’s still months away), because I can’t miss hearing the majesty and tragedy of “Tyrant” live.

Besides Thou, other bands confirmed are:

• Ash Borer
• Fell Voices
• Get Rad
• North less
• False
• Mutilation Rites
• Arms Aloft
• Baby Boy
• Protestant
• Sleepwalker

Also scheduled for exhibitions are Reuben Sawyer of Rainbath Visual and Bryan Proteau of Natvres Mores. Things are in the early stages, so check back for more at the links below. We’ll also try to keep you updated as we learn more. Certainly if you like what Gilead Media does, this is the perfect place for you to see a ton of their bands at once.

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

For the event’s Facebook page, go here: http://www.facebook.com/events/145804345523149/

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

Anyone who reads this site with any regularity knows I like the doom metal. I’ll take it in all of its various forms. I like it when it’s deathy and loud, and I like it when it’s full of drone, and I like it when it sounds like it was recorded 30 years ago in someone’s basement. If it’s doom, I’ll give it a shot.

That’s what ultimately led me to seek out The Wounded Kings several years ago. Initially I read about the UK band somewhere on the Internet and eventually tracked down some of their stuff. I got into “The Shadow Over Atlantis,” their 2010 sophomore effort, and the first time I wrote about the band was because of their split last year with Cough called “An Introduction to the Black Arts.” They made me think of sitting in heavily carpeted basements in a cloud of smoke, and that always made me happy. But there was something about them that seemed to prevent the Wounded Kings from grasping greatness, and I just couldn’t put my ginger on what that was.

With their new album “In the Chapel of the Black Hand,” I know what it was that held them back. They didn’t have that dynamic, special singer who made the band stand out from the rest of the pack. I liked George Birch’s throwback-style pipes just fine, and I never saw him as a detriment, but he also didn’t help the band transcend. But with the introduction of new vocalist Sharie Neyland, they finally seem to have that person commanding the band out front that makes them special. This record should be their arrival and has to be the one that inflates the band’s profile. If it doesn’t, then damn it, people just aren’t paying close enough attention.

“In the Chapel” is a 41-minute collection of smoking, gloomy, witchy doom metal, and that’s not just because of Neyland’s haunting vocals. The whole thing sounds like a major conjuring, especially on opener “The Cult of Souls,” where Neyland calls upon Dionysus and warns, “Dark moon rises, the ritual has begun.” You almost can imagine the band huddled around a camp fire in the middle of the woods with nothing but dark spiritual connection as their agenda. Musically, there are séance-style organs, a slowly unfurling haze, and spacey slide guitar work to keep your eyes glazed. “Gates of Oblivion” is deliberately pulverizing and seductive, with some epic lead guitar lines and tortured imagery, especially when Neyland observes, “The skies are weeping blood.” “Return of the Sorcerer” is both gritty and gothy in texture, with some spiraling guitar lines and bluesy, traditional doom soloing. The epic closing title track simmers and shakes, taking on a bloody storytelling mode lyrically, as the whole band unleashes its entire bag of ghostly tricks. Steve Mills and Alex Kearney are stars throughout the album in their own right, but they really go for the throat on the closer, leaving you both satisfied and hungry for more. Considering the amazing clip at which the band has worked ever since their first record in 2008, it shouldn’t be long until they return.

To buy “In the Chapel of the Black Hand,” go here: http://thewoundedkings.bigcartel.com/product/in-the-chapel-of-the-black-hand

Speaking of the Wounded Kings’ debut, Eyes Like Snow/Northern Silence is re-releasing “Embrace of the Narrow House,” the band’s first slab of goodness. It’s only being released in limited quantities, so get on this soon, and it will contain a remastered album, new cover art and a rehearsal version of “Melanthos.” This, of course, gives you a visit with the band’s original form with Birch as vocalist, and really, he’s an excellent, dark singer whose work I really enjoy. He has more of a vintage sound to his voice and understated charisma, and I certainly understand why there was so much hand wringing when he left the band. I just like Neyland’s presence a lot more. Mills, the only other full-time member at the time, handled a bulk of the instrumentation. This certainly is something that’s a must-have for any enthusiast of classic doom metal and certainly for Wounded Kings diehards. You won’t be able to get your hands on this thing until early next year, but we’ll add a link below so you know where to go get this piece of doom history.

To buy “Embrace of the Narrow House,” go here: http://shop.northern-silence.de/

For more on the label, go here: http://www.northern-silence.de/eye-index.htm

That’s a lot of material from the Wounded Kings to absorb, but we recommend you try both on for size. Obviously from what you just read, you’re definitely going to get on the crest of what should be a tidal wave of acceptance from the doom community with their excellent new record, but spending time with “Embrace of the Narrow House” will give you a greater sense of history of the band as well as a deeper appreciation of just how far they’ve come since.

For more on the band, go here: https://www.facebook.com/pages/The-Wounded-Kings/225788354128336

For more on the label, go here: http://www.ihate.se/

Most people know Gregor Mackintosh as the lead guitarist for doom metal stalwarts Paradise Lost. Yet the gloom and sorrow conveyed by that band could not match what Mackintosh endured in 2009 when he watched his father John Robert Mackintosh die of cancer.

That life-altering experience led Mackintosh to take what initially were feelings and emotions he wrote down as part of the grieving process and slowly turn that into the classic-style death metal heard on his new band Vallenfyre’s first full-length album “A Fragile King.” It might sound silly to say that a death metal record focuses on death, but there aren’t many that approach it in quite this way. It’s a very human, vulnerable album when Mackintosh is reflecting on his loss and his father’s struggle. There are other subjects addressed on the album, too, but Mackintosh’s tribute to his dad takes center stage.

Mackintosh took time to talk with Meat Mead Metal about “A Fragile King,” his supergroup lineup that also features fellow Paradise Lost member Adrian Erlandsson on drums, Hamish Hamilton Glencross of My Dying Bride on guitar, Mully on guitar and Scott on bass, and what future, if any at all, this new band sees for itself. Oh, and stick around for some details on the next Paradise Lost platter.

Meat Mead Metal: It seems “A Fragile King” is getting a lot of very favorable reactions. We spoke very highly of it on our site, and we certainly weren’t alone in our praise. Are you happy with the reaction it’s gotten?

Gregor Mackintosh: Well I’d have to say yes, because I never expected anything at all. This was something that wasn’t even meant to be a record, let alone a band. We had no plan whatsoever. We’re just going with the flow and having fun with it and seeing what happens. Every good review is a bonus, and I’ve only seen a handful of reviews that have been a little bit derogatory, and the rest have been positive.

MMM: Now that the record’s been done for a while and you can kind of step back from it and look at it more critically, how do you feel about how the music turned out?

GM: I think it’s good. I would have liked to keep (the band) anonymous a little while longer, because when we released the EP (“Desecration”) first, we didn’t announce who was in the band or anything. But it was Century Media’s decision (to reveal the members). I mean, they paid for it to be recorded, so they wanted to announce who was in it. But apart from that, everything has been good. It’s nice because a couple of the guys from Century Media grew up in the scene where I came from and kind of knew what I was going for, from the production, to the artwork, to the vibe of it. So luckily I didn’t really have to explain myself.

MMM: Did you want to keep the lineup a mystery just because of how people perceive the “supergroup” concept? Expectations can be high and sometimes people can be overly skeptical.

GM: Yeah, that was it exactly. It was really our bass player Scoot’s idea, because he comes from the crust punk scene, and he said that having guys from bands like My Dying Bride and Paradise Lost may not be such a good thing initially. Wouldn’t it be better to reach people with no bias either way? I think that was a better way to approach it, and it was interesting at first because you’d read reviews online of the EP, and these people have no history to go on at all and no baggage – I mean that in the best sense of the word – and it kind of took the pressure off. It felt fresh to do it that way, and there were only a couple of guys in their reviews who said, like, “Hang on. This doesn’t sound like a bunch of teenagers doing this.” (laughs) I guess you can’t fool everyone.

MMM: Well, I guess that’s good they didn’t think it was a bunch of teenagers. That might have been a tough one to handle.

GM:  Well, yeah. I’ve seen a lot of bands bandy about the term “old-school death metal,” but to me it really is just a term. They’re missing the whole vibe that I can’t really put into words. We were there, we did it, and we were involved in that early scene. It’s a vibe we can achieve but we can’t really explain. So yeah, I guess the fact that we’re old-timers (laughs), for lack of a better word, that probably helped.

MMM: Now you’re doing both guitar and vocals with Vallenfyre, as opposed to just playing guitar in Paradise Lost. Is this something you always wanted to do? Did you have that itch to front a band?

GM: Absolutely not. It’s something that never occurred to me in a million years, and it’s not something I imagined I would end up doing. I’m not really a mouthy guy, and I’m not really interested in being the center of attention, which usually is what vocalists are like. It kind of happened by accident, and I sort of became a reluctant vocalist. But I’m enjoying it, and it’s a new challenge. This album was borne out of my dad dying, and if that taught me one thing, it’s stop pontificating. Stop thinking about doing things and start actually doing them. What’s the worst that can happen, you know?

MMM: Well, let’s get into the album a little. “A Fragile King” … I don’t know if I should day it’s about your late father or it’s inspired by your father, so you tell me. Tell me what made you decide to make this record and how your father inspired you.

GM: It’s more for my father than about. The whole record is dedicated to him, but lyrically, only about 60 percent of the lyrics are about what I was going through, what I felt and what I thought when he was ill and the aftermath. It’s general observations and emotions and stuff like that. Some of it, some people have asked me if it feels weird putting it out there, but I think it’s better than keeping it inside. Also, why is it not OK to talk about this when it’s OK to talk about millions of other subjects that are as near to the bone? I just felt it was an important thing for me to do. It was a life-changing experience, and it made me want to do something.

MMM: Were the songs written after he passed away? Or was he aware you were working on what would become Vallenfyre and “A Fragile King”?

GM: No, because it really didn’t turn into a musical thing until a month or two after he’d gone. I started writing things down, feelings and stuff, when he was in the final stage, and that was a part of grief counseling really, but it wasn’t a thing where I thought, “Right, these are going to turn into songs.” That came slowly in the months following, and those thoughts turned into lyrics and then it turned into songs.

MMM: So it sounds like a really organic process.

GM: Absolutely. It’s just like the vocal thing you asked me about. I only became the vocalist because I couldn’t think of any of my friends whose vocals would fit with the music. As the lyrics progressed, I couldn’t imagine anyone else voicing those words. I just thought why not give it a go?

MMM: Was it cathartic for you to do the vocals? As you said, you wrote the words and you experienced this loss, so was it helpful for you to convey these emotions?

GM: I can say that while I was doing the demos for the music, yes. But when I was in the studio, I’d say it had turned into a straight tribute, and it was about having fun with friends, really. We just wanted to enjoy our time doing the recordings, and we all go back a long way. We’d never done anything together before, so it was fun just to do that.

MMM: Tell me a little bit about your father. What was your relationship like?

GM: He was cool. He was a really easy-going guy, a really affable guy. He was always kind of laughing about stuff and never took things too seriously. That’s how I aspire to be. It’s a great way to behave in life. People plan for the future too much, I think, and it’s a really daunting prospect. I think you should be happy for today and just roll with that. My dad was very much like that, and it’s a trait that hopefully I have in some aspects but I know I don’t have in others.

MMM: I thought I had read something about how he was into extreme metal or something along those lines?

GM: Well, that’s not quite accurate. But when I started Paradise Lost, he took a great interest in what I was doing, and he took it upon himself to actively pursue what I was doing. He drove us to our first few gigs, he drove us to our first demo recording, and he followed all of the things we did to the point where he started listening to other bands who we might be touring with. He said, “I really like the John Peel sessions on the radio by Bolt Thrower,” and that was purely because we were gigging with them at the time. It wasn’t the music he was into, but he followed the music that surrounded what we did.

MMM: You don’t always hear that kind of story from parents who have kids in bands.

GM: Yeah. He was an engineer by trade, and he was interested in how things work. So he became interested in how we did what we do.

MMM: What is the meaning of the title “A Fragile King” to you? Why did you choose that?

GM: It doesn’t have to do so much with the illness. It’s basically an observation where you look up to someone your whole life, and you kind of feel they’re invulnerable and nothing can ever happen to them. Then you’re faced with this stark reality where you see the person stripped bare, basically, and it becomes pretty raw. You build someone up so much that when you see the person get knocked down, it’s kind of shocking.

MMM: You’ve talked about the Vallenfyre lineup a bit and how you all came up in the same scene and knew one another. But how did these five people actually come together as Vallenfyre?

GM: Well, when I was writing a lot of the music, I’d travel a lot to my hometown to see family and friends, because it was still shortly after my dad died. So when I’d come home, I’d always end up at the pub with Hamish of My Dying Bride and having a few drinks. I’d mentioned to him I was working on this record and I was getting a little bogged down in it. It started to feel like I was wallowing. So we discussed the idea of turning it into a band and having fun with it. So he was the first person I asked to join, and we just started thinking about other people. Scoot I shared a house with about 20-something years ago, and I’d see him a lot when I went to my hometown, so it seemed obvious to ask him. The other guys just fell into place because they were friends of ours.

MMM: It sounds like the band came together much in the same way as the music.

GM: Yeah. I had a friend of mine working A&R at Century Media and I was talking to him about something else, Paradise Lost actually, and I mentioned I was doing this thing with some friends of mine. He asked to hear a demo, and I sent him a five-track demo, and he said, “You really ought to release an album of this.” I asked if anyone would want to hear it, so he played it for a couple of guys at Century and they told us we should do it.

MMM: Are you looking at this as a permanent band going forward? Is this a one-off? What are the plans?

GM: I’m looking at it as if we’re having fun doing it, we’ll continue. I have no expectations, none of us do, and like I said, it’s about having fun and stripping things back to the way they were when we were starting bands 20 years ago. If someone asks us to do a gig, and we can afford to do it, and all we get out of it is beer and a laugh, then we’ll do it. We have no plans to record anything else, but we’ll see how we feel a couple of years down the line.

MMM: So no touring plans at the moment?

GM: We’re getting offered stuff at the moment, and we’ll see where it goes. Oh, I mean, if someone offers us a tour and it looks like it might be fun, why not? We’ve gotten a few offers at the moment for tours in places like Finland and Greece and some festival appearances, but if I have one goal at the moment for Vallenfyre … I would really like to tour the States with this. In the process of doing interviews for this, I’ve noticed you guys missed out on a lot of the early European death metal, and there seems to be a hunger for it and a genuine understanding of it. I feel like Vallenfyre could help bridge that gap to 20-some years ago, but it’s going to take people going out, getting the record and pestering promoters.

MMM: Quickly to Paradise Lost, you guys have a new album in the works. Anything you can share?

GM: I’m actually talking to you from a studio in a converted chapel in the middle of nowhere recording the new album. We’ve only been here a few days so far. Adrian is about a third of the way through his drums, and I’m sitting around bored. There’s not even a pub here! There used to be a pub but it’s closed for refurbishments, so we’re kind of banging our heads against the walls. And we’re here until mid-December.

MMM: So if the new Paradise Lost is a little angrier, I guess we’ll know why?

GM: (laughs) No, it’s not angrier. It’s actually more melodic than the last one, but a little more guitar-oriented. There are no keyboards on it, and it’s more inspired by classic metal and classic doom metal. There’s a lot of lead work on it, a lot of harmonics, some acoustic stuff, more riffs. Doing Vallenfyre, I sort of realized where that line ends and Paradise Lost begins. It made me feel more positive and confident with what I’m doing with Paradise Lost. Had I not done Vallenfyre, some things might have leaked into Paradise Lost, and that wouldn’t have been fair to Paradise Lost or true to them.

For more on the band, go here: http://www.vallenfyre.com/

To buy “A Fragile King,” go here: http://www.cmdistro.com/Artist/Vallenfyre/95067

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