So, it would appear nothing normal or run of the mill comes out of Iceland, at least musically. From groups such as Sigur Ros, Mum, Amiina, and the Sugarcubes (who, of course, introduced to us Bjork, another totally out-there performer), the music from that country has been pretty weird, but also very captivating.

As far as metal is concerned, we’ve had a fair share of bands come from that land, including Skalmold, Solstafir, and Beneath, though none have really become huge players in the metal world, at least as far as things are concerned here in America. But a relatively new band that hails from Reykjavik perhaps can elevate the land’s metal scene a little more with folks who aren’t totally tied with the deep underground, and their debut is landing in our hands by way of Candlelight’s Cult Series.

Kontinuum aren’t exactly tried-and-true metal, and a lot of times, their sound reaches into gothic rock and post-metal as much as anything. Yeah, they have their heavy, crushing moments on “Earth Blood Magic,” but they’re way more spaced out than what you get from most metal bands, and interspersed is riveting, colorful music that’s full of emotion and darkness. As far as this latest run of releases from the Cult Series, this album has the best chance at acceptance from listeners beyond metal’s gates, though the more adventurous, dream-embracing extreme music fan will find a lot to like as well, and when these guys turn on the power, they’re incredibly moving.

When they do go full metal, it’s more of the Viking-inspired style of black metal, which is understandable, but it isn’t expected or paint by numbers at all. It’s enthralling, and it reminds me a lot of old Enslaved. The band is comprised of guitarist/vocalist Birgir Thorgeirsson, guitarists Thorlakur Thor Gudmundsson and Ingi Þor Palsson, bassist Engilbert Hauksson, and drummer Kristjan B. Heiðarsson, and on their first record they already sound like a tight accomplished unit, which seems to bode well for their future. In fact, of all the bands in this version of the Cult Series, I’m most interested in this group’s future because I really am curious to hear what they sound like on their second record once they get more experience under their belts. Gloomy sky is the limit.

“Endgame” opens the record with a driving post-metal feel, a dramatic, gradually building instrumental statement, and what sounds like the untrustworthy, apocalyptic words of a preacher gone awry. That takes us into “Steinrunninn Skogur,” one of the songs that is sung in their native tongue, and it’s a spacious atmospheric slab of rock that’s pretty invigorating. There are cleaner vocals that are dark and brooding, and the song ends with spirited chants that sound like they were committed in the heart of the woods. “Moonshine” goes heavier into goth rock territory, seemingly indicating they are paying homage to The Cure, Depeche Mode, and Sisters of Mercy, but they turn up the aggression later in the song with shrieks and terror breaking out. “Stranger Air” brings things back down a bit with more of a rock-centered song that’s uptempo and melodic. Then things change.

“Lightbearer” is heavy, prog-fueled, and surging, with the most forceful vocals yet and a real sense of melodic aggression. This is where the band most sounds like Enslaved and some of the second wave of Nordic black metal bands, and it shows the sharp teeth they possess. “City” is in the same vein, with absolutely crushing drums and a continued reliance on heaviness, but they also let some air in the room and use more clean vocals. It’s a nice mix of the hard and soft. “Lys Milda Ljos” also slips back into traditional rock terrain, following what sounds like a long walk in the snow, and it’s a nice breather before leading into “Red,” one of the most impressive song on the album. A female vocalist handles the bulk of the song, rendering a rich, hearty performance, asking, “Can you fall in love with me before I die like you?” But as the song transforms, Thorgeirsson comes back in and joins her, and the two carry the tale to its conclusion. Closer “I Gljufradal” is practically a ballad, with piano acting as a lead in, the vocals remaining soft and tender, strings sweeping in to give it a baroque feel, and the track giving the record a breath-taking conclusion.

Weirdly, Kontinuum is the least cult of all of the releases in this series so far, but they’re perhaps the most promising. They blend in sounds from all different areas, so they’re not steadfastly metal, but their more extreme tendencies work wonderfully and have more color than most. I really like what Kontinuum did on their debut record, and I’m excited to hear what they dream up next.

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

To buy the album, go here: http://www.candlelightrecordsusa.com/store/

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

Anonymity is something that’s basically absent from the music world. Like, I don’t listen to even a second of modern pop music because I find it that dreadful, yet I know way too much shit about some of the, uh, artists because everything about their lives is exposed. Too much info out there.

Metal is not immune to the overload. Like, last week we all found out Dave Mustaine is pissed at Men’s Wearhouse. Why do I need to know about this? Why can’t I live the rest of my life without that information? So it’s nice when a band comes along that eschews all the media attention, all the whoring out of useless and mundane details, and simply decides to reveal nothing about themselves. I can see where that approach also could be met with skepticism because what if the band’s art just isn’t that good and they don’t wish to plaster their names on it? I can see that being a reason, so it comes down to digesting the band’s work and deciding for yourself.

We first came to know of the band Nine Covens last year when they released their debut “…On the Coming of Darkness,” though we didn’t learn much about the forces behind the group other than them taking their name from the English witch/magician George Pickingill. Apparently the group was comprised of noteworthy musicians from the UK extreme metal scene, but none chose to reveal their identities. So, if that was true and these figures really are well-regarded musicians, their choice was an interesting one. After hearing their debut, it was clear they weren’t hiding because of their creative output. It was solid, dark, yet melodic black metal that might not wow the underground kvlt enthusiasts, but sure was good enough for someone like me. It was a nice debut, one that I never imagined would get follow-up treatment quite so soon. Yet here we have “On the Dawning of Light,” the band’s second album and an entry in Candlelight Records’ cult series.

Like their debut, the band still isn’t saying who they are. Has there been turnover in their ranks? Did they add any guests? Who knows? We don’t even know who was in the group in the first place, so forget all of that. As for the music, it’s still melodic, wrenching, adventurous, and even approachable. It has elements of Nachtmystium, Craft, and even a band like Wodensthrone, though this band’s songs are not nearly as long and sweeping. Nine Covens keep their explosive output in check with their longest track just topping seven minutes and most of their songs landing somewhere between four and five minutes. Nicely done because they never overstay their welcome. This also is an album that the more time I spend with it, the more I like. There is an epicness and a passion that is catchy, and while they’re not exactly reinventing the wheel, they’re playing their music with gumption and grit.

The record opens with “Origin of Light,” a melodic and sinister number is full of churning guitar work and throaty shrieks. “As Fire Consumes” has a stirring lead line and also some punk rock attitude. It’s crunchy and punchy, yet it’s also sort of accessible. I know that black metal isn’t supposed to be, but I think that’s archaic thinking. “At the Ocean’s Strand” has more punk fury but also a sludgy, cataclysmic feel. The vocals are delivered with more of a growl, and some of the guitar work reminds me of Immortal. “The Mist of Death” has a mystical beginning, as the song takes some time to set the stage, but then it grows harsh, forceful, and atmospheric.

“The Fog of Deceit” has some of the best, most memorable guitar work on the entire record, and the lead line very well may get stuck in your head like it has in mine. The drumming is a little different on this one as well, getting a little jazzy in spots, and the song overall is perhaps their most riveting work to date. “To Quench a Raging” explodes out of the gate, with deeper, growlier vocals, a renewed dedication to speed, and throat-mangling shrieking that sounds both agitated and evil. “White Star Exception,” the album’s longest track, is an instrumental that’s contemplative, cosmic, and whirring, and it’s the track that makes me think of Nachtmystium’s two “Black Meddle” releases. “Over the Ocean’s Way” also is spacious but has its moments of thorny intent and outright violence. Closer “A Burning Ember” sounds frosty and wind chilled, which always goes over nice in the winter months, and it’s a crushing ending to a really interesting record of modern black metal.

Nine Covens have opened their campaign with two impressive records that breathed some life into the black metal scene. Their new one indicates they have a ton of gas in the tank and vitriol to burn, so that’s a good thing. We may never know who is behind this band, but as long as they keep making records like this, who really cares who they are?

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

To buy the album, go here: http://www.candlelightrecordsusa.com/store/

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

For all the millions of bands out there now trying to ply their trade at metal, or whatever genre they’re trying to impact, there are just too many that stay a particular course and don’t deviate from expectations. I end up labeling most of those bands as boring. Then there are those who push things and try to experiment, and while it doesn’t always work in their favor, I tend to have a little more compassion for those bands because at least they’re not trying to stay confined to a box.

I thought about that when tackling the third album from Swiss post-metal beasts Zatokrev. Just looking at the title of the opus — “The Bat, the Wheel and the Long Road to Nowhere” — is enough to make you wonder what it’s all about, and then there’s their music, that falls somewhere around the lands dominated by Cult of Luna, The Ocean, and ISIS. Sure, there are a lot of bands doing that very thing, but these guys seem to have a knack for the sound and pull it off quite capably.

This record, by the way, is another in Candlelight’s ongoing “cult series,” where they put a spotlight on bands that have been doing things on the underground, perhaps haven’t gotten the right exposure before, and have some interesting aspects to their music. The three bands in this new series all are quite different from each other (we’ll bring you the other two records next week), which makes this one of the more intriguing installments of the series to date.

Zatokrev do fall into some traps, however, when it comes to knowing when to say when. The band — guitarist/vocalist Frederyk Rotter, guitarist Julien Duseyau, bassist/backing vocalist Lucas Low, drummer Frederic Hug — has a knack for noodling. And noodling and noodling. An editor is really what they need to take their game to the next level, and they have all the tools to do so. But at 76 minutes and nine songs, it gets to be a little much. Don’t get me wrong. They’re really good players, and never is the record irritating, which musicians with a tendency to drone tend to be. They have good ideas, and they execute them OK, they just don’t know when to put a cap on things. It’s the biggest complaint I have about this record that really could have been a stand-out release if it was about 25 minutes shorter.

“Goddam Lights” opens the record, and at 9:23, it sticks around for a while. There’s a good bit of sludge and post-metal wandering going on, and the vocals are screamy and abrasive as they convey a sense of independence away from a source of pain. “9” perhaps is named that because it’s nearly that many minutes long, as it’s one that would work far better at half that time. It’s a sludgy cut that meanders a little too much, and some of the instrumental sections where not a heck of a lot is going on could stand to melt away a bit. “Rodeo With Snakes” is the shortest song on the whole set, and it has an American rock feel, along with barked vocals and a grimy finish. It’s then onto “Medium,” a song that’s nearly 11 minutes long and has a decent amount of melody and some muddy, mangled thrashing. But there’s also an attempt to set an ambient atmosphere that never really takes and feels more like walking in place.

“The Wheel” recovers and goes in more of a mid-tempo pace, and while it pushes 10 minutes, it manages to stay pretty interesting over the duration of its running time. The dual “Feel the Fire” cuts, combined, last more than 12 minutes, but to the band’s credit they manage to make each half fresh. The first part again examines more rock and roll-style terrain, while the second part is more muscle-bound and rough, with some adventurous riffing. The final two cuts on the album – “The Bat” and “Angels of Cross” – take up 20 minutes combined, and what’s become a theme, they’d both be far better chopped in half. “The Bat” has some lurching sludge that sounds pretty good, but it just goes on too long, while “Angels” has some promising ideas and real moments of inspiration, but it just feels like it’s never going to end and doesn’t have a terribly inspired finish. It isn’t bad; it just doesn’t inspire much emotion.

I happen to be a listener who likes and has patience for really long songs, and many of my favorite records of the past couple years have been chock full of epics. But sometimes there’s no justification for tracks to be as long as they are, a trap in which Zatokrev fall too often. There’s promise here, they can play, they have some good ideas, they just need someone to help edit them. A good producer could do wonders for this band, who might be a great album away from opening a lot of eyes and ears.

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

To buy the album, go here: http://www.candlelightrecordsusa.com/store

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

It’s never easy to get going again at the start of a new year, especially when it comes to writing about music. There’s not much to be had, to be honest, and a lot of what’s out there right now is hit and miss stuff that seems positioned for burial. But not all of it is, and over the next week and a half, we’re going to look at some of the year’s initial offerings that just might interest you if you’re itching to get moving with 2013 metal.

Today we visit with Nordic project Wallachia, long a solo project of Lars Stavdal (who you may also know from Eternal Dementia), who surrounds himself with a team of musicians to help him realize his ambitious vision. And he has a lot on his mind, and a ton to accomplish, as one could ascertain from listening to Wallachia’s music. It’s hard to pinpoint exactly what this is, though there are plenty of metallic elements that are obvious from even a cursory listen. You have some symphonic black metal, some Euro-style folk, and some melodic death metal not dissimilar to the early days of In Flames, but none of that sums up this band and their third album “Shunya.” It’s better to take those initial touch points and investigate on your own.

The very reliable Debemur Morti Productions is responsible for releasing this record, and if you’re in Europe, you may already have your mitts on this disc. As for we Americans, we’re just now getting to experience “Shunya,” and it’s been an eye opener. That’s mostly because you can’t allow yourself to take your eye off the ball even for a moment, because before you know it, things shift violently into another direction. One could say sometimes the music seems to lack focus in exchange for keeping things surprising, and I wouldn’t argue, but that doesn’t derail the record by any means. It’s still perfectly interesting and refuses to rest on its laurels, but it is sometimes a little difficult to keep track of everything going on.

Stavdal handles the guitars and vocals on “Shunya,” and he’s joined by a capable cast of musicians who breathe life into his compositions. Opener “Dual Nothingness” begins with a melodic blast, folding in death, black metal, walls of synth, and some folk flourishes, giving a newcomer to the band a good idea of the journey ahead. “In Excelsis Ego” has blasts and more waves of synth, and this is where they sound the most influenced by the early Scandinavian death metal bands. “Ksatriya” has a goth rock feel to it, eventually more folk colors, and some creaky clean vocals as Stavdal lets sorrow and loss wash over him, recalling “when my heart turned into a burial ground.” “Enlightened By Deception” rips the record back open again, but there also is more clean singing on this song mixed in with the shrieking.

“Hypotheist” is an example of one of the songs where there’s a hell of a lot going on, and sometimes it robs the song of personality. There are keys, then some string sections, vocals that come off like chants, then a rush at the finish. It feels like parts of three songs mooshed together in 6:20. “Nostalgia Among the Ruins of Common Sense” brings folk back into the picture and leans on this style most heavily of all the songs. “Harbinger of Vaccumanity” is a clever title, no doubt, but again, there’s just so much going on that it’s hard to get comfortable with any parts of the song, It’s not bad. It’s just really involved. “Emotional Ground Zero” brings things back around again, with nice bits of crunch, Euro-style melodies, growling here and there, and a renewed sense of purpose on this closing epic.

Wallachia certainly is an interesting project, and you definitely will not be bored listening to “Shunya.” There’s no time to rest. It would be nice if the songs were a little more focused and to the point, but that might just be my tastes. There certainly are bits for fans of black metal and death metal, a few tastes for prog fans, and certainly enough to please the sun-baked Wacken crowd. If you fall into any of those categories, Wallachia might have some value for you.

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

To buy the album, go here: http://www.amazon.com/Shunya-Wallachia/dp/B009GWHSF8/ref=sr_1_2?ie=UTF8&qid=1357179338&sr=8-2&keywords=wallachia

For more on the band, go here: http://www.debemur-morti.com/

Anytime you run a list of anything, there will be those omissions that aren’t included for one reason or another. We had that issue with some records we raved about during the year that, for a reason perfectly logical to us, didn’t make the list of the top 40 metal records of 2012. The key word there is “metal,” and that’s one of the things that prevented a few albums from making the list.

There are a few records that I saw on other people’s and outlets’ metal lists that weren’t included on the Meat Mead Metal list simply because we didn’t deem the album truly metal and therefore did not list them. That doesn’t mean these bands and records weren’t some of our favorites of the year, we just didn’t feel comfortable categorizing them as metal records. So in our first entry of the new year, I want to mention these records because they are excellent pieces of work that remain in constant rotation.

Jess and the Ancient Ones are housed perfectly under the Svart Records umbrella, for their throwback occult doom rock is one of that label’s specialties. Sure, there’s some NWOBHM to this Finnish group’s formula as well, but really, they’re a rock band, and a damn fine one. Their singer Jess has some of the best pipes going, and she belts out her words with passion, drive, and conviction. Their music likely is best digested in a smoke-filled room with a few choice libations, and surely in that environment you can get lost in it all. There are so many great tracks on here, from opener “Prayer for Death and Fire” to dusty “Ghost Riders” to 12-minute epic centerpiece “Sulfur Giants,” one of my favorite songs of the year, that your jaws will be tired at the end from everything here in which you sunk your teeth. Great band, excellent approach, and a singer for the ages. How can you top that formula?

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

To buy the album, go here: http://www.svartrecords.com/shoppe/releases/1019-jess-and-the-ancient-ones-lp.html

Morbidity is a tenet of metal, and Denton, Texas, duo Pinkish Black contain that in their synth-driven, gloomy music, but also in their name, that was inspired by the appearance of the suicide scene of former member Tommy Atkins. Kind of gives that old Mayhem demo cover a run for its money in the uncomfortable department. The band’s music is gothy, a little doomy, even kind of poppy. The songs are swirling and a little scary from a psychological standpoint, but they’re always memorable. The band’s music likely could appeal to people of all kinds of musical interests, from metal to goth to early New Wave, and their stabbing, penetrating approach will stick with you long after the music has finished. I have such a hard time describing this band to people, which is a good thing. You just need to hear them, but you better make sure you’re stable enough to handle them. Also, in a surprising move, the band signed with Century Media late in the year. Weird place for them. But hey, nice forward thinking by CM. Just don’t put them on a tour with Butcher Babies or some shit like that.

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

To buy the album, go here: http://www.handmadebirds.com/store/

A band that always manages to capture my imagination and dreams is Worm Ouroboros, a trio based in the Bay Area of California who released their incredible second record “Come the Thaw” in 2012. Their dream-scape music is hard to classify, and while they record for decidedly metal Profound Lore, their music is anything but. Lorraine Rath (Amber Asylum, The Gault), Jessica Way (Barren Harvest, World Eater), and Aesop Decker (Agalloch, Ludicra) all have very metallic roots as well, but here they churn out murky rock, folk, and otherworldly sounds to make for one of the more mesmerizing bands going today. The vocals are gorgeous and, at times, angelic, the guitars are melodic but do charge up now and again to stoke the fires, and the drumming is paced just right and adds the right bits of mood to these six songs. Certainly there is crossover appeal to a metal audience, but this band could branch out into a bunch of different directions to find followers. I’ve been on board with this band from the first time I heard them, and this record convinced me I won’t be leaving the bandwagon anytime soon.

For more on the band, go here: http://www.facebook.com/pages/Worm-Ouroboros/250016544916

To buy the album, go here: http://www.profoundlorerecords.com/products-page/plr-items/

To buy the vinyl, go here: http://store.theflenser.com/

The year’s most surprising and welcomed return came via Montreal instrumental titans Godspeed You! Black Emperor, a band that put into place today’s massive collection of cinematic outfits who expertly build emotion and catharsis into their puzzles. The release of “Allelujah! Don’t Bend! Ascend!” their first piece of new music in a decade, was announced abruptly in September and suddenly saw the light of day a few weeks later. Walking out of local Soundcat Records with a vinyl copy of the record the week it came out felt surreal, like some sort of dream, and going home and listening to the piece over and over made for one of my happiest musical memories of the year. The record is comprised of music they’ve had written for some time, and even have played in their live set, but no matter. It’s an earth-shattering, blood-surging, heart-crushing collection that belongs quite comfortably alongside their landmark music they created  10-15 years ago. This record is a great triumph and a gift that keeps on giving to us longtime GY!BE fans.

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

To buy the album, go here: http://cstrecords.com/store/categories/GODSPEED-YOU!-BLACK-EMPEROR/%27Allelujah!-Don%27t-Bend!-Ascend!/

With success comes derision. You can see that already with the incredible debut album “Sorrow and Extinction” from Pallbearer, a stunning, elegant serving of old-school doom metal that seems to have won over most of the metal world. But if you look around, you’re starting to see the barbs, the arrows slung because so many people have embraced this record. That comes with the territory. Detractors think it’s an organized groundswell. But don’t listen to any of that if you haven’t visited with this incredible band yet. From the moment I first heard this album early in the year, I knew it was going to take a dramatic effort from another band to rip away its album-of-the-year status. We’re talking something I’ve felt strongly since January. I’ve been waiting that long to crown it. So now’s the time. Here it is. Meat Mead Metal’s No. 1 record of 2012. No other album really stood a chance.

The Arkansas-based band already did a killer job with their demo, and those of us who heard it already were clamoring for more. This album, to me, drew a line back to the genre’s beginnings. Most doom bands these days are embracing as much death as doom, and I’m cool with that. Love the approach. But I also love the nod back to the old guard, which Pallbearer seemed most intent to carry out. There is melody on top of melody, a great display of drama and emotion, and spectacular songs that should live through the ages. The magic of this album was immediate, and even upon recently getting my hands on the vinyl version of the album, it seemed to gain even more momentum with me. That’s rare these days. This is simply a no-brainer of a decision, and if they recorded it for Profound Lore or motherfucking Victory (that would be a hoot), it would be No. 1. Fuck it. It’s great.

We had the honor of talking to bassist Joseph D. Rowland about their debut album and what it meant to them. Many thanks to him for taking time and to the rest of his band members – guitarist/vocalist Brett Campbell, guitarist Devin Holt, and drummer Mark Lierly (Zach Stine played on the record) for their vision and artistic output. Long may they reign.

Meat Mead Metal: We’ve named “Sorrow and Extinction” as our No. 1 album of 2012. Obviously this record’s gotten a major amount of adulation from pretty much all over. Did you expect such a huge reaction to this record? Did you realize you had something special when you finished it?

Joseph Rowland: First of all, thanks! We definitely did not expect anything of the sort in terms of adulation or even attention the record has gotten in general. Of course, the album was special to us and was something we felt HAD to make. It had a big impact on us, but we didn’t envision that it would impact on so many others. If anything, we wanted something with lasting value, like I would think any musicians would, no matter who ended up listening or not.

MMM: Doom has had a pretty huge year both with the volume of releases and the amount of good music that came out of the genre. Pallbearer‘s approach is one of the more traditional out there — clean vocals, no growls, a lot of drama. Did the band have a desire to do something different from everyone else? Or is this just a summation of your influences and personal tastes?

JR: I think our approach definitely comes from a different place than at least a good portion of bands playing what people would consider doom metal. Honestly I find a lot of today’s doom to be kind of uninspiring. Many bands seem too focused on just riffing out or trying to make things sound “evil” or “psychedelic” with not nearly enough attention to songwriting. I don’t mind seeing bands like this in a live setting when I’ve had a few beers, but it’s just not really a compelling listen in my opinion. Our interests lie pretty specifically with bands like Camel, Marillion, and Pink Floyd when it comes to how we look at melody and sense of feeling within how our songs tend to fit together. So while what we make may still be fairly traditional in one way or another, we’re at least going at it in a way that’s exciting to us, and maybe interests others too.

MMM: Your record was released by Profound Lore, one of the most respected labels in underground metal. Who pursued who? Did the band have a desire to be on the label, or did they track you down? How do you feel about the relationship?

JR: I don’t want to get too deeply into the business surrounding labels pursuing us about the album out of respect for people’s affairs, but we had been talking for some time to Chris (Bruni) at Profound Lore, thanks to Mike from LOSS getting us in touch. Once we were totally certain about moving forward with Profound Lore, we did so and have enjoyed it very much since. Chris is great to work with, and I feel it’s been very mutually beneficial thus far.

MMM: The band certainly has been busy touring. Are the songs changing at all in a live setting? Are you expanding on anything or trying anything new that grew out of the songs being played live?

JR: We’re always tinkering with pieces here and there, plus adding a bit of expanded improvisational parts too. We’re definitely not a band that flourishes in playing the songs exactly like the recording. I think there are always opportunities to make little new points of interest and in-the-moment inspiration to possibly make every performance a bit unique, without going too overboard of course. Although it’s possible that we might have done that a time or two depending on how much we’d had to drink before we played!

MMM: Any thoughts on new material yet?

JR: We’ve got a lot of new things in the works, some of which will be the second album and some on some smaller releases.

MMM: The band has a huge tour coming up in 2013 with Enslaved. Very diverse bill as well with Royal Thunder and Ancient Vvisdom. Is that going to be a landmark accomplishment for the band? What do you hope to get out of such a huge journey?

JR: I just found out that Royal Thunder is added to the tour, which rules. We love those folks to death! We had a great run with them back in September. The tour is definitely going to be interesting and very cold! We’re not used to serious wintry weather and are dreading that a bit. It might add a bit of grim edge to our playing on the tour! We’re looking forward to it though. It will be exciting playing with legends like Enslaved, in places we have yet to venture so far! We look forward to exploring some new locations, assuming we don’t freeze to death, and of course getting to meet up with old and new fans and friends along the way.

MMM: Looking back on 2012, what are some of the highs, and maybe even some lows, you take away that will help build the band toward its future?

JR: It would be tough for me to go into all the highs. We’ve had a lot of amazing opportunities given to us this year, and we’ve met some truly incredible and gracious people. One of the big highlights for me was playing two special one-off shows in one night in Brooklyn, New York, back in May. It was our first time in NYC, and it was just a stellar time. I found out while we were there that the venue hosting the first show of the night, Saint Vitus Bar, was located on the same street that much of one of my all-time favorite movies was filmed on (the movie is “Street Trash,” by the way, one of the best sleazy ’80s horror films) so it made that night into something I won’t forget. And while there has definitely been a lot to celebrate in a way, in terms of low points, it was disappointing when our former drummer Chuck informed us of his plans to leave the band. But even that resulted in a great situation with our current line-up which I feel is stronger than ever. We’ve also dealt with some personal hardships, which always add fuel to our slow-burning creative fires. So good or bad, the band is definitely pushing forward into even more complex headspace of darkness and light. It will be interesting to see where it leads.

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

To buy the album, go here: http://www.profoundlorerecords.com/products-page/plr-items/pallbearer-sorrow-and-extinction/

To buy the vinyl, go here: http://www.20buckspinshop.com/collections/front/products/pallbearer-sorrow-and-extinction-2xlp

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

Eagle Twin’s sophomore record “The Feather Tipped the Serpent’s Scale” was an instant classic the first time I heard it. A sludgy, doom-infested record that combines crows, snakes, Biblical Adam, and destruction sounds about as metal as it gets, and the Salt Lake City-based duo’s approach toward their art is unique, unsettling, and maybe even a little too abrasive and weird for some audiences. Maybe that’s why this masterful record hasn’t ended up on more best-of lists. That has to be the reason, because I can’t figure out any other logical explanation for why adulation hasn’t been showered down on this album. That’ll be our job, then, as I cannot say enough good things about this great document.

Guitarist/vocalist Gentry Densley and drummer Tyler Smith not only comprise an impressive and powerful band in the studio, they also become a totally different beast live when they reinterpret their music. It’s anything goes, a 30-minute, non-stop slab of improvisation and inroads back to their albums. Seeing them live on their tour with Earth provided that hammer-home moment for me, when I realized just how great “The Feather” is, and it was a soul-moving experiences hearing this stuff performed by the duo on stage. I’ve had this record since late summertime, and it’s been in regular rotation for me, be it in the car, at work, or at home on my turntable. It’s one of the most impressive albums I’ve heard in some time, a collection that elevated the band in my mind to one I really liked to one that is one of my favorite groups in metal.

Today, we celebrate “The Feather Tipped the Serpent’s Scale,” a crushing piece of doom that also will have your mind and heart racing and, if you’re as intrigued as I was, you going for some books. If you haven’t checked this thing out yet, do so right now. See if your world isn’t as devastated and quaked as mine was after spending ample time with this masterpiece. We had a chance to ask Densley some questions about the record, the band, and the mysterious liner notes in their record jacket that seems to put their future in question. Thanks a million to him for taking the time, and to his band for this great record.

Meat Mead Metal: We’re naming Eagle Twin’s “The Feather Tipped the Serpent’s Scale” as the No. 2 metal album of the year. It’s a really killer record that I’m surprised hasn’t gotten more adulation than it has. How do you feel about the final product?

Gentry Densley: We are very happy with the record!  We had it done a year before it came out.  I guess that gave us a chance to get everything just the way we wanted, which was a blessing.  The sounds we got were great and everything was expertly captured by Randall Dunn. There was a lot of dark stuff we were working through in our personal lives, and it made its way into this record and intensified it.

MMM: Your lyrical references certainly are steeped in Biblical folklore, Adam, the origins of humankind, serpents and crows, judgment, death, etc. It also sounds quite involved and personal. What inspires this story? What are you trying to say on this record, and how does it relate to what went down in “The Unkindness of Crows”?

GD: We been brought low by certain circumstances, suffering for no good reason, like Job.  Poisoned by knowledge best left unknown.  The lofty bird had been turned into the lowly snake.  The music at one point imitates the mutation.  The material for the record became entwined in our lives, and I wasn’t sure whether it was life imitating art or vice versa.  We thought we should take the album in a direction that brings us back to the Crow.  That material always felt more … like us, like where we wanted to get back to.  Crow doesn’t care about society or God, he just does his thing, and sometime has a bit of fun while doing it.  So we made a conscious choice to influence our lives by changing the end of the album.

MMM: It also, from the liner notes, seems to indicate this is the end of one phase of the band and the start of a new. Please explain. And what can we expect of the Smith Twins, Rowan and Adler? Will the
continuation of the story perhaps signal a different sound or approach? A different name? Am I reading too much into this?

GD: Every ending is a beginning of sorts.  The conclusion we speak of was the end of the dark times we were going through that this album chronicles.  Rowan and Adler are Tyler’s twin boys. They definitely bring some light and new life into the picture.  Things will change but we will continue on in much the same way.  We have an EP brewing of some alternate tangents from the “Feather Tipped…” material.  And a third album is taking form as well.

MMM: In addition, you pay homage to the Bible, poet Ted Hughes, Gene Roddenberry, and Fredrico Garcia Lorca, who obviously wrote about Adam. How specifically did these writers inspire the band and the story of “The Feather Tipped the Serpent’s Scale”?

GD: All of them wrote about Adam. Ted Hughes has great many poems about the serpent, and the garden, and all. Crow even makes an appearance in some of those.  The bonus track for the vinyl was adapted from Roddenberry, a “Star Trek” episode where they try to reach planet Eden. One of the space hippies sings about “The Way to Eden.”  All these sources are working in the same fields of storytelling and allegory. The Bible, “Star Trek,” the Crow, all drawing from these universal myths.

MMM: I caught you guys live recently with Earth, and it was just a pummeling, unique performance. Is each night’s show a little different from the last? Do you do a lot of improvisation, because it felt like
you guys were just going off, and now and again you’d bring it back to one of the songs? Really good stuff. Please explain.

GD: That’s how we do it live.  We try to keep each other on our toes. It keeps things interesting for us and exciting for the audience. Nothing is predictable, believe me.  We have learned to go with it. We go off cause we can, and it’s a blast! We always strive to be musical and give the audience a good story and a better performance.

MMM: You both seem to have a cosmic connectedness playing live. There’s a synergy there that I don’t experience with many bands. It’s hard for me to put in words, but it feels like every move the band makes on stage is almost telepathic. Where does that come from?

GD: Many, many years of working together I guess.  We’ve developed a kind of language – no hand signals or cues really, just subtle things in our playing.  We know how to get the other to react and we know how to react to each other.  On the road, on the long drives, we actually practice reading each other’s thoughts.

MMM: What does Eagle Twin have coming next? It seems there’s a pretty wide open future.

GD: I mentioned the EP, the “Crow/Snake Addendum,” it has some alternate endings and tangential material from the “Feather Tipped…”  album. The third LP is also taking form, a more mammalian form, with hooves and horns and wolves and tusks and a more elemental return, all over seen by the birds. As we saw in the end of the last record, Crow still has some battles to fight.

For more on the band, go here: http://us.myspace.com/eagletwin

To buy the album, go here: http://www.southernlord.com/store.php

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

Metal needs more visionaries, artists without fear who will take their ideas to places not approached before, reaction from the masses be damned. We have one of those in Vindsval, the man behind Blut Aus Nord who has stretched his black metal wings so wide, that he hardly can be contained in heavy metal anymore. We’ve gotten  a taste of his ambition over the years (along with creative partners W.D. Feld and GhÖst), but it wasn’t until the “777” trilogy that his true colors were revealed. We found an artist without a care for genre boundaries or how things are “supposed to be done” and went on to put together three of the most compelling records in his and his bandmates’ history as creators. The “777” finale “Cosmosophy” is a masterpiece.

One could argue “Cosmosophy” isn’t purely a heavy metal record, and really, I understand that stance sonically. But in a question I’ve asked all year on this site, what really is heavy metal? Is it a sound, or is it a philosophy and an attitude? I say it’s a bit of both, and clearly Vindsval always has been a master of both. This record is an incredible sonic and spiritual journey, one that you never will have heard anything like if you haven’t spent time with “Cosmosophy” yet. There are elements of post-rock, trip-hop, electronic music, and plenty other sounds that wrap the swirling black metal with colorful texture.  There’s more clean singing than you’ve ever heard from Vindsval, and it even has dashes of gothic madness. The 45-minute collection of these five epitomes completes the story arc of one’s search for meaning, time, a higher being, and place in the cosmos, and I still am trying to figure out what it all means to me many, many plays later.

It is a great honor to us at Meat Mead Metal than the man behind the machine, Vindsval, took some time to answer some of our questions about “Cosmosophy,” the “777” trilogy, and the future of Blut Aus Nord. We could not be more thankful and humbled to bring you words from this incredible artist. Also, do yourself a favor a listen to this masterpiece that’ll make you reconsider what you think to be heavy metal.

Meat Mead Metal: We’re naming “777-Cosmosophy” our No. 3 metal album for 2012. Yet, it certainly goes beyond just metal. Did you know all along that this final installment of the “777” trilogy was going to sound like this? Is this something you always wanted to try?

Vindsval: Yes, absolutely, the whole trilogy was supposed to be a way towards a form of light, since the beginning the falling point is luminous centre of the last cover. Even if the inspiration forms a significant part of the process, everything was written a long time before to start the real work of composition.  I had a very detailed idea of this specific sound, at the same time celestial, thick and extremely heavy. Same thing about the musical evolution of the whole trilogy.  I knew the result before, to start to compose, and the challenge was to concretize and give a sonorous form to this abstract creation.

MMM:  Is the style of music we hear on “Cosmosophy” something we can expect to hear more of in the future? You know you’ll have those listeners who will just want bludgeoned with black metal, but is that something that even bothers you? Do you operate at all with others’ expectations in mind?

V: Everything is possible in the future. Blut Aus Nord is a totally free project. We absolutely don’t care about the expectations of the listeners and the listeners like that. They know that they will be surprised with each new album. Blut Aus Nord is an exciting project for them and…for us.

Meat Mead Metal: What were you hoping listeners took both philosophically and musically from both the “777” trilogy and the “Cosmosophy” album? Is there any room for interpretation, or is your message/story to the point and not open to other views? Is this a summation of your own personal philosophies or did you draw from something else?

V: “777” is about the annihilation of the obsolete concept of time, it represents different stages of the modification of a human soul who becomes a particle of God, comparable to an alchemy in the Flesh of mankind. “777” is the sublime subversive strength of light beyond every forms of beliefs and devotion…The Destruction Of Reason By Illumination. “777,” celestial body, is the purest symbol of the collapse of a world of references.

MMM: Now that the entire “777” trilogy is out there and completed, how do you feel about the project as a whole? Do you feel like the whole story you were trying to tell was conveyed the way you envisioned? 

V: Absolutely, the result corresponds exactly to the initial idea. “Cosmosophy”  is the culmination of a project that dates back 18 months ago. Now the trilogy “777” is complete and the listening of the three albums is extremely comfortable in term of sound, style, etc. This is the most important thing. The evolution from the first epitome to the last one is perfect and very progressive; everything is logical and evident.

MMM: What’s next for Blut Aus Nord. These records certainly followed a rather aggressive release schedule. Is it time for a break, or are you already thinking about your next steps?

V: A break? Absolutely not! I’m already working on new songs for a split with Rebirth Of Nefast. I’m also working on a new project called 777 (the project, not the trilogy), entirely electronic/ambient music, a very dark and strange experience, like a new emanation of Blut Aus Nord. I have a ton of new ideas, projects, and a ton of things to compose and record. I can’t take a break with music, just because music doesn’t want to take a break with me!

For more on the band, go here: http://www.facebook.com/pages/Blut-Aus-Nord/53193141113

To buy thee album, go here: http://e-shop.season-of-mist.com/en/items/blut-aus-nord/777-cosmosophy/cd-digipack/32651

To buy the album digitally, go here: http://dmp666.bandcamp.com/album/blut-aus-nord-777-cosmosophy

For more on the label, go here: http://www.debemur-morti.com/default.php

It’s perhaps a bit of an understatement when I say a lot of metal bands work really hard to be a scary and disturbing as possible. Problem with that, other than saturation taking away the shock effect, is that the bands that really are scary and threatening are few and far between, while so many groups are just going through the motions. So how do you find the real ones, the bands that are genuine and really do shake you to the core? Your ears and your mind should tell you, and if they’re being honest, they’ll take you right to hooded UK band Dragged Into Sunlight. Over two records now, they’ve displayed a sense of menace and fright few bands can touch, and their slow-driving, blackened, sludgy doom is some of the best out there. Their live shows? Ridiculous. Infernal. Damnation on a stage.

Dragged Into Sunlight did something with their second record “WidowMaker” that not a whole lot of bands try these days: a three-movement triptych stretched over 40 minutes. The first third is stretched over nearly 15 minutes, with dramatic movements, strings, and the voices of serial killers such as Tommy Lynn Sells and Richard Ramirez. That explodes quite literally into “Part II,” where the band begins to lay down layers and layers of murder and filth, making for one of the gnarliest, angriest sections of music the band’s ever produced. There are massive guitar lines, some doom breakdowns that flat out destroy the earth’s crust, and emotion that never lets up. “Part III” is more adventurous, proggy in some parts, and filled with noise and chaos. It’s a slow drip that doesn’t ease you or let you rest for a second and fills your body with infection and soot.

Now, sadly, the Dragged fellows were inundated with media leading up to the holidays, so we couldn’t meet up to talk about the record. But we’ve been assured that after the holidays, we’ll hear from these mysterious figures, who will pontificate on “WidowMaker” and the insanity behind the album. For now, we’ll leave you with an audio clip from the band’s You Tube page to give you a taste of what “WidowMaker” is about. Remove all sharp-edged objects from your room before consumption.

For more on the band, go here: http://www.draggedintosunlight.co.uk/

To buy the album, go here: http://www.indiemerchstore.com/item/16739/

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

“Netherwards,” the debut full-length from wrenching Seattle doom crew Anhedonist, was high on the list of most anticipated albums of 2012. Their demo “The Drear” was a major eye-opener in 2010, and its brutality and expansive violence pointed toward greater things ahead once the band got more experience under their belts and an even greater idea of what their vitriolic vision could be. “Netherwards” is the culmination of all of that, and to say it blew my already lofty expectations out of the water would be a major understatement.”

Consisting of four songs that stretch over 40 minutes, the band mixes strains of traditional thinking in with their death-smeared new vision of what doom is in 2012. The songs are slow, pulverizing, and chock full of misery and depression, while guitarist VB’s guttural growls and shrieks paint the perfect picture of torture, both musically and psychologically. It’s an incredible listen, from pulverizing opener “Saturnine” all the way through to dark, foreboding closer “Inherent Opprobrium,” that even shows off some of their Black Sabbath worship. “Netherwards” is a modern doom classic, one that belongs in your collection immediately. We had a chance to ask bassist DF a few questions regarding the release, and his very to-the-point replies are below. Thanks to the band for their cooperation and for making one of the best metal records of the year.

Meat Mead Metal: We named “Netherwards” our No. 5 metal releases of 2012. I was a big fan of “The Drear” release but really had my expectations blown away by the full-length. How do you feel about the album now that it’s been out a while and you can fully digest it?

DF: Honestly I can’t say that I have listened to the album since we got the final master back prior to release. That said, I certainly am still satisfied performing these songs live. No complaints.

MMM: The music, especially lyrically, is rather hopeless and bleak. From what do you draw inspiration for these songs? On that same note, how close to reality is the band’s name to how the band members feel about everyday life, or is the moniker more a living-vicariously-through-others kind of thing?

DF: A selection of literature and personal experiences influenced the content of the album specifically the lyrics, though a lot of it comes from a place only VB truly knows. People can have their own guesses about what miserable shits we are or are not, I suppose.

MMM: The Alexander Brown-created artwork certainly is intriguing. Was it totally his idea? Did the band have a concept in mind and go to him with it? What is the meaning behind the cover? It feels like a cloudy, murky human downward spiral.

DF: We had a couple rough ideas, and Alex did a brilliant job of actualizing them. The flesh of humanity dragged into nothingness.

MMM: Live actions have been limited recently mostly to the West Coast, which is understandable. Do you envision expanding touring a little more in the future? Or is that a factor or time and money that prevents you from doing so?

DF: We actually did a full U.S. tour in 2011 and have played in Canada once. Further shores are on the horizon now, as well as a full U.S. tour with a few festival stops in May/June. We aren’t particularly interested in touring too heavily for personal reasons.

MMM: The band hooked up with Dark Descent, a huge favorite over here at Meat Mead Metal and one of the most reliable death and doom labels going. How did your relationship come about? Are you happy with the arrangement?

DF: Matt is one of the most reliable, hard-working maniacs there is out there. DDR shall remain our label home for the foreseeable future, and we are beyond pleased with the support he has given us.

MMM: The band still has ties with Parasitic (along with Nuclear Winter Records) for the vinyl version of “Netherwards.” Talk about your relationship with Parasitic and what that’s meant to the band.

DF: Tim Parasitic did our first label release with the vinyl edition of the demo, and has done an unreal job with that and the “Netherwards” LP which was co-released with Nuclear Winter. Beyond that he has been a close friend and ally of ours for some time. As long as we release material I hope he will be involved somehow.

MMM: What does the band have scheduled for 2013? Are you thinking about new music yet? Any other interesting projects in the work?

DF: We are always working on new material. A split EP with Knelt Rote is nearly complete. Live demonstrations in the U.S. and abroad are in the works.

For more on the band, go here: http://anhedonist.blogspot.com/

To buy the album, go here: http://www.darkdescentrecords.com/store/

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