It’s been a long, wonderful weekend celebrating metal here in Pittsburgh with the ceremony that is Migration Fest, so excuse us if we ease back into the week a little bit. There couldn’t be a better time for a smaller, but no less demolishing, release to come down the pike so we can remember how the hell we do this again.

Blood Harvest and Helter Skelter Productions have a killer 10” of splattering black metal coming your way from two bands that have their own fingerprints for how they interpret the sound. Gloam, who hail from Santa Cruz, Calif., are first up on this release, and they’re no strangers to this site, as we discussed their massive debut record “Hex of Nine Heads” that Gilead Media reissued as a two-LP release in late 2016. Their approach is blunt and brutal, and it practically hurts your psyche to take on their music (they also released two EPs and a demo over their time together). On the flip side come Obscure Evil, a Peruvian band that actually split up last year but still deliver hellacious goods with their two tracks they offer up. The band didn’t put out a ton of content in their time together, but their hellish push toward evil and nihilism suited black metal quite well, which their work here attests.

Gloam deliver “Black Swords of Desecration” that begins in a pit of feedback before the black metal hell begins. The track also is weird and proggy in its opening section, as black howls emerge from the clouds, and savage, fiery chaos is unleashed. The track gets oddly melodic while the thrashy menace lowers, and the ferocity amplifies the destruction before things slow down, and doomy mud spills. Gruff growls slither, while guitars boil and burn, and the track comes to a blistering big finish.

Obscure Evil’s coffin lid closure begins with “Tribes of Ueth” as organs swell and thicken the humidity, and then a punk-fueled black metal assault opens its gallop. Menacing growls and raw chaos emerge and send fires racing toward the village before all life is extinguished. “Necronihilism” has riffs crunching, while growls begin to rumble. The pace is ignited, as the song has an old-school black metal stench, with the band thrashing into a cauldron of molten soloing. That path goes off the rails, with the band bringing the song, and their lives, to as neck-jerking end.

Mangling fury and destructive intent sounds like the best way to wake up from a weekend of too many beers and a whole lot of being on your feet, and this 10” split record definitely delivers. Gloam’s campaign remains as healthy as ever, punishing your senses and muscles as they blast through your chest and guts. As for Obscure Evil, these are the final shovels of dirt on their rotting carcass that’s oozing and crusted over with disease forever.

For more on Gloam, go here: https://www.facebook.com/gloamshroud/

For more on Obscure Evil, go here: https://www.facebook.com/ObscureEvilOfficial/

To buy the album, go here: http://shop.bloodharvest.se/

Or here: https://helterskelterproductions.bandcamp.com/

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

And here: https://www.facebook.com/helterskelterproductions/

This is the weekend in Pittsburgh we have come to celebrate all realms of heavy metal. There will be so many different styles on display over three days, that it’s kind of overwhelming. But no matter the sound, it all goes back to the genre’s roots, which is another thing we’re going to talk about today.

Trevor William Church already has his DNA entrenched in heavy music and metal. His father Bill “The Electric” Church played bass in Montrose and with Sammy Hagar’s solo band, and Trevor himself already was a part of two noteworthy records made by doom warriors Beastmaker. Now, he’s struck out on his own with Haunt, a band that sounds like it arrived straight from late 1970s and early 1980s metal, where there were no sub-genres or divided scenes. Instead, people celebrated the power of all kinds of heavy metal, and Haunt delve right into the heart of that on their debut record “Burst Into Flame.” The band initially offered up a “Luminous Eyes” EP before this that hinted at what was ahead, and this nine-track, 38-minute powerhouse pays off that promise and takes you back to a time before people squabbled over dumb bullshit and just listened to the music. Church is joined in this band by fellow Beastmaker member John William Tucker (guitars), Matthew Wilhoft (bass), and Daniel “Wolfy” Williams (drums) to round out this killer unit that reminds of the majesty of metal.

We open with the title track, as killer riffs well up, and Church vows, “No one can take me off my throne.” Guitars continue to chug and rumble, with the power of the song pushing right to the end, when Church reveals, “I can feel no pain!” “Crystal Ball” has riffs encircling, as the singing is pulled back a bit, with Church noting, “Omen appears, prophecy’s coming.” The soloing scorches, and there’s a damn solid chorus before coming to a crunchy end. “Reflectors” has a charging throwback riff, as the song tumbles with the idea of one’s inner thoughts and feelings being on constant display. “My Mirage” has a killer Thin Lizzy feel, with strong verses that get the blood pumping, and another round of sweltering riffs, ending with Church calling, “I can’t survive.”

“Wanderlust” hits the gas pedal and rips into speedier territory, feeling like an old Ozzy song in the best possible way. “Navigate the stars to find my love,” Church wails, as crushing soloing burns toward the song’s end. “Frozen in Time” is a really good one, as moody guitars send the song into the stratosphere, as the words examine trying to find your way back to who you used to be. The chorus is devastating, while the rest of the track boils in energy. “Heroes” pays homage to those who put their lives on the line to protect others and pay the ultimate price. “Victim of a wound that never heals,” Church sings, as the emotion and power of the song are front and center. “Can’t Get Back” pumps adrenaline, as Church vows his time will not be forgotten, with the insistence of, “My story’s not been told.” It’s a killer cut that revels in 1980s fireworks. “Looking Glass” is your closer, as the guitars darken the mood, the soloing takes off, and the pace charges heavily, with a big finish causing the lava to overflow and bring the record to a thunderous end.

We’re spoiled with all the different ways people have interpreted and played heavy metal over the past decades, but let’s remember it all comes back to the roots. Haunt still feed from that area on “Burst Into Flame,” a record that should help you break loose and bask in the power of their energy. This is a fun, glorious album that bridges the years from metal’s start to our overflowing riches we enjoy today.

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

To buy the album, go here: https://shadowkingdomrecords.bandcamp.com/album/burst-into-flame

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

Everyone still thinks there are steel mills in Pittsburgh. And the rivers are brown. And you can’t breathe the air. Not even close, friends. This is a city on the rise and has been for a few years, and there is a lot of fun things to do around here in your hours where you’re not being devastated by metal.

We put a few features together about what you might want to do while you’re here for Migration Fest. Two things: First, I didn’t add lodging. You should have done that by now. Second, don’t go to fucking Primanti’s. Every asshole in town will be like, “You gotta go dahn Primanti’s,” but that’s because most of these people haven’t traveled past Sea World. Primanti’s is shit. I’m embarrassed we are known for that place. Fuck it. But we have a lot of cool things going on, and this city is great, so here are a few things. Also, this is not a comprehensive list of everything. Just some stuff I think you might find fun. I’m also going to keep this concentrated on the area near the festival (Millvale, Lawrenceville, Bloomfield) and not throughout the entire city. We’d be here all day.

Also, quick note about transportation: If you’re driving, you should be able to find parking in Millvale. It might be tight, though. Your best bet is to use Lyft or Uber. Local taxi service is a joke, and the light rail doesn’t reach out to this end of town.

Finally, while you’re reading this, totally listen to this Migration Fest mix made up by Josh Thieler of Slaves BC, who will melt your faces off Thursday night at the pre-show: https://open.spotify.com/user/127110886/playlist/2y7ePxzeRB8aIGxQDREYGk?si=gU_0KImrTQ2pBPrqKIIXpQ#_=_

RECORD SHOPS:

Attic Record Store: This is a few-minute walk from Mr. Smalls, and you could spend all day in there. There are a ton of new vinyl loaded in the front and a practical library in the back of new and used vinyl. There’s a decent metal section on the display shelf in the back. Just ask. Someone in their ridiculously friendly staff will help you find it.

Location: https://goo.gl/maps/3k9XheBJBsq

Juke Records: This store evolved out of Soundcat Records (RIP Karl Hendricks) and is located in the Bloomfield section of Pittsburgh. Lots of indie rock, jazz, and classic rock, though you can find some metal, punk, and hardcore records amid their collection. They also have a really healthy used vinyl section.

Location: https://goo.gl/maps/fSyCbAixfcw

Eide’s Entertainment: Located in the Strip District right next to downtown Pittsburgh, this four-story shop is another you could be in all day. Comics and toys on the basement and ground level floors; used records and DVDs on the second floor; new vinyl and CDs on the top level. Pretty much every time I’m there, they’re playing fucking bad blues rock, but the selection makes the torture worth it.

Location: https://goo.gl/maps/qHs5DGoovao

Cruel Noise: Located in Polish Hill section of Pittsburgh, Cruel Noise has a slew of used metal, hardcore, punk, and indie rock records, as well as a decent section of new vinyl, cassettes, T-shirts, and whatnot. Almost every time I go, I find something awesome I never thought I’d find. Also, sometimes the owner’s cool dog is there. Definitely scratch the pup on the ears.

Location: https://goo.gl/maps/3jVB78tCzZo

Others: Get Hip Inc. (North Side), Jerry’s Records (Squirrel Hill), Dave’s Music Mine (South Side), Skull Records (Allentown)

 

BREWERIES:

Like every city, we’ve got a lot. These are some good ones.

Grist House: One of two breweries in easy walking distance from Mr. Smalls, they have a menu of beers that are very drinkable and range between 4 and 8% ABV typically. Laid-back and cool hangout spot.

Location: https://goo.gl/maps/QD3qqQdAEMU2

Strange Roots Experimental Ales: Formerly known as Drai Laag, this brewery changed their path very recently, concentrating on mostly on sour ales and interesting brewing techniques to come up with brews that are pretty different. Also, they have a nice dining menu. Short walk from Mr. Smalls.

Location: https://goo.gl/maps/vREmsHMdXyN2

Roundabout Brewery: Located in Lawrenceville, right across the river from Millvale, this small brewery is owned by a husband-wife team and always come up with new concoctions throughout the year. You can get a 12 oz or 16 oz pour in their taproom, and they have a limited food menu. Fun place run by people who love beermaking.

Location: https://goo.gl/maps/FrC5wZD1Krt

East End Brewing Taproom: East End was up and making their craft brews long before the trend became such a huge thing. They have two locations, but this one is the closest to Mr. Smalls. You can get a pint, a growler filled, or a fleet of beers that have become local favorites.

Location: https://goo.gl/maps/6D1A9v184PU2

Full Pint Wild Side Pub: Full Pint’s actual brewery is in North Versailles Twp., but this brew pub features their tremendous beers in a dark, ambient bar setting. They have some of the better beers in Pittsburgh, and if they have it on tap, definitely get the Rye Rebellion. It’s dark, tasty, and potent.

Location: https://goo.gl/maps/5qdjZSpyvsm

Others: Southern Tier (North Shore), Dancing Gnome (O’Hara Twp.), Arsenal Cider House and Wine Cellar (Lawrenceville), Penn Brewery (North Side), Threadbare Cider House (Troy Hill), Allegheny Wine Mixer (Lawrenceville)

 

RESTAURANTS:

I’ll keep these to the names and location, broken down by style of food. We like these places a lot, and maybe you will too. These are a little more spread out over the city, but Pittsburgh’s not too big of a place. Also, many of these places have bars and serve alcohol. A quick Google search will help.

 

Traditional American:

Nova Café (hoagies, hot dogs, deli sandwiches)

Location: https://goo.gl/maps/meLyygq659T2

Millvale Diner (name says it all, and it’s right down the street from the venue)

Location: https://goo.gl/maps/kntRFkMjGHG2

Franktuary (all kinds of hot dogs, veggies options, and beware one of the potential toppings is tarantula!)

Location: https://goo.gl/maps/RCmdoLNGd852

Industry Public House (great beer selection, American-style food)

Location: https://goo.gl/maps/DaW9CbTygnE2

 

Pizza:

DeMore’s Pizzeria

Location: https://goo.gl/maps/UDDHu4kjjxs

Caliente (excellent beer menu)

Location: https://goo.gl/maps/zQv6RDSHLAw

Driftwood Oven

Location: https://goo.gl/maps/HjcSs2HnAC72

Alida’s Woodfire Cucina

Location: https://goo.gl/maps/A939FamijY22

Spak Brothers Pizza (also contains a nice selection of vegetarian and vegan options)

Location: https://goo.gl/maps/xEHRQA95q5C2

 

Asian:

China House

Location: https://goo.gl/maps/5wtVDEBUwgn

Zen Asian Diner

Location: https://goo.gl/maps/x1TCoEpUoTM2

China Lin

Location: https://goo.gl/maps/gigbbB1VH312

Umami (specializes in Japanese street foods)

Location: https://goo.gl/maps/mhtWTQYE91B2

Feng Japanese Steakhouse

Location: https://goo.gl/maps/UdwWKeSH1Py

Ginza Japan

Location: https://goo.gl/maps/LgJjYsVoYCw

Pusadee’s Garden (Thai)

Location: https://goo.gl/maps/oRJSznWhw2p

Hug Thai Restaurant

Location: https://goo.gl/maps/GPvBemU1yQw

Thai Gourmet

Location: https://goo.gl/maps/67Q5RP1VK8r

Pad Thai

Location: https://goo.gl/maps/47DkAmVi6Ut

Tram’s Kitchen (Vietnamese)

Location: https://goo.gl/maps/KtqSt1cybfu

Pho Minh

Location: https://goo.gl/maps/4vGrkLob6K42

 

Italian:

Piccolo Forno

Location: https://goo.gl/maps/9CXsQxeeQAB2

Senti Restaurant

Location: https://goo.gl/maps/fPh7ew4Nujv

Alida’s Woodfire Cucina

Location: https://goo.gl/maps/A939FamijY22

Sausalido

Location: https://goo.gl/maps/Ab4w97Zqyq62

 

Indian:

Taste of India

Location: https://goo.gl/maps/KcEkNSGzzi52

People’s Indian Restaurant

Location: https://goo.gl/maps/45XLcGZxbQz

 

Mexican/Tex-Mex:

El Burro

Location: https://goo.gl/maps/9pi7xt98y3k

Baby Loves Tacos

Location: https://goo.gl/maps/3kJUzRjAhsR2

Round Corner Cantina

Location: https://goo.gl/maps/qKEcWbj6J712

Smoke BBQ Taqueria

Location: https://goo.gl/maps/MULJP2KGogu

Los Cabos Mexican Restaurant

Location: https://goo.gl/maps/8MDpY2ZX4wp

 

Mediterranean:

B52 Café (mix of American and Mediterranean with vegetarian options)

Location: https://goo.gl/maps/gKtHmSKc42P2

Cure (Mediterranean with local ingredients)

Location: https://goo.gl/maps/csALhSXsLjQ2

Pastitsio (Greek)

Location: https://goo.gl/maps/EkoTv5ZbA5B2

 

Middle Eastern:

Salim’s Middle Eastern Food

Location: https://goo.gl/maps/zGvYRVmqg6n

Khalil’s

Location: https://goo.gl/maps/5RaX43KwYc42

 

Vegetarian/Vegan:

Almost all places have vegetarian options, but here are some better vegetarian/vegan stops.

Onion Maiden

Location: https://goo.gl/maps/DBhWxfiwW1U2

APTEKA

Location: https://goo.gl/maps/WPAoE1meHks

Milky Way

Location: https://goo.gl/maps/6bPf2PtqeiH2

The Zenith

Location: https://goo.gl/maps/MpgNwz1kpBk

Brillobox

Location: https://goo.gl/maps/MT5JydEbtLx

Kaibur Coffee: (bottom floor in same building as Cruel Noise)

Location: https://goo.gl/maps/Wzae9pETKEx

 

Gluten-Free:

Gluten-Free Goat Bakery and Cafe

Location: https://goo.gl/maps/A3brxWrsmK12

 

Breakfast:

Midtown Tavern

Location: https://goo.gl/maps/vnUSW3ngXxt

Pamela’s (local chain … I think it’s really overrated, but tons of people disagree with me)

Location: https://goo.gl/maps/56D4TY7FCQG2

Coca Café (known for breakfasts but also serve lunch and small-plate dinners)

Location: https://goo.gl/maps/FkKJwsX3oDq

Geppetto Café

Location: https://goo.gl/maps/QKXkja2RsnQ2

Barb’s Corner Kitchen

Location: https://goo.gl/maps/PLE9cRDfvFR2

 

Dessert:

Crazy Cones of Millvale

Location: https://goo.gl/maps/e7tSjuR7qZo

Jean-Marc Chatellier’s French Bakery

Location: https://goo.gl/maps/tavaB1282to

Yetter’s Candy

Location: https://goo.gl/maps/2eqM48QpJsx

The Butterwood Bake Consortium

Location: https://goo.gl/maps/cLiDYuc9FGM2

La Gourmandine (French pastries and other baked goods)

Location: https://goo.gl/maps/ss5Cpes17Tx

Twisters Ice Cream

Location: https://goo.gl/maps/PCaQGm3dV2y

Bella Christie and Lil Z’s Sweet Boutique

Location: https://goo.gl/maps/PCaQGm3dV2y

NatuRoll Creamery (ice cream made with Thai technique of rolling batter)

Location: https://goo.gl/maps/L9aWdGikr4x

 

COFFEE SHOPS:

Black Forge (it’s a little out of the way from the venue, but it is THE metal coffee shop of Pittsburgh)

Location: https://goo.gl/maps/5FocNpHbBLF2

The Abbey (also good beer selection and is open for all meals)

Location: https://goo.gl/maps/rMJcoWF9siz

Constellation Coffee

Location: https://goo.gl/maps/obfi76DmtYr

The Commonplace Coffee House

Location: https://goo.gl/maps/obfi76DmtYr

Tupelo Honey (tea)

Location: https://goo.gl/maps/T9kUCD7xNhr

Espresso a Mano

Location: https://goo.gl/maps/7Xz8yFE1GSR2

Zeke’s Coffee

Location: https://goo.gl/maps/QWTEF3nQDry

Coffee Tree Roasters

Location: https://goo.gl/maps/xTbBbHpMrUH2

Nicholas’ Coffee

Location: https://goo.gl/maps/PqP5PEHru8y

 

ASSORTED FUN SHIT:

Millvale Riverfront Park (hiking and biking trails)

Location: https://goo.gl/maps/UBnUbyiz6b32

Bloomfield Park

Location: https://goo.gl/maps/MbxtruPTvmL2

Arsenal Bowling Lanes

Location: https://goo.gl/maps/jHvKDP4UFq32

Millvale Bowling Lanes

Location: https://goo.gl/maps/3Kw7JNTXbc52

Lumberjaxes Axe Throwing

Location: https://goo.gl/maps/bJnp4xsruJG2

Lest we forget that this is a pro wrestling site disguised as a heavy metal blog, I was thinking about tag teams from the metal world we could add to this Smackdown tournament going on to find opponents for the Bludgeon Brothers. Metal has plenty of burly and scary dudes, so there’s plenty from which to pick. My selection would come from the blistering split record we’re going to discuss today, so let’s get on with it.

Putting together metallic hardcore legends Integrity with black metal veterans Krieg seems like a perfect idea. Their sounds are not that much alike, but they kind of make sense together. Also, Integrity’s Dwid Hellion and Krieg’s Neill Jameson easily could form a mentally scarred Authors of Pain-style team to go and fuck up some people in this Smackdown tournament. Yes, I know the shit is predetermined. Stop it. Anyway, the two bands have aligned for a seven-track split EP that’s coming out on Relapse that wastes no time getting to work and gives you just enough of a serving to leave you satisfied. I’m not going to dig into each bands’ histories because you should know this stuff by now. If not, Google. Integrity offer up four new tracks, while Krieg delivers their first new song written since 2014’s “Transient,” an older track unearthed, and a live clip. It’s a pretty nice mix.

Integrity get started with “Scorched Earth,” as noise rings viciously, and then we’re onto a hardcore-style rumble forward. Guitars ignite, adding to the blistering stomp, while the back end of the track sizzles out in acid. “Flames of the Immortal” also has a heavy hardcore feel to it, as Hellion wails with might, the guitars catch fire, and intensity bleeds all over. A nice bit of soloing colors in the edges of what’s an otherwise putrid pile of madness. “Sons of Satan” has a more rock n roll feel, kind of like something Motorhead would crank out, as Hellion’s raw shouts are wrapped in bluesy barbed wire riffs. The tempo blazes and burns, the simple chorus is prime for shout back at shows, and we come to a blasting end. A cover of G.I.S.M.’s “Document One” rounds out Integrity’s side with a more metallic show of force, as the pace is speedy, the words are spat out, and danger seems near. A classic dose of riffs helps close up shop amid the sound of everything crashing to the ground.

Krieg get started with aptly titled “Circle of Guilt,” which erupts into raw growls and guitars that hang in the air with menace. The pace is clobbering, as the drums dent in your head, and the final minutes slow down the torture and bleed into unconsciousness. “This Time I’ll Leave You to Drown” is not exactly a pick-me-up, is it? The savage growls and molten melody rub insult into your veins, as the guitars are set to a boil and almost fade out until a thick bassline kicks the thing back into gear. From there, it’s an all-out emotional toll that you pay right alongside Jameson. A live version of “The Sick Winds Stir the Cold Dawn” puts a grimy, heavy haze over everything, as the track delivers a neck-wrenching burst, with the band’s true power on full display. It’s dark, thorny, and foreboding, which is all we’ve ever asked of Krieg in the first place.

I have no idea what team is going to go over in that Smackdown tournament, but none will be as potent and dangerous as a Hellion/Jameson duo. Instead, we settle on this split EP that gives a nice dose of what each band does best and leaves you with bruises and welts on your already damaged psyche. If that’s not enough to get these two bands tag team gold, I don’t know what is.

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

For more on Krieg, go here: https://www.facebook.com/officialkrieg/

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

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

We’ve made no secret over the years that we’re a Pittsburgh-based site, even though our reach is worldwide, and we write about bands from every corner of the Earth. But we represent Pittsburgh, and this coming weekend, one of the finest metal festivals going will emanate from here. To say we’re excited is a vast understatement.

The festival came to life six years ago as Gilead Fest, and it took place at Gilead Media’s home headquarters city of Oshkosh, Wisc. The event returned to the same place two years later (which was my first experience there) before Gilead joined up with 20 Buck Spin to create Migration Fest, which took place in Olympia, Wash., in 2016. The event highlights most of the artists from both labels’ stellar rosters, as well as some hand-picked favorites. This year’s event takes place at Mr. Smalls in Millvale, which is just a few minutes north of the city limits, this Friday through Sunday, July 27-29, with a pre-show event taking place at Cattivo Thursday night in the Lawrenceville section of Pittsburgh (if you go, do NOT fuck up and forego the pizza). If you see me at the fest and want to say hello (and I don’t know why anyone would care to, but whatever, I’m socially anxious), please do. I’ll have on a black denim vest with a huge Sunn 0))) backpatch and other assorted shit. I mean, I’ll have other clothes on, too. Anyway, you’re here for the bands, so let’s talk about them:

Thursday, 8 p.m., Cattivo. Pre-show:

Location: https://goo.gl/maps/nieWMf9yGtL2

PYRITHE: A relatively new band (their first show was New Year’s Eve), this foursome creates some of the most interesting and progressive sludge anywhere. That’s not even a great description because it’s so much weirder than that. Definitely make sure you get there early to see this band, who might come at you with one of the strangest Metallica covers of all time.

Listen: https://pyrithe.bandcamp.com/releases

SLAVES BC: This band has been lightning rooms on fire in Pittsburgh for several years now, and they just put out their hellacious new album “Lo, and I Am Burning,” which finds the group moving even closer to black metal terrain. We talked about it several months ago when it was released, and the record keeps getting more and more devastating with each visit.

Listen: https://slavesbc.bandcamp.com/

BUILDINGS: One of the few bands on this festival that really isn’t metal at all, which is cool, because you need a change of pace. These guys build noise rock, post-hardcore, punk, and many other styles into their formula. Their third record “You Are Not One of Us” was just released by Gilead Media last year, and not only does it pack a punch, it also has really strange album art, which is always a plus.

Listen: https://gileadmedia.bandcamp.com/album/you-are-not-one-of-us

SOMAFREE INSTITUTE: Very little is known about this band other than it contains members of Mournful Congregation and folks from Broken Press, and their music is a very strange and cosmic mix of synthesizers and beats. This is going to make for a fascinating experience, especially since so little is out there about the band so far. Lucky for us, there’s a Bandcamp page.

Listen: https://somafreeinstitute.bandcamp.com/releases

 

Friday, 4 p.m., Mr. Smalls Theatre:

Location: https://goo.gl/maps/X7J23bcvhnP2

CLOUD RAT (4:20): Michigan grinders Cloud Rat could not be a more explosive way to kick off the formal festival, and they will melt the place down pretty quickly. Their blasts of chaos and melody center on subjects such as women’s rights, veganism, and other social issues of that ilk, and their passion for that can be heard in their killer music. If you miss this, you’re an asshole.

Listen: https://cloudrat.bandcamp.com/

COUCH SLUT (5:10): If there’s a chance of any of the band members on this entire tour getting injured, it’s got to be Couch Slut’s devastating vocalist Megan Osztrosits, though we definitely hope she doesn’t see her own blood again. This band’s noise and metal combo is blunt as fuck and pulls zero punches, as their music is punishing, sobering, sometimes funny, very often sad. Oh, and grab a copy of their re-pressed “My Life As a Woman,” and def let your neighborhood conservative bore see the cover art.

Listen: https://gileadmedia.bandcamp.com/album/contempt

FORN (6:00): These purveyors of doom will enshroud the room in total darkness as they rip out their mentally abusive material. They have a new record “Rites of Despair” coming out in September, and no doubt it’ll be another trip into human misery and suffering that will leave you hanging on the edge of sanity.

Listen: https://gileadmedia.bandcamp.com/album/weltschmerz

DERKETA (7:00): This legendary Pittsburgh death metal institution was severing heads alongside other genre giants Death and Incantation in the early 1990s, and they are recognized as the first all-female death metal band ever (they do have a dude doing the drumming now, but history is history). Their first full-length “In Death We Meet” landed in 2012, and it’s a fucking beast, as is this band. All hail.

Listen: https://derketa.bandcamp.com/

YELLOW EYES (8:00): This NYC-based band has proved there still are creative ways to play black metal, and it just takes some imagination and a little ingenuity. Their “Immersion Trench Reverie” was our No. 1 album of 2017, and it’ll be super exciting to see these guys do their thing on an even bigger stage. Get ready for riffs that’ll tangle you in knots.

Listen: https://gileadmedia.bandcamp.com/album/immersion-trench-reverie

BONGRIPPER (9:00): Why Bongripper didn’t get the 4:20 slot is beyond me. All kidding aside, this Chicago instrumental doom band returned this year with the scorching “Terminal,” the follow-up to 2014’s “Miserable.” If you’re in the mood for amp and riff worship, this band is for you. If you happen to have some edibles on hand, even better.

Listen: https://bongripper.bandcamp.com/

KHEMMIS (10:00): This band is slowly rising above the underground, and their mix of classic metal chops and traditional doom is making headways. Their latest opus “Desolation” just came out, and it’s a glorious ride that pairs sounds of old with modern issues such as loss, grief, and remorse. Don’t let the cover art fool you: This isn’t D&D shit. This is real life served with killer riffs and powerful singing.

Listen: http://listen.20buckspin.com/album/desolation

ZOMBI (11:10): We close out night one with another Pittsburgh favorite in the form of synth warriors Zombi. This band was pulling out B-movie sci-fi anthems way before this latest patch of darkwave artists emerged, and this will be a mesmerizing, fantastical way to end the night, as the crowd is treated to a haze of soundtrack-style cuts that’ll make your skin crawl and mind wander.

Listen: https://zombi.bandcamp.com/

 

Saturday, Mr. Smalls, 2 p.m.:

IMMORTAL BIRD (2:30): Chicago death metal maulers Immortal Bird were a late addition to this lineup, and a totally welcomed one at that. This band has played our fair city pretty frequently, and this will be their biggest appearance to date. Their last time here, they played stuff off their “Akrasia” EP and “Empress/Abscess” full-length, as well as some killer new cuts, and a rock-solid Samhain cover. In addition, they’re Grade A nice people.

Listen: https://immortalbird.bandcamp.com/

SCORCHED (3:20): Pittsburgh got an early helping of this Delaware-based death metal band when they opened up for Demilich on their spring tour. Expect gut-wrenching, throwback death with some really fun wizardry at guitar, and a beating you’ll feel far into the next day. Their second record “Ecliptic Butchery” is due in late September on 20 Buck Spin.

Listen: http://listen.20buckspin.com/album/excavated-for-evisceration

MUTILATION RITES (4:10): Mutilation Rites have pulled their burning wagon out of black metal’s trenches for the time being and rocketed that thing right into grisly death metal on their third full-length “Chasm” that just was released. They’re also back fully with Gilead Media after a sojourn with Prosthetic. Probably for the best. These guys revel in underground rot anyway.

Listen: https://gileadmedia.bandcamp.com/album/chasm

THE OMINOUS CIRCLE (5:10): One of the farthest travelers for this event, Portuguese death and black metal phantoms the Ominous Circle will bring haunting gems from their heavily underrated 2017 debut record “Appalling Ascension” and who knows what else? I’m really intrigued to hear this band in a live setting, which might make for the deadliest set of the festival.

Listen: http://listen.20buckspin.com/album/appalling-ascension

DEADBIRD (6:10): The Deadbird flies again! We haven’t heard from this band in many years, with their last full-length record “Twilight Ritual” dropping a decade ago! Luckily, this sludge/doom machine returns with a new record “III: The Forest Within the Tree” in October on 20 Buck Spin (check the label’s social today to hear a new track!), and we get to experience them in person. This is one of my personal most-anticipated sets.

Listen: https://www.youtube.com/watch?v=rjLEpXmzbnY&list=PLLyOa5Z9M9VxszAC7EF-urOy4C-dAjax2&index=1

SPIRIT ADRIFT (7:30): Spirit Adrift have been one of the great feel-good success stories in metal, and sorry if that sentence isn’t metal enough for you. Nate Garrett emerged from a life-threatening battle with alcoholism to create this project that explodes with classic metal and doom. Their first two records “Chained to Oblivion” and “Curse of Conception” both are modern classics (at least by our ears), and it’ll be great to finally see this band in the live setting.

Listen: http://listen.20buckspin.com/album/curse-of-conception

MIZMOR (8:10): The product of sole member A.L.N. (it’s technically spelled מזמור), the project’s punishing, immersive black metal, doom, and drone is thick, impenetrable, and troubling. Mizmor’s second full-length “Yodh” was released two years ago, and it’s taken all that time to work through the murky labyrinths contained within its grimy gates.

Listen: https://gileadmedia.bandcamp.com/album/yodh

PELICAN (9:40): Chicago-based instrumental powerhouse Pelican is one of the bands not associated with either label, and they’re pretty much here because they rule. We haven’t gotten a new record from the band since 2013’s “Forever Becoming,” but they have a stealthy, magnificent back catalog from which to serve the hungry masses. I’ve also never seen them live, which makes no sense.

Listen: https://pelican.bandcamp.com/

KRALLICE (11:00): The mighty Krallice will bring an end to this stellar day with what’s sure to be a mind-blowing performance from a band that almost assuredly must be space aliens. It’s the only real explanation why they can craft black metal this unique and harrowing without sounding like any other band, even for a second. They’ve also become strangely prolific, releasing two full-lengths last year alone. Here’s a link to the most recent one.

Listen: https://gileadmedia.bandcamp.com/album/go-be-forgotten

 

Sunday, Mr. Smalls, 2 p.m.:

PYROLATROUS (2:30): If you didn’t get your fill of drummer Lev Weinstein while he was massacring you during Krallice’s set, he’s back with this relatively new blackened death metal project that also contains guitarist Nolan Voss of Anicon, Joe Merolla on bass, and Nicholas Palmirotto on vocals, guitar, and effects. Their debut “Teneral” dropped on Gilead Media last year and went a little unnoticed. Let’s help change that.

Listen: https://gileadmedia.bandcamp.com/album/teneral

DAEVA (3:20): Philly blackened thrashers Daeva have but a single EP to their name (last year’s deadly “Pulsing Dark Absorptions” that has a mangling cover of Mayhem’s “Deathcrush”), and their arrival at Migration means that a lot of people will be hearing and absorbing them for the first time. If an even grimier Aura Noir is your thing, then be prepared to be decimated.

Listen: http://listen.20buckspin.com/album/pulsing-dark-absorptions

TOMB MOLD (4:10): If you haven’t yet heard Tomb Mold’s new record “Manor of Infinite Forms,” click the Bandcamp link below and listen to it. This story literally will be on this site for years. You have time. This record is one of, if not the best, death metal albums of the entire year in a slew of strong ones, and its “Bloodborne” themes and disease-infested filth will make this one of the absolute must-see sets of the entire festival.

Listen: http://listen.20buckspin.com/album/manor-of-infinite-forms

THE CANCER CONSPIRACY (5:10): Curveball of the day comes from Vermont-based math rock band the Cancer Conspiracy, who ceased existence in 2003 following their van being robbed and equipment being stolen. They reunited to play in 2017, and only this show and the Caleb Scofield tribute are on their agenda, so we’re pretty fortunate to land this one.

Listen: https://www.youtube.com/watch?v=7nAGBf8qq90&list=PLvFDD-_FhPP0TniTwihmfo3nVb__CCTo6&index=1

HELL (6:00): Sole creator M.S.W. returned last year with a self-titled, seven-track record that pushed the band more into doom and sludge, as if Sleep and High on Fire crept slowly into the creative process. It made for a swaggering new look for this morbid beast and one that actually is fun in spots. That’s a big change from his past work that absolutely reveled in drone torture and doom fury that buried you and left you for dead.

Listen: https://gileadmedia.bandcamp.com/album/hell

FALSE (7:10): One of Gilead Media’s most noteworthy bands, FALSE deliver black metal that crushes your soul but also delivers rays of melody and turns into progressive rivers. Vocalist Rachel looks like a caged animal when she performs, and the rest of the band offers tight, bloody, often epic-length songs that capture you, punish you, and leave you a heaping mess on the floor. Oh, they also tried their hand at shorter songs and killed it. Link below.

Listen: https://gileadmedia.bandcamp.com/album/hunger

THOU (8:10): Those internet motherfuckers have released a ton of stuff already this year in the form of a noise EP, an acoustic EP that recalls the best of “Jar of Flies,” a grunge EP, and their upcoming fifth full-length “Magus” that already contains some of my favorite lyrics of the year. No two Thou shows are the same, and this band absolutely delivers menace and strangulating doom with the very best of them. Actually, Thou ARE the very best of them.

Listen: https://thou.bandcamp.com/album/the-house-primordial

MOURNFUL CONGREGATION (9:20): The winners of the band-that-traveled-the-furthest contest is won handily by Australian funeral doom giants Mournful Congregation. Their latest record “The Incubus of Karma” is an absolute masterpiece of ridiculously slow-moving, absolutely elegant doom that captures heart and soul. This set might be three songs long, and it could go an hour easily. This and our final band are on my do-before-you-die list of artists to see live.

Listen: http://listen.20buckspin.com/album/the-incubus-of-karma

PANOPTICON (10:30): What better way to send everyone home happy than with Minnesota-based black metal band Panopticon, one of the most emotional, hearts-on-their-sleeves groups in all of metal. The Austin Lunn-led group just put out two records this year: “The Scars of Man on the Once Nameless Wilderness I and II.” Part one is his traditional black metal, while the second is made up of bluegrass and acoustic-heavy songs that you just know have been gnawing at Lunn forever. If you’ve any beer left when they take the stage, salute these guys and be thankful you’re there to witness them live.

Listen: https://thetruepanopticon.bandcamp.com/

For more on the festival, go here: http://migrationfest.com

For more on Cattivo, go here: https://www.cattivopgh.com/

For more on Mr. Smalls, go here: https://mrsmalls.com

Our existence isn’t meant to be easy, and trying to stay the course can be impossible to manage sometimes. Whether there is chaos in our lives or we’re looking tragedy in the eyes, managing hardships and pain can ask every ounce of us and drain us of our beings. Not everyone is capable of responding and staying strong, and the ones that do often come out changed on the other side.

Trying to take matters into our own hands to guide our journeys is a major theme of “Lore of the Lakes,” the magnificent debut record from Inexorum, a project initially envisioned as a solo endeavor for Carl Skildum (you know him from Antiverse and Threadbare, and he has played guitar in a live setting for Obsequiae), this album is a celebration of melodic riffs, a record that should cause your bloodstream to surge, whether you simply digest the songs or also tackle the subject matter. Joined by bassist and RIAA-certified-gold producer Matt Kirkwold, the duo unleashes a positively hellacious recording that drinks heavily from the early ’90s black metal streams but does not just regurgitate sounds. They are in homage, sure, but they deliver their own version of this sound, an explosive, rushing album that sounds like it will be considered a modern classic once it ages a bit. That sounds hyperbolic. Admittedly, yes, but there’s a feel in this music I can’t fully describe, and it makes me believe it’s the beginning of what will be a special band.

“Raging Hearts” is a blistering way to open the record as the riffs take hold right away, catapulting chaos and meeting up with fiery melody. “We forge our own way!” Skildum wails, all the while the music gallops triumphantly, with more razor-sharp riffs leading the way to the very end. “Let Pain Be Your Guide” has guitars knifing through muscle, with the leads surging, and the growled verses spraying cinders. “Will I ever be the same again?” Skildum wonders, surrounding that mystery with playing that feels full of Viking rage, reminding of an even heavier early version of Amon Amarth. The guitars are fluid, while the drums decimate, and in the midst of rage, Skildum howls, “Light the flame and hold it high,” ending the song on a defiant note.

“Years in Exile” runs a healthy 7:22, and it begins with a deluge of guitars and verses that are a little grislier than what preceded it. The track storms hard, giving off a classic metal edge along the way, and delivering another heaping helping of catchy riffs. Later, the drums thunder, twin guitar lines intertwine, and things spiral to its end. “To Omega” has a meaty start, with the guitars trudging ahead, and growls that go from harsh to cavernous within the same stretch. The music rises gloriously, making adrenaline burn, while vibrant melodies crash to the ground, and the song comes to a breathtaking end. The closing title cut is the longest song, clocking in at 8:46, and it allows an atmosphere to develop slowly, while waves lap the shore. The power then emerges, chugging and chewing, before the song ignites and hits full intensity. “From shore to shore, hear the voices of those who have gone before,” is a refrain Skildum repeats, each time with added emotion, as the music develops into a fiery storm. The final stretch finds the guitars setting up one final assault, the drums cracking the earth, and everything dissolving into a bed of acoustics that deliver a rustic, woodsy finish.

This first dose of triumph from Inexorum jolts the earth and makes seismic waves on debut record “Lore of the Lakes.” It’s an album that will thrill the hell out of those who dine hungrily on the riffs, as well as those who also find substance and relatable messages in the lyrical content. This is a fantastic record, one of the best debuts of the year, and we’re pretty sure we’ll still be enjoying this thing once that snows fall and our bootsteps crunch beneath us.

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

To buy the album, go here: https://gileadmedia.bandcamp.com/album/lore-of-the-lakes

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

Records aren’t always intimate portions into the creators’ lives, especially when it comes to metal. This genre normally is more concerned with death, destruction, devils, social unrest, and topics such as that, because it’s pretty natural to make angry-sounding music about those areas. When we delve into more personal realms, that when the real-life juices can flow.

Paul Ravenwood’s Twilight Fauna project has spent time reflecting on his Appalachian home and the music that comes from that region. He treated us to a nice helping on last year’s opus “The Year the Stars Fell,” and he follows that up with a new seven-track helping “Where Birds Sing My Name,” an amalgamation of black metal and folk music that can draw comparisons to Panopticon, at least on the surface. Ravenwood long has etched a rough, gruff patch over the course of his project’s previous seven full-lengths (all of those since 2012), not caring about precision and polish and instead going from the gut. He’s again joined by drummer Josh Thieler (of Pittsburgh’s Slaves BC) as well as a slew of other players who handle banjo, fiddle, and additional vocals, to make for what amounts to an around-the-fire display that lets loose spark and ash, rising up among the mountaintops.

“As Autumn Turns to Spring,” based on “Tiger Creek” by J.P. Mathes II (who handles banjo on this track and elsewhere on the album), begins the record with banjos sprawling, violins licking the dust off the windowsills, and a jubilant feel that aims to bask in Appalachian celebration. “Crooked Road” follows, a lo-fi dose of creaky black metal that features drums blistering, and the fierce storm hanging overhead. Ravenwood’s harsh growls make bones shake, while the melodies wash over with a gaze, hissed wails cut through, and melodies and pounding bleed to the end. “November’s Cold” trickles like a cold stream, as Kendal Fox adds her singing to the mix, conjuring a lullaby-style trance. Hazy guitars rush in, while cymbals are crashed, and then the awakening comes in a deluge. Wild cries and wrenching screams mix, lulling you under the surface of the water. The track goes unhinged, releasing animalistic spirit as it sprawls and brawls into the shadows.

A raw take on Clifton Hicks’ “Crying Shame” follows, adding a quivery view into mountain roots, and then we’re into “Chasing Shadows” that starts with clean guitar and piercing singing. Guitars bubble as the pace gains steam, and then the music heats up and smothers, while harsh growls and sound squalls do battle before a cold spell strikes. From there, the tempo is tugged back and forth, while the drums blast, and a grisly burst of hell carries the track away. “Reflections” has a properly somber start, floating gently and getting fuzzy, before the song explodes with colors. Emotionally rich guitars bleed all over the ground, while a static screen arrives, and open veins pump their vital fluids. “The Path Home” closes, as birds call, banjos are plucked, and gruff and rustic singing puts the story to bed.

Twilight Fauna’s emotion and guts constantly are on display, and with “Where Birds Sing My Name” not only is a rushing second chapter on the band’s homage to home, it’s an ideal next step from “The Year the Stars Fell.” There’s a charm in the band’s music where they lean to roughness and avoid polish, as it gives what they do an authenticity you can feel. This is a heartfelt album that lets you have a glimpse into Ravenwood’s world and gives you a chance to connect to your own.

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

To buy the album, go here: https://twilightfauna.bandcamp.com/album/where-birds-sing-my-name

We live in harrowing times. There is unrest as far as the eye can see. The news each night is a sobering collection of things that happened that pretty much defy common sense. Part of the United States feels like it’s locked in the clutches of a faith cult, where they can’t separate news events from their strange ideology. There’s never been a scarier time to be alive for so many of us.

It’s fitting, then, that The Lion’s Daughter return with a stirring new record “Future Cult” that’s steeped very much in the present but also in the past. With the advent of darkwave, these guys have found something profound in that sound and mixed it into their dangerous, sludgy doom metal that hits as hard as ever. The horror movie synth that’s become a major part of their sound on this record also feels  like an escape. It reminds me of a simpler time of my youth when the scariest thing in the world was a masked slasher and not the goddamn president of the United States and his blind followers. This used to be a beer/metal/pro wrestling site, and now we’ve added politics. Anyway, it’s added a fascinating element to this band—guitarist/vocalist Rick Giordano, bassist Scott Fogelbach, drummer Erik Ramsier—one that makes them more exciting and riveting, which they didn’t really need, but damn it if it doesn’t make this record stand out in the crowd.

The title track gets us going, as electronics and riffs collide, synth whirs, and growls penetrate, giving us our first terrifying view that ends in static and barrels into “Call of the Midnight Animal” that lets loose knocks and a haze. Then shit just explodes, with an industrial-powered assault, the band blasting in the mud, and then a fog emerges that pulls a blanket of confusion over the terror. Noise echoes out of that, before the band delivers a bludgeoning end. “Die Into Us” lets loose the synth darkness, as guitars spiral, and harsh calls leaves bruises. “We cannot speak, we cannot dream!” Giordano wails, as the riffs catapult, speed becomes a factor, and the synth takes us into the darkness. “Suicide Market” has keys surging as the mud builds and becomes hard to traverse. The assault is blunt and dangerous, as thick basslines bruise faces, and we end in a shadow of eerie darkness. “The Gown” begins clean, with acoustics sprinkled in, as spacey synth creates strange clouds, and the riffs clobber. Harsh growls make their way into the chaos before darkness rises up and fades.

“Grease Infant” opens with a similar wave of keys before the guitars outright gut you, and tough vocals
blast their way into the picture. There is weird, gut-wrenching power on display, with murky keys giving the song an urban nighttime feel. Leads blur and bleed, with the song fading into the shadows. “Galaxy Ripper” has filthy riffs, speedy punishment, and the band stabbing away, leaving oozing wounds before its blunt finish. “Tragedy” has keys causing confusion before riffs and blurry sentiment twist your brain. The vocals bludgeon, as the keys spread and send chills, finally fading into mystery. “Girl Autopsy” is a quick instrumental built on noise waves, synth strikes, and strangeness, ideally paving the way to finisher “In the Flesh.” Right away, knife edges scorch the skin, as the pace devastates, and the synth freezes the flesh. Guitars dizzy as a chilled sci-fi feel arrives, with the band lobbing hammers, Giordano screaming, “Terror in the flesh!” and the track ending in a bed of real-life horrors.

The Lion’s Daughter remain a punishing, bludgeoning band, and their addition of darkwave synth to their stew makes them heartier and bloodier. “Future Cult” is a really imaginative, terrifying record that, despite its name, is very much relevant to right now. It’s a horrifying time for humanity, and this record hammers that point home to an uncomfortable level.

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

To buy the album (North America), go here: https://shopusa.season-of-mist.com/

Or here (International): https://shop.season-of-mist.com/

For more on the label, go here: http://www.season-of-mist.com/

Every August here in Pittsburgh, the Renaissance Festival comes to town and gives us modern folk a chance to get a taste of what things used to be like. Last year, a guy dressed as a beggar made fun of my shirt. It’s a good time. It also brings to mind certain types of music that are chambery and mystical, feeling like it’s actually transporting you to that era.

I’m not sure how Canadian atmospheric black metal band Finnr’s Cane will take being compared to the Ren Fest, but hopefully they embrace with the affection with which it’s intended. The band’s music, while soaking in current black metal waters, also has many threads to bygone eras with their instrumentation. They eschew bass guitar for cello, and the use of woodwinds creates an environment unlike much of what’s out there in extreme music. There is an element of poetry to what they do, and that’s present and accounted for on their great new third record “Elegy.” This trio—vocalist/guitarist The Bard, cellist/keyboard player The Slave, drummer The Peasant—pushes on with their first music in five years back to rustic, thorny terrain they created on their first two records and makes that world even more expansive and imaginative. This is a hearty, immersive album that’ll swallow you whole.

“Willow” opens the record in a gaze burst, as riffs slowly burn and wash their way into acoustics. The power then arrives, with a proggy push going, whispering and singing uniting, and the music bathing in the fog. Harsh growls erupt, and then things come to a sudden end. The title track takes its time burning its path, as dreamy singing emerges, and the sound of chirping birds sends calm. Growls then rip into the body, while the music gets moodier, and the guitars start to punch. The drama flows from there, eventually disappearing into mystery. “Strange Sun” has doors creaking open, with a prog-fueled arrangement arriving, and synth sounding like battle horns. Then, hard growls punish, while the pace gets speedy and dangerous, and the harshness piles on like a storm. Guitars drip coldly, as the back end goes from violent to warm and jazzy.

“Empty City” flares up fires, as flutes breeze through, giving the song a folkish ambiance. The track flows gently for much of this before the music tears open, wrenching growls destroy, and everything rumbles to an end. “Earthsong” has a glorious start, charging and rushing into the forefront, as it reveals death metal majesty. Savage growls split lips, while the metallic energy heads into a flush of acoustics that brings the temperature down a bit. Heartfelt soloing emerges out of that, keeping the blazes furious, before things come to a massive finish. “Lacuna” has keys plinking, with guitars rushing, the vocals burning like acid, and keys blending in to add different colors to the mix. The music takes a massive twist from there, as the final moments are blasting and momentous before a sudden end. Closer “A Sky of Violet and Pearl” feels like it awakens at dusk, splashing orange and purple across the sky as it comes to life. Harsh growls and powerful guitars crack before a mid-tempo takes over, turning the song murky and mystical. Keys drip, as a classic feel emerges, with the song bowing out in calm, as you drift into your dreams.

Finnr’s Cane return to recording music is another boost to what’s been a really good year for heavy music, and “Elegy” stands apart from so much of what we’ve already heard simply with its personality. This band makes me think of swords clashing, quiet trips across grassy terrain that take all day long, and some of what we’ve lost over the years as we’ve been overcome by technology.     This is a fine record by a different type of band, and we could use more fresh thinking like this in metal.

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

To buy the album, go here: https://prophecy.lnk.to/finnrs-cane-elegy

For more on the label, go here: https://en.prophecy.de/

It sucks when perfectly good things, at least on the surface, come to an end. When the members of Agalloch were dismissed by that band’s “visionary,” and Giant Squid were buried under the surface of the water, it removed two of metal’s most interesting, inventive bands. It gutted the world of two sets of artists who burned their own kind of fires in the underground, and losing them hurts.

Luckily, out of the dissolution of those two landmark bands comes a new project Khôrada that joins three quarters of the fallen Agalloch—guitarist Don Anderson, bassist Jason Walton, drummer Aesop Dekker—with former Giant Squid guitarist/vocalist Aaron John Gregory. There already was a huge bit of anticipation and hope for this new band when it was announced, and now that their debut full-length “Salt” is here, we have the answer to what this union would sound like. Turns out the answer is nothing like what one might expect. Yes, there are elements of both aforementioned bands, but Khôrada is a totally new idea. It’s not a continuation of anyone else’s band and is instead yet another inventive group that’s thinking and creating in places many are afraid to tread. There are elements of black metal, prog, doom, straight-up rock, and other sonic elements, forming something atmospheric, jarring, magical, and personal. Lyrically, the record addresses the chaos that met the world post-Trump, what’s become of our society, our relationship to the environment, and family. It’s a stunning album, and it may take a few listens to totally digest everything going on here.

“Edeste” begins the record on a hauntingly calm note, but what’s contained inside is anything but. Gaze clouds lead to guitars charges, while Gregory’s smooth croon washes over the track. Horns light up and give off lonesome notes, feeling like you’re at the center of a dust bowl, watching the world crumble. “Flood and flame and hurricanes, clearing her slate again,” Gregory warns, while the track hurtles off into the stars above. “Season of Salt” has mystical riffs before things get thunderous and heavy, bringing on a fog cover. Moody deathrock bubbles to the surface, while Gregory points, “The damage is done.” From there, the track erupts, as if the Earth has turned, with the track feeling nautical in spots, as a rock n roll vibe emerges, and melody floods the blistering end. “Water Rights” rumbles in the distant mist, as drums open up, and Gregory takes on a gravelly course, with some of his most unique phrasing on the record. Psychedelic colors rush (making me think of the album art) before the band goes into a relentless pace, causing quaking and havoc. The singing drives, the keys swirl, and everything washes away from shore. “Glacial Gold” is the center point and my personal favorite cut. The singing is quiet at first, as folky melodies feel rustic, and then Jackie Perez Gratz (Gregory’s wife) lends her striking cello, adding sorrow to the tale. The track slowly builds, as the intensity laps like lava, with Gregory howling, “Gold exposed, shorn from newborn bluffs,” which aligns with topographical pains. The track’s final minutes are incredible theater, with everything reaching a crescendo that pounds your heart.

Then arrives “Augustus,” one of the most personal and emotional songs on the record, where Gregory sings of family of three becoming four (which also could stand in for the band). Birth and deep sorrow follow (if I’ve read it right), with quiet guitars and rich harmonizing. It’s a soul-stopper. “Wave State” is anchored at first by steady horns before the drums kick up and drive the pace. Guitars cut through, with the brass following, as passion arrives in waves, with each of Gregory’s words gushing with emotion, at one point singing, “We are the mange to be cleansed and washed away,” as he explains our fragility to someone much younger and smaller. Riffs continue to encircle, and the gates break, with the horns trampling their way before we return to a mid-pace. From there, serenity flows anew, as the sea and cosmos become one, and alien synth takes us to a plane beyond. “Ossify” is the 11:31-long closer, flowing out of its predecessor as a solid dose of space rock. It feels like a straight-up rock song, as synth whirs in the air, and the track becomes pretty damn catchy. Amid all of this, Gregory envisions the end, one sure to be met by disappointment by those who find us as he notes, “How disappointed they’ll be when unearthing the truth, they will dig through our plastic cocoons, they will have to theorize how we died.” Less-harsh riffs soar, blistering and hitting a fever pitch before its spirit gives up its being to the stars.

Khôrada’s entrance into the world was born out of chaos, but their existence is breathing new life into metal in all different forms. Their initial offering “Salt” is one of the most astonishing debut records, in any form of music, in some time, and their sounds should have a ripple effect downward as people respond to their creative burst. This band sounds like it was meant to be together from the start, and all it took was two landmark bands crumbling in order for it to happen.

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

To buy the album, go here: https://prophecy.lnk.to/khorada-salt

For more on the label, go here: https://en.prophecy.de/