What a year to feel shitty and full of spite. Just about every possible power structure has failed us, which is no surprise at all, and other members of the human race have found a stage to act like repulsive, mindless creatures with no concerns beyond their own disgusting bodies. What a wonderful time to be a human being.

Speaking of hatred and nausea for every fiber of existence, Barghest have returned with “Altars of Rot,” a fresh slab of death and black metal that will continue to rot you to the core. It’ll get in and add a level of blackness to any part of you that still has humanity remaining. That all sounds nasty and devoid of hope, and it is, but there’s also something fruitful to finding art that feels as miserable as you do inside and disappearing into the maw. On this, their third full-length and first since 2014’s “The Virtuous Purge,” everything is up for ruthless judgment, with no one offered a hint of mercy. The band—vocalist/bassist Troy Bennett, guitarist/vocalist Dallas Smith, guitarist Jason Thorning, drummer Max Kimmons—sound as savage and bloodthirsty as ever, turning in seven songs over nearly 33 minutes that wreck your soul and light fires of rage and revenge.

“Extinction Dialogue” explodes with mauling death as the vocals carve through, and the playing catches speed. “Shame is not armor that protects you from the woes at hand, blame is not a weapon with which to lash out at a weakly man,” Bennett wails as the track kicks into high gear, the leads cut through, and the track ends in bloody chunks. “Negative Forms” explodes with tricky riffs and the vocals tearing away before things get into a skull-mashing tempo. Black metal-style melodies melt away and flood with blood while Bennett ‘s vocals come unglued, and the track blasts into delirium. “The Pious (The Poisoned)” is a punisher that has filthy riffs and vicious growls, as the guitars fill the air with tension. “Sworn to uphold the vile words of men pretending to be gods, empty and weak and hollow, taking from the peasants of tomorrow,” Bennett wails while the drum work clobbers, guitars catch fire, and the track comes to a blinding end in hatred and filth.

“Ferinus Vis” punishes and erases whatever data your mind is holding onto as a violent pace and thunderous riffs arrive. The playing smothers as it curves into hell, growing completely unhinged as the guitars burn off into the murk. “Nomadic Plague” is … timely delivered in this diseased year of 2020, at least as far as the title is concerned. The playing is thrashy and channeled as the shrieks rush to the surface, and the drums smash at your fingers. “Intrinsically destroying everything, elaborately portraying martyrdom,” Bennett stabs as the tornadic assault ends abruptly and shockingly. “Endless Empty Shapes” brings with it deep growls delivered from the guts as the playing mars, and the words are spat out as if they’re sickening Bennett. The playing starts landing blows heavily and recklessly, stampeding with crazed desire, tearing away at guts and splattering blood. The title track ends the proceedings, kicking in with Bennett snarling, “Ignorant herds, weeping with false faith, led to their blind ways,” attacking with bloodlust right from the start. The drums unleash war while vicious growls lay waste, as hammers are continually wielded and allowed to leave gaping wounds in whatever they encounter. That intensity never relents as the playing continues to dole out punishment until everything finally comes to a merciful finish.

Barghest’s savagery and chaotic appetite for hellish ways arise again on “Altars of Rot,” another record in which they refuse to pull back musically and lyrically. This record is a beast that flies by in no time but makes sure you feel every ounce of the punishment along the way. There’s zero mercy to be had at this band’s hands, a lesson we’ve learned over and over during the past decade and a half of their reign.

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

To buy the album, go here: https://barghestsoulless.bandcamp.com/album/altars-of-rot

Have you ever gazed into the night sky and into the elements of the universe you can see and wonder what could be going on in places millions of light years beyond our planet? I’ve done this for years, often wondering if there are worlds in the same type of disarray as ours or if anyone or anything has reached themselves beyond their current physical plane.

Long-running cosmic black metal creature Battle Dagorath—helmed solely by Black Sorcerer Battle at this moment—has been creating music that sparks you to imagine the beyond over the course of the past 18 years and six full-length records, their latest “Abyss Horizons” having recently landed in our laps. If you’ve been on board with this project, you’re going to feel right at home with these eight tracks and 73 minutes of intense and dreamscaped sounds, where at times you’re being drilled into psychosis and others where calm waters from other planes wash over your mind. These pieces are elaborate and envelope you in space wonders but also reveal journeys beyond oneself, into ancient mysticism, crossing realms and dimensions,  and making sure the music gets you there. And every step of the way, it very much does.

“Womb of the Labyrinth” is a quick introduction track with strange synth passages, chants, and the feeling of cult-like adulation, leading into 16:07-long “Incantation of the Vortexx.” Keys swirl as the guitars ignite, and hypnosis spreads over the track, shrieks shredding time. As the track goes, the playing goes back and forth from black metal savagery to calmer, quieter pockets, as if storms are building to ultimate violence and then subsiding. Chaotic immersion seems to melt within the stars as the playing rushes as the final surge melts away. “Spectral Emanations” is a quick instrumental piece that sits in static as lush noises knock, and winds pierce with sci-fi imagination. “Phantasmal Eye of Dreams” is the longest track, running 16:15 and starting with vocals wrenching and a stunning pace that captures your mind. Melodies flood as the playing fills your ears and brings strange visions while a synth pocket unhinges its jaws and tries to swallow you whole, unleashing fireballs and madness before slowly trickling away into the night.

“A Voiceless Call” is the final quick interlude track and has organs calling, bells chiming, and a strange feeling washing over you as it segues into “Conjuring the Starwinds” that’s a healthy 14:14. The guitars catch fire as banshee howls rain down and cover the ground, chilly wooshes sweep across, and it feels like alien nightmares are about to come true. The charges then reignite as the wartorn hell is unleashed anew, the shrieks smear the senses, and the track dissolves into strange miasma. “Twilight of the Cold Sun” is freezing from the start, as reflective synth unfurls and blankets its entire reach while the playing blasts away, with the vocals crushing. A new synth bath causes the flesh to rise and goosebump as the cold fury keeps its pace, swirling into galactic power and dissolving into meat of planets not yet discovered. “Saturnian Moons” is the instrumental closer where synth simmers and glows on the horizon, numbing your brain. It feels like slowly being drawn into a space void as the playing pulsates, finally disappearing into unexplored mysteries.

Cosmic black metal is terrain Battle Dagorath essentially own and have operated since they bubbled into existence nearly 20 years ago. “Abyss Horizons” keeps their imaginative adventures going and hurtling even deeper into space, where no human ever has or ever will tread, shattering your psyche. This band has created visions only their dreams could bring to reality, and their existence again proves to be one of black metal’s most interesting corners.

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

To buy the album, go here: https://www.sound-cave.com/

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

I’m running out of shit to do, man. I’m sure I’m not alone. This not being able to go anywhere weighs on you, even though it’s the right thing to do, but mentally it’s very taxing realizing you live in a very specified space, and the amount of activities available just chews at every nerve ending and sends you into a spiral of madness.

Death metal and doom are things that strangely keep me sane, and Finland’s Sepulchral Curse had a huge hand in keeping my mind in one piece the past few weeks. Their debut full-length album “Only Ashes Remain” had a huge part in keeping my mind engaged the past few weeks, a perverse thing to admit about a record that essentially is looking to dismantle anything it encounters. If you’re a huge fan of Finnish death and doom—and aren’t we all?—prepare to embrace these seven tracks and 45 minutes in a way that’ll keep your heart blackened, and not just from the events of this year. The band—vocalist Kari Kankaanpää , guitarists Jaakko Riihimäki and Aleksi Luukka, bassist Niilas Nissilä, and drummer/vocalist Tommi Ilmanen—have plied their trade in other well-respected groups such as Yawning Void and Solothus, but here, they unleash a completely different portal into hell and drag you along kicking and screaming.

Fin”From Within the Bowels of the Earth” opens grinding away as Kankaanpää’s animalistic howls jar, and the leads cut through the midsection. The growls and shrieks mix as melody rampages, the band pummels you, and bursts of all different colors emerge as the rampage smashes toward the doors. “Swarming Blackness” is deadly right away as the track fires up and the growls scrape through the mashing assault. Shrieks rip out as the cymbals are crushed, the band hits a thrashy cycle, and the leads get into full command before the track disappears. “Into the Depths Unknown” crushes out of the gates while Kankaanpää’s vocals revel in brutality, and the guitars mangle your brains. Strong leads trudge while the guitars stampede, with the entire atmosphere of the song feeling like a million pounds of pressure on your chest as you struggle to gasp for air.

“Eyes Inside” simmers while the pace takes on a calculated pace, and the growls work their way into your mind. The shrieks burst as the guitar work sets the challenge, the pace trembles, and everything is put through the shredder. The vocals return to death grunts, the playing is burly, and everything is pounded into dust. “Church of Loss” slurs while thunderous drums loosen bricks before the playing quickens in a hurry. The guitar works spirals while Kankaanpää seemingly gurgles blood delivering his words while a thick humidity arrives, and the track bleeds off into chaos. “Dead Stars Drawing Spirals” grinds away as the growls and shrieks tangle, and the guitars hit the gas pedal. The absolute doom of humankind is envisioned while meaty death rains down, the growls bubble, and the leads light up. The leads unravel and usher in madness before the violence increases to the finish. “Maan Tuhkien Uneen” ends the record, and at 11:04, it’s the longest track on here. Low-end hiss arrives as beastly lurching gets under way, and the brutality is devastating. Nasty wails dizzy while the steady pace breaks bones, and lava slowly oozes from the cracks. The heaviness increases as the song goes on, and the shrieks temper while the playing gains steam, working into a heavy storm that sizzles in the atmosphere, bringing everything to an echo-ridden finish.

Sepulchral Curse’s debut is a steady, punishing slab of death metal and doom that hulks across the earth, bringing with it broken bones and devastated wills left in their wake. “Only Ashes Remain” is a crusher of a record that refuses to relent over its 45 minutes, and it carries with it astonishing promise for a band that’s best days are actually ahead of them. It’s an earthquaking first step that’ll leave every inch of you bruised and in total submission.

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

To buy the album, go here (U.S.): https://transcendingobscurity.aisamerch.com/

Or here (international): https://transcendingobscurity.aisamerch.de/shop-en

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

That’s it! That’s the whole story!

Melissa Moore is a bad ass, and Prescriptor McGovern, which is the name of a grown human, is a coward and a shame and a fucking laughingstock.

OK, THAT is the whole story.

The album title “Take a Chance on Rock ‘n’ Roll” really has a sort of loose, fuck-it-all vibe to it, especially now that it’s summer, and no one can really have a lot of big adventures. But an album with that name sure sounds like one fun road companion, does it not? Music to keep you pumped and excited during the hot summer days. Then Couch Slut pull the rug out from under you, because you should know better.

Like all Couch Slut music, you’re not here to escape your troubles and have a good time. You’re getting the polar opposite of that experience because their music, especially what you hear on this, their third album, is uncomfortable to say the very least. The band delves into subject matter including mental abuse, drug use, underage prostitution, domestic violence, and plenty of other dark corners, with zero punches thrown, nothing held back, warts sliced open to ooze in front of you. The band—vocalist Megan O, guitarist/trumpet player Amy Mills, guitarist Kevin Wunderlich, bassist Kevin Hall, and drummer Theo Nobel—plaster you with noise, glass-shard riffs, strangeness, abrasiveness, and vocals that refuse to let you off the hook and ensure each ounce of pain is absorbed over and over again. And it all ends with a true story where it’s a miracle everyone lived to tell the tale. The album is available now to purchase by download and has been since May, but we’re on the verge of the physical release, hence why we’re writing about this record now.

“The Mouthwash Years” kicks off with the band’s trademark noise and trudging guitars as things get whipped into a frenzy in a hurry, and Meg’s vocals start peeling at your skin. The pace pummels as she sneers, ” Now you’re dried out, what do you want for it?” as the track ends in sludge and your ears lacerated. “Carousel of Progress” is speedier and wastes no time starting the bruising as killer guitars swelter, and Meg wails, “Yeah, it’s a gag, I know it’s on again, I didn’t want it,” as the track barrels into muscle, with drum spurts taking things to its end. “All the Way Down” charges up with the bass leading the way and the guitars sweating up a nasty swagger. The tale is horrifying, complete with blood in a sink, terrible events going on behind a bathroom door, and Meg calling out, “Pieces of flesh in the sink, I can’t take anymore,” before the song finally has mercy on you. “The Stupid Man” is a harrowing tale of a man stealing drugs, pissing in ovens, and being a threat to murder, oddly given a rather hypnotic backing at times that lets the words drive the panic. “My head wasn’t there, was not there at all, his mind wasn’t there, piece of shit addict,” Meg rails as the band hits a doomy swell that feels uncomfortable and eventually slams shut, as footsteps walk away.

“In a Pig’s Eye” already is relentless when it starts as hard shrieks pulsate, and the story is one where the woman, having been assaulted, is questioned about her motives. “They wanna know, they asked if I’m a whore,” Meg howls as the cops print her car and basically provide no help, only adding to the vitriol in the song. “I hope they’re fucking dead now,” she blasts while the band backs her with bone-stripping, noisy thrash. “Topless and Bottomless” has the guitars slamming you with a punk-fueled vibe, the vocals smothering, and Meg taunting, “You can’t even fuck a doll.” The playing drives a hole in the ground as the piss and fury continue to build, with Meg mocking, “Take it easy like a desperate fuck,” as the track boils out in noise. “I’m 14” is a tale of cocaine, secretly pierced clits, and sexual favors under the influence of drugs, all involving a teenager. The calculated vocal delivery makes sure you absorb every bit, squirming as the guitars strangely dream, and Mills’ trumpet flutter through as everything crashes down, but not before the song is twisted into the 1987 film “The Gate,” an end I did not see coming. “-” is a quick gateway track, driven by Wiley DeWeese’s piano playing that leads to closer “Someplace Cheap” that is a true story that happened to Meg and her previous bandmates when they decided to tour and ended up in Ohio. I don’t want to give away the entire thing, but let’s say it involves bikers, people being unknowingly drugged, those people waking up to realize they were jerked off over on camera, and a fucking amazing threat for the people who drugged them as to where they could find them so revenge could be had. Meg literally speaks the story over the band’s slurred guitars, pummeling drums, and humid pitch that gets heavier as the story gets scarier, only coming unhinged at the very end. Scary as hell. Glad they’re all alive.

As noted, you should not be fooled by the record’s breezy album title because what you find upon cracking it open are sobering, bloody, horrifying events that really happen to women and that are bluntly delivered in devastating detail. Caution always should be used when approaching a Couch Slut record (though it’s utterly vital these stories are shared), but assuming some newer folks are along for the ride, it just helps to reiterate. That all said, this is a killer record delivered by a tornadic force of a band, and it’s one of the year’s most jarring, unforgettable albums to be sure.

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

To buy the album, go here: https://gileadmedia.bandcamp.com/album/take-a-chance-on-rock-n-roll

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

Not everything is meant to last, even if it’s something you think is incredibly fruitful artistically because those behind the work may not necessarily agree. That was the case with Swedish/German duo The Oath, whose great 2014 debut record was accompanied not long after by the group’s permanent dissolution. Still, something good came out of that.

The band’s two leaders went on to their own projects, Johanna Sadonis founding like-minded Lucifer, and Linneá Olsson taking her darkness to filthier terrains with Maggot Heart, whose new record “Mercy Machine” is about to land in our laps. Olsson has a sneer and a swagger that stands way out front with this band that is incredibly appealing and gives the music even more fuel with which to set blazes, and they take things even further on this album, that shows a lot of growth from 2018 debut “Dusk to Dusk.” Joined by bassist Olivia Airey and drummer Uno Bruniusson, Olsson uses her voice and daggering guitar playing to whip up 10 tracks that sound like the band is in the streets and ready for a fight, even though they may be coming from another rumble a block over. It’s easy to get the feeling from listening to this record that Olsson is behind you, fist balled, just ready for you to make the wrong move so she can punch your teeth right down your throat.

“Second Class” gets things kick started as it lands scuzzy punches as Olsson’s singing leads the way, chock full of attitude. “You’re still running, but you’re so far from any kind of achievement,” she pokes as anger and spite melt right into the blood work. “Sex Breath” is a charger as the vocals prod, and the chorus is catchy as hell. Guitars darken and chime as the shadows lurk, the chorus kicks back in, and the song churns out. “Justine” has guitars slinking with Olsson pounding, “Every woman is a star, even those that go too far.” Punk heat is added to the forceful chugging while Olsson warns, “I’m not far behind,” as the track burns away. “Roses” is a strong one as a sinewy bassline crawls, and Olsson’s singing pushes into goth-scuffed guitars. She notes she’s “falling down the rabbit hole,” while the guitars charge up, and the rough playing gives the song a dangerous edge. “Gutter Feeling” has a bluesy bend with talk-like singing, as Olsson notes, “Heavenly bodies thrown out with the trash, I’ll look through the trash.” The chorus is tremendous as she stabs, “I’ve been tripping on that gutter feeling,” with the track ending with its own nose bloodied.

The title track has driving guitars and menacing vocals with yet another killer chorus that settles into your system. Noisy playing angles into a filthy pocket while the riffs charge up, and Olsson calls, “Show no mercy on me,” as the track bleeds out. “High Rise” has guitars agitating at the start before the song goes in more of a mid-tempo direction. The chorus is simple but effective as the title is called over and over while the leads take over and leave the song in a glimmering shine. “Lost Boys” delivers cool riffs while Olsson’s singing is pulled back a bit as the darkness is allowed to rain down. The guitars catch fire and take off for gritty, punishing terrain while Olsson calls, “Thank god I’ve got nothing to lose,” as the track melts away. “Senseless” trudges and feels doomy as Olsson notes, “I see the dogs of death in my garden,” as she stares menace in the eyes. The guitars thicken and sting while terror spreads, and echoes send chills down the spine. “Modern Cruelty” is the closer and starts with rock-solid riffs and things getting rougher in a hurry. Olsson practically spits out her words as the pace takes chances and causes you stomach acid to splash, while the sun sets quickly, letting dark vibes to roam. “Dawn breaks, you take your pills to get by,” Olsson calls as the track slips by, with the band firing off a final note repeatedly, as if driving the dagger deeper into your chest.

Maggot Heart have truly opened up a gruesome vein on “Mercy Machine,” an album that has the band really finding their way and developing their personality. These 10 tracks are dangerous, flooded with conviction, and confrontational, while Olsson is in total command out front, her vocals exploding with attitude. This is a fun, jarring record that shows no fear and will drive your face into the dirt just to prove its point.

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

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

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

Mental illness is for real. There are people who will try to argue otherwise, and if you’re one and you claim it has something to do with toughness, let me know so I can tell you to go fuck yourself. This is after five tough years of therapy and learning about social anxiety and other issues that helped me keep it bottled up and basically untreated for most of my life.

Empress’ debut record “Premonition” is based in a lot of that as the album touches deeply on mental health issues and the way they weave through our families and loved ones. This album specifically focuses on the struggles faced by vocalist/guitarist Peter Sacco and his family as well as the trauma and difficulties that can go along with that. There also is a measure of protection involved, discouraging people from pressuring those with mental health issues to come forward and instead letting them handle their life and struggles as they see fit. On this record, the band not only makes its mark with its prog-infested doom but also has a very human touch that should help those who identify with these issues feel a camaraderie and others in the dark about these matters help opening their eyes and hearts. The band is rounded out by drummer Chris Doyle, and bassist the late Brendan Gunn, who passed away in late October. This record is dedicated to his memory.

“A Pale Wanderer” has a fluid open before Sacco’s clean calls reach in, and the music heads into a proggy gaze. Doomy trudging lands punches while the soloing heats up, and a calm brings cooler air while sounds rush. Drums open up as the vocals turn to wild cries, moody melody brings cloud cover, and the track fades out. “Sepulchre” gets off to a raucous start as the chorus belts you, with the track taking on more of a rock n roll vibe. Gruff cries team up with the doomy chugging while the bass sinks in its teeth, yells punish, and the song ends abruptly. “Passage” trickles open as the guitars tread water, and Sacco’s signing hits Ozzy-style highs. The pace gallops as the guitars heat up and burn the hair on your arms, while a strong chorus gives an emotional boost. The bass rumbles as the track blasts ahead, and wild shrieks contributes to the end’s dust up.

“Trost” has strange effects on the cries, then the track cracks through the surface, and there’s a slight black metal edge to the melodies. The playing jolts your blood flow, as Sacco goes back and forth between harsh calls and clean vocals, and the playing eases into a driving bassline. Dreamy guitars come with a breeze as the singing floats in the air, wild cries explode, and an atmospheric soup leaves you coated in condensation. “Hiraeth” has a hazy start that flows in, setting the stage before the playing rages in flames. Guitars buzz while raw cries punish, and the underbelly pulsates and pounds before the tempo pulls back. The bass gets things moving again as yells echo, guitars blaze, and the track lands crucial punches before the track begins to melt back into the earth. The title track is a strong instrumental that leans in already on fire as the long intro sets the vibe, and all kinds of colors explode on the horizon. Things bubble while the drums tap away before the lid is torn off again, with the emotional surge challenging your psyche. “Lion’s Blood” is the cataclysmic closer that starts calmly, dripping in with softer vocals as the intensity ramps up. Once the awakening happens, crazed cries emerge, and the playing gets even more compelling, with Sacco’s wails reminding a bit of Bruce Lamont. The pace blends into cold, simmering there for a bit before the track trudges again, wild yells scrape the flesh, and the track burns out of time.

“Premonition” is a record that has two experiences, one musically and the other emotionally. It’s certainly possible to sink into Empress’ progressive doom and let the music wash over you as you disappear into the atmosphere. But if you connect to the lyrical content and have experienced mental illness yourself, it opens even deeper, digs into your heart, and provides an experience that every part of you can indulge and come out emotionally tested.

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

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

Photo by Void Revelations

Absolute fucking weirdness is the only way I can think to describe a band called Bedsore, which I assumed before digging in was going to deliver disgusting, gross-out death metal. Because, did you ever see a bed sore? They’re disgusting, and they apparently hurt pretty badly, though to this point I’m pretty happy I don’t actually know about it.

The Italian death metal band has their debut record “Hypnagogic Hallucinations” coming out on the mighty 20 Buck Spin, that label’s first singing from that country, and it’s a mind eraser. Yeah, it’s not a disgusting record at all and instead is one that will tap into your brain and slowly work its way into your skull’s machination. It’s kind of insane that this is their debut since it’s so sophisticated and mesmerizing in a way that hints at a band at this much longer their time together (their 2018 demo is what alerted the label to their strange ways). The band—Jacopo Gianmaria Pepe (vocals, guitars, synths), Stefano Allegretti (vocals, guitars, organ, keyboards), Giulio Rimoli (bass), Davide Itri (drums)—is compelling from the start and once the entire record unfolds, if you’re like me, you’re instantly pulled into their unreal psychosis that never, ever relents.

“The Gate, Disclosure (Intro)” opens the record with organs sweltering and the drums awakening before a synth fog hovers over the area. Things feel proggy and weird before elegant guitars unfurl, and we float into a psychedelic dream and toward “The Gate, Closure (Sarcoptes Obitus)” where guitars heat up and enter a death spiral. Wild screams erupt as the playing begins to slash, while the leads take off, meeting up with grisly howls. A trickling pool emerges as the music bleeds off into a mind-tingling aura. “Deathgazer” has riffs electrifying as the tempo stomps guts, and the playing stymies. Animalistic howls jab into your sides while the pace chews up again, leads boil and moisten your skin, and then things start to rip apart again before ending abruptly. “At The Mountains of Madness” is the longest track, running 8:57 and dripping in slowly as a thick mist develops. Suddenly, the song comes to life with chugging guitars, banshee howls, and then the playing speeding up into a hypnotic section that leaves your mind in a tailspin. The song punches back in as the vocals tunnel toward your soul as fluid soloing swims toward a mind-altering corner that eventually gives off bluesy streaks as the song disappears into the night.

“Cauliflower Growth” trudges in death as things drip into the murk, and that turns toward a sludgy path downhill. Strong soloing fills the air and gives off warm colors before the vocals become unhinged, and that keeps the fires going until the intensity levels off, clean guitars melt, and everything drains away. “Disembowelment of the Souls (Tabanidae)” aggravates blues strains again, floating your head, then guitars burn, and the screams become acidic. The playing feels like a slow-droning crash for a stretch as guitars light up again, and the ground rumbles. Hypnosis is something of a theme in Bedsore’s music, and that rears its head toward the end of the track, creating a soothing chill and a gateway to closer “Brains on the Tarmac.” Things begin reflectively as cold guitars slowly awaken into a dark noir as things gallop open, and maniacal devastation sets its trap. Insane playing shoves into shadowy darkness, throwing shrapnel before calm reaches in, flowing toward ominous nightmare terrain which pays off when the band hits muddy chaos again. The pace explodes while the howls mar brain impulses, with the track crashing landing closed.

It’s easy to get caught up in Bedsore’s strangeness and psychotic visions, but don’t let that divert you from how deadly their playing is, and how strong these dream-like death blasts are from start to finish. “Hypnagogic Hallucinations” is a mentally punishing record, an incredibly stellar debut album from these Italian beasts that’ll play over and over in your end. This is an adventurous, psychologically stimulating record that’s going to be a blast to investigate on subsequent visits.

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

To buy the album, go here: https://www.20buckspin.com/bedsore

For more on the label, go here: https://www.20buckspin.com/

Since as far as history goes back, we’ve heard stories of the lesser fighting back against those who hoarded their wealth and power over these people, often with bloody, violent results. We haven’t changed a bit over the centuries as those power structures remain in place and likely will until well after we’ve all moved to another plane of existence.

Greek musician Ayloss, who you also likely know from his Spectral Lore project, wanted to dig back into the ages and uncover some of these tales that remain applicable to this very second in time. His first record under the Mystras banner is  “Castles Conquered and Reclaimed,” a collection that also steps back and forth between time periods with its sound and creates something enthralling and empowering along the way. With nine tracks spread over more than 50 minutes, Ayloss divides the record between noise-glazed black metal and versions of Medieval hymns played alongside special guest musicians from groups such as Lüüp, Art of Simplicity, Neda, and Spider of Pnyx. It’s a stunning collection that celebrates the common person, those who fought back against tyranny and often didn’t live to see the end of the fight. It certainly can connect with those today waging similar battles seeking justice and equality.

The title track starts the record with glorious riffs creating an impenetrable cloud of sound before Ayloss’ shrieks rain down, though in a way where they’re part of the mix and not the driving force. Guitars circle before the leads reign, and the tempo then clobbers you with immense melodies. The yells scrape while the guitars wash over again, finally bleeding out into the night and toward first Medieval piece “The Cutty Wren” where guitar strings are plucked, and pleasant breezes wash over you. “The Murder of Wat Tyler” is the longest track, running 12:39, recounting the decapitation death of the Peasants’ Revolt leader in England in the 14th Century. The track takes on a glorious hue as it gets under way while muted roars push, and melody unfurls before speaking parts leading into wild shrieks. Regal guitar work swelters before the track takes on a tidal waving force and accompanying “woah-oh” calls. Black metal-style riffing takes over as total chaos erupts, burying the song in the dust. “Contre Dolour” is a mix of acoustic guitars and flutes, reminding of a warm day on the grass.

“Storm the Walls of Mystras” has a frantic opening that splashes colors and rage as it makes for the fortified city. A sharp guitar line pokes through the storming while vicious howls pay off the caterwauling emotion. The guitars begin to race as the tempo gains intensity, continually ramping up its rampage to reckless levels. Fiery leads blaze a path while boisterous calls and strange sounds take the track to its final mark. “O Tsakitzis” has violin scraping as the song conjures thoughts of a hot midday sun, sweat soaking one’s clothes, before we head into “The Zealots of Thessaloniki” where guitars sting, the drums rustle up dust, and an angry storm brews and spreads its wings. The playing is numbing in spots as leads break out and hustle, while the tempo gets fully charged up and has froth at its mouth. The guitars hit a pre-Dickinson Maiden-style gallop, bringing blistering punishment and bleeding out in the dirt. “Ai Vist Lo Lop” is the final interlude as acoustics trample the ground, shakers rouse, and whistles hit the wind and lead toward closer “Wrath and Glory” that opens in total pummeling mode. Strong riffs ride as the playing rumbles, bringing crazed cries and massive melodies to the table. The final minutes wreck and maul, slashing in and out of pools of blood while everything fades into the night’s fires.

The idea of the downtrodden fighting back against its oppressors is a tale as old as time, yet it’s one that remains relevant, sadly, in this day and age. Ayloss’ visions with Mystras certainly are steeped partially in an era long past on “Castles Conquered and Reclaimed,” but we see these very stories playing out now, in different parts of the world, with only our technology updated. This is a passionate, meaningful record that isn’t just a great slab of atmospheric black metal but also is a reminder that the fight lingers on, and we cannot be lulled to sleep or discouraged from clashing for what is rightfully ours.

To buy the album, go here: http://i-voidhanger.com/shop/

Or here: https://i-voidhangerrecords.bandcamp.com/album/castles-conquered-and-reclaimed

For more on the label, go here: http://i-voidhanger.com/

Photo by Matt Dayak

There’s a point toward the back end of “National Lampoon’s Christmas Vacation” where the shit has destroyed the fan, everything is in tatters, and it’s suggested everyone leave before it gets any worse. To which Clark Griswold replies to his wife, “Look around you, Ellen! We’re at the threshold of hell!” And there it is. 2020 in a nutshell.

That stupid opening is to break the ice so we can discuss the new Zombi album fittingly titled “2020,” which might suggest music that feels like it’s on the verge of destruction, where all hope is lost, and where your anxiety might as well just stop your heart in its tracks. But that’s not quite what happens with this album. Instead, we get the most ambitious Zombi has been in a while, a record that has guitars driving as much of the drama as the synth, and the music making your heart race as you weave your way through these nine tracks. The band—Steve Moore (synth, guitars, bass) and A.E. Paterra (drums)—creates darkly cinematic music again but this time delving into doom and sludge, grittier areas where they don’t always tread but make this album heftier and punchier, adding even more to its appeal.

“Breakthrough & Conquer” introduces eerie keys that turn into a tremendous melody line that feels like it could be the leading track for a movie. Strong guitar work accompanies it (they got an assist by Philip Manley from Trans Am)  that gives it a nighttime vibe, adding fluid leads to a spooky, fun track. “Earthscraper” folds synth into gritty doom guitar work, with everything grinding its way through. Sci-fi-style keys jostle as the playing bashes away before a humid haze hangs overhead, and the track disappears into a weird void. “No Damage” is the first of two consecutive tracks that gives off an early ’80s Rush vibe, which could not make me happier. Guitars churn as the synth floats, giving off a cool sheen. That melts into a sludgy pocket that has toxicity glowing beneath, ending with a rumbling fade. “XYZT” pushes keys into lush atmosphere, feeling both dreamy and punchy. Proggy playing gives off the feel of the aforementioned Canadian trio, while the music bubbles and zaps, the pace rumbles, and keys rain down into the shores,

“Fifth Point of the Pentangle” fades in as synth creates a cold front, as the bass drives into corners. That works its way toward the stars, bringing cool cosmos and star splashes that bleed into the night sky. “Family Man” is ominous when it starts, creeping into the room before the bass clobbers. The pace turns burly as it works its way further into the shadows while synth melodies entrance, and the track fades into majestic wonder. “Mountain Ranges” launches key sprawl as a calculated pace is achieved, and cool melodies chill the flesh. The pace is pretty steady throughout, treading waves and watching from the waters before it can come in and make its move. “First Flower” has drums awakening and the thick bass tunneling, while the keys create a mystical ambiance. The punches continue to land as the synth glimmers, the melody churns, and the music suddenly feels as if you have water filling your ears and slowly draining. “Thoughtforms” closes the album by introducing another great synth riff, while warm guitars wash in and change the temperature. The feel like is like early summer evening as the light starts to fade and the skies grow orange and purple. The leads begin to heat up before calm stretches, chilly breezes raise your flesh, and the track retreats into the final strains of daylight.

Two decades into their run, Zombi continue to surprise us as “2020” is one of the most jarring selections in their entire catalog. How strange it is that this music is arriving when it is, with a title that’s now incredibly ominous, though the music is imaginative, exciting, and bold. It’s a rare streak of color, a dash of energy in this motherfucking year 2020, a time period that shares a name with an pretty enthralling record from a band whose creativity doesn’t rest.

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

To buy the album, go here: https://orcd.co/zombi2020

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