One of the simplest facts about Zebulon Pike is that they are a band based in Minneapolis, Minnesota. After that, things become much more complicated, as they engage in a genre of music that can only be described as auditory mad science. Formed in 2002, every single one of their albums has been a brain-demolishing piece of experimentation: And Blood Was Passion in 2004, The Deafening Twilight in 2006, and Instransience in 2008. With each release, they have become more dense, more intelligent, more volatile. Space Is the Corpse of Time continues this progression, spiralling out in a universe of it’s own making. Continue reading
When a band states that they make “truly unique music“ or something to that effect, I’m always skeptical. Most of the time it just means that it a) sucks ass or b) isn’t “unique” at all, but just more of the same. Trillion Red, however, really do have a sound of their own, and it doesn’t suck. While you could just throw them on the huge pile of Neurosis copycats, it really wouldn’t do them justice, because there’s more to their music. It has the typical ingredients of atmospheric sludge – the down-tuned guitars, the huge riffs, the minimalistic drumming, the synths – and, unfortunately, boring and sometimes awkward ambient sections.
Bjørnar Selsbak // Rygteflom/Tunge Taarer Rating: 4.0/5.0 — Tons of potential here Label: Unsigned Websites: myspace.com/bselsbak Release Dates: Out worldwide
So, a couple months ago I got Lumsk‘s debut Åsmund Frægdegjevar and I have to say that I was really impressed. It’s one of the most unique folk metal records I’ve ever heard. Slow, but the smart blending of progressive elements with traditional Norwegian folk music and the melodies was stellar. In fact, way better than their contemporaries in a lot of areas. However, I was soon informed to not check out the band’s later material, largely because the guitarist who had written the majority of it had left the band. This creativity, however, lives on in this single or EP (or whatever it is) released all these years later which is made up of two songs “Rygteflom” and “Tunge Taarer”. Continue reading
Torture Division // Through the Eyes of a Dead Rating: 4.0/5.0 — It’s only three goddamned songs! Label: K Philipson’s Wallet Websites: torturedivision.net Release Dates: Out! Go and partake!
For those of you not familiar with Torture Division, you obviously haven’t been reading this here blog for very long. Shame on you. For the rest of you, you’ll probably be happy to hear that Torture Division is back with another three track downloadable EP (that you should donate for downloading because diamond studded swimming pools don’t grow on trees). While the thing is called Through the Eyes of a Dead, some of us over here at Angry Metal Guy suspect that the title was “Through the Eyes of the Dead” largely because that’s what the song is called when you download it, but then there’s the deathcore band from the US and that would’ve been awkward. So, Through the Eyes of a Dead it is. Continue reading
Strident // Oath (From Chaos to Glory) Rating: 2.0/5.0 — Cheeses H. Christ!! Label: Unsigned Websites: Facebook Release Dates: Out Now
So apparently there’s this burgeoning metal scene in South Africa. How fucking cool is that? We already ran a review from scenesters Crow Black Sky, A Walk with the Wicked and Heathens and now we get the first proper self release from unsigned Cape Town heroes Strident. Playing what they describe as “epic South African power metal,” these gentlemen are out to show the rest of the world that true metal runs deep in the African earth. This is indeed power metal in its purest form and clearly influenced by the likes of Manowar and Rhapsody of Fire (together again, ain’t that sweet AMG?). Needless to say, with those guys as primary influences, you can expect things to get mighty cheesy real quick and that’s exactly how things go down here. Sporting an album cover suitable for the next Brütal Legend video game, their debut Oath (From Chaos to Glory) throws every power metal and true metal staple, stereotype and standard at you in a manic fury. It’s fun, funny and cringe worthy in equal measures and sets a new standard for the phrase “hugely over-the-top.” Whether you like it or not has a lot to do with your overall lactose tolerance and sense of humor. Continue reading
Shroud of Despondency // Dark Meditations in Monastic Seclusion Rating: 4.0/5.0 — Simultaneously beautiful and ugly Label: Self-released Websites: BandCamp | MySpace Release Dates Digitally: Available Now | Physical: Feb. 12th, 2011 – Worldwide
Some say that the album is dead. And no, by this I don’t mean vinyl, because for all but the biggest audiophiles vinyl really is dead. I mean the album; a set of interconnected songs that form a whole, that induce you to sit and listen to them all and enjoy. Every truly monumental record is one of those kinds of records—one that should make you want to sit down and listen and just feel that swelling in the chest, or whatever you feel when you find something that really hits home. Few live up to this these days and I think there are several reasons for this—though, I’ll save those for another time. But Shroud of Despondency‘s Dark Meditations in Monastic Seclusion is one such record, a cohesive whole and a supremely honest offering which, for all its warts, is a tremendous piece of work. Continue reading
One of the most anticipated records of the year should be Shroud of Despondency‘s self-released Dark Meditations in Monastic Seclusion. Fortunately, I’ve been able to get permission to share what is probably my favorite track on the CD, but of course, the favorites are different for everyone! In any case, there are two things you should notice about this recording and the first of these is that these guys are for real largely because of the riffing. The riffing is like this throughout the record, that is, superb.
The second is to notice how damn good it is! Despite its advanced length (10 minutes), the instrumentation is fantastic and the feeling and flow is tremendous. There are very, very few bands that successfully write emotional metal music, but Shroud of Despondency does it amazingly. These guys, as I’ve pointed out before, are a band to watch. Keep watching and enjoy this exclusive track!
A Walk with the Wicked // Architects of Sadism Rating: 3.5/5.0 — A Walk with the Up-and-Coming Label: Unsigned Websites: awalkwiththewicked.com Release Date: January 28th, 2011
Old school death metal is making a comeback around the world and apparently South Africa is no exception to this rule. In fact, as I’ve already referenced, South Africa is an up-and-coming scene that seems to have little cohesive sound but still has a lot of talent in it. Because of that, whenever you get a demo from one of these bands it’s always a surprise—and this was an old school death metal surprise that came out in the form of A Walk with the Wicked‘s debut disc Architects of Sadism. It was also a pleasant surprise, at that. Continue reading
Ben Levin Group // Pulse of a Nation Rating: 4.5/5.0 — Super cool independent prog Label: Unsigned Websites: benlevingroup.com Release Date: December 6th, 2010
I’m not accustomed to being short for words when I write a review. It’s something that happens pretty rarely because I tend to form such strong opinions about things. And given how much shit I’ve been listening to lately for this website, it’s really cool to be able to get my hands on something that has this kind of exciting personality—but let me tell you now, I’m not sure if I’m up to the job of actually doing this record justice with my descriptions. So if for some reason you don’t feel particularly inspired after this to go out and check out this record then ignore that impulse—and check it out anyway. Continue reading
Crow Black Sky // Pantheion Rating: 3.5/5.0 — A promising start! Label: Unsigned Websites: crowblacksky.bandcamp.com Release Dates: November, 2010
One of the things that people have been lamenting about the dawn of the Internet and how it will affect the future of music is that localized scenes no longer get localized sounds—and Crow Black Sky is definitely an example of this. Or more specifically, the South African metal scene seems to be a great example of this. See, Crow Black Sky is a melodic death metal band, whereas the other two bands that I’ve heard from South Africa (Heathens and A Walk with the Wicked) are black metal/black n’ roll and old school death metal. Due to access to music and information worldwide, it sorta kills that homogenization effect that gigging together, hanging out together and shopping at the same record store seemed to cause. Is it possible that the black metal scene from Oregon is the last cohesive scene we’re going to ever see? Well, that’s not actually relevant to this review. What is relevant to this review is that despite (or because of) the lack of homogeneity in the South African scene every single one of these bands that I’ve heard has been really very good. Crow Black Sky being no exception. Continue reading
New #metal blog: Aborted Global Flatline Review - Aborted // Global Flatline Rating: 3.5/5.0 — Actually, they haven... http://t.co/FWl7PNL4 - 8 hours ago
OK, *that's* cool. Too bad about the shitty bands, then RT @Metal_Mark: Metallica will be playing Ride The Lightning in it's entirety! WOW!” - 1 day ago
One of the simplest facts about Zebulon Pike is that they are a band based in Minneapolis, Minnesota. After that, things become much more complicated, as they engage in a genre of music that can only be described as auditory mad science. Formed in 2002, every single one of their albums has been a brain-demolishing piece of experimentation: And Blood Was Passion in 2004, The Deafening Twilight in 2006, and Instransience in 2008. With each release, they have become more dense, more intelligent, more volatile. Space Is the Corpse of Time continues this progression, spiralling out in a universe of it’s own making. Continue reading
So, a couple months ago I got Lumsk‘s debut Åsmund Frægdegjevar and I have to say that I was really impressed. It’s one of the most unique folk metal records I’ve ever heard. Slow, but the smart blending of progressive elements with traditional Norwegian folk music and the melodies was stellar. In fact, way better than their contemporaries in a lot of areas. However, I was soon informed to not check out the band’s later material, largely because the guitarist who had written the majority of it had left the band. This creativity, however, lives on in this single or EP (or whatever it is) released all these years later which is made up of two songs “Rygteflom” and “Tunge Taarer”. 
For those of you not familiar with Torture Division, you obviously haven’t been reading 
Old school death metal is making a comeback around the world and apparently South Africa is no exception to this rule. In fact, 
I’m not accustomed to being short for words when I write a review. It’s something that happens pretty rarely because I tend to form such strong opinions about things. And given how much shit I’ve been listening to lately for this website, it’s really cool to be able to get my hands on something that has this kind of exciting personality—but let me tell you now, I’m not sure if I’m up to the job of actually doing this record justice with my descriptions. So if for some reason you don’t feel particularly inspired after this to go out and check out this record then ignore that impulse—and check it out anyway. 
One of the things that people have been lamenting about the dawn of the Internet and how it will affect the future of music is that localized scenes no longer get localized sounds—and Crow Black Sky is definitely an example of this. Or more specifically, the South African metal scene seems to be a great example of this. See, Crow Black Sky is a melodic death metal band, whereas the other two bands that I’ve heard from South Africa (Heathens and A Walk with the Wicked) are black metal/black n’ roll and old school death metal. Due to access to music and information worldwide, it sorta kills that homogenization effect that gigging together, hanging out together and shopping at the same record store seemed to cause. Is it possible that the black metal scene from Oregon is the last cohesive scene we’re going to ever see? Well, that’s not actually relevant to this review. What is relevant to this review is that despite (or because of) the lack of homogeneity in the South African scene every single one of these bands that I’ve heard has been really very good. Crow Black Sky being no exception. 
