Wednesday, September 30, 2015

Sacrificium Carmen Premiere New Track At

Today, rising Finnish black metal cult Sacrificium Carmen premiere the new track "Verialkemia" at heavily trafficked web-portal The track hails from Sacrificium Carmen's forthcoming debut album, Ikuisen Tulen Kammiossa, set for international release on October 30th via Saturnal Records, and can be heard exclusively HERE.

Hailing from the fertive Finnish black metal scene, Sacrificium Carmen both embody their home country's prevailing underground idiom and offer a unique, diabolical twist to it. Founded in 2009 by vocalist Hoath Cambion and guitarist Advorsvs, the band draws their inspiration from the areas of occultism and Satanism exclusively. Sacrificium Carmen became active in 2012 with a full lineup, and soon released their debut demo, Sanansaattaja, in 2013 via Finnish underground label Spread Evil Productions. After the demo’s release, the band excelled in the areas of live shows and split releases, which all spread well around the underground scene. In 2014, Sacrificium Carmen started working on a debut full-length album, and the demo recordings led into a signing of a record deal with Finnish record label Saturnal Records for the release Ikuisen Tulen Kammiossa.

Sacrificium Carmen plays black metal with a melodic and atmospheric touch where all tendencies have been directed into very aggressive and sinister output, where Finnish black metal sound meets murky death metal sound as witnessed with orthodox black metal acts. Across the eight tracks of Ikuisen Tulen Kammiossa, the listener is dragged to the sulfurous depths, with vapor trails of hypnotizing melody lingering above the tar-thick sewage. Exquisitely filthy yet exceptionally well-recorded, Ikuisen Tulen Kammiossa presents Sacrificium Carmen as a serious newcomer, a contender to be reckoned with in the years to come, as the band continue to propagate live rituals to increasingly rabid audiences. With backing session vocals by Horna frontman Spellgoth, the album is highly recommended to maniacs of that band, Baptism, Sargeist, Kadotus, Behexen, and the glorious tradition of Finnish black metal in general. Hear for yourself exclusively HERE, courtesy of Cover and tracklisting are as follows:

Tracklisting for Sacrificium Carmen's Ikuisen Tulen Kammiossa
1. Lucifer
2. Öisen Haahkan Liekeissä
3. Pimeän Silmän Goetia
4. Kaaoksen Käärme
5. Nemesis
6. Verialkemia
7. Julman Sanasta
8. Yön Kasvot

ALL HELL Unleashes "Graveyard Dust"

North Carolina Blackened Thrashers ALL HELL have joined forces with Invisible Oranges for the exclusive premiere of "Graveyard Dust," off the band's forthcoming debut full-length, The Red Sect. Inhale a lethal dose of "Graveyard Dust" at:

The Red Sect marks a crossroads for the band; the straightforward aggression of their debut blends with a seething, menacing atmosphere-further enhanced by the mixing and mastering skills of TOXIC HOLOCAUST main man Joel Grind, creating an album that is dark, vicious, and compelling. The record's ten tracks weave a frightful narrative of ritual possession, vengeance, and revolt. The band has further explored and defined their sound, once again drawing influences from a wide array of genres such as thrash, black metal, deathrock, and punk.

Horror Pain Gore Death Productions will release The Red Sect on October 16. Pre-order the album at

Praise for The Red Sect

"A thoroughly electrifying romp, a ripping rampage of thrashing riffs, punk rhythms, and mad-dog snarls. Hooky as hell and as nasty as a famished wolverine."
-  No Clean Singing

"Despite such a young career, the trio shows an exemplary maturity resulting in the masterpiece that is The Red Sect.' - 
Metal Cunt
Formed in Asheville, North Carolina in 2013, blackened thrash fiends ALL HELL began carving a name for themselves through their early performances and released their debut record, The Devil's Work, in 2014.

Since their 2014 debut release, ALL HELL have been busy sowing chaos through live performances while crafting their sophomore record. Playing and touring throughout the Southeast, the band has quickly developed a following and earned a reputation as one of the most intense and lethal live acts in the region, having shared the stage with bands like 1349, Black Tusk, Ghoul, Skeletonwitch, and Toxic Holocaust. With their relentless drive, growing support, and two albums under their belt, ALL HELL pushes forward, intent on spreading their hellish music and intense live experience to as many people as possible

ALL HELL is currently booking dates for Winter and Spring tours in support of The Red Sect.
Jacob Curwen - Guitar and Vocals
Kurt Henderson - Drums
Erik Ballantyne - Bass Guitar

Tuesday, September 29, 2015

CONNY OCHS: Iconic German Singer/Songwriter Checks In From Kabumm Studio Sessions As Third Solo LP Takes Shape

Iconic German singer/guitarist/songwriter CONNY OCHS is currently holed up in the studio, immersed in the process of creating his third solo LP, which will see release in the coming months, once again through Exile On Mainstream Records.
Following years of performing with rock, metal and alternative bands, CONNY OCHS began producing his own solo material in the new millennium, which showed the artist drawing heavy influence from great American rock and folk singer/songwriters like Woodie Guthrie, Vic Chesnutt, Bob Dylan and others. Yet through his mix of acoustic and electric guitars and the occasional solitary bass drum thump, CONNY bears one of the most incredible voices out there; a soulful and dynamic clean style that invokes incredibly emotive feelings from the listener, from absolute joy through the simple things life offers, or of purely melancholic end-time inner blues.
CONNY OCHS has returned to Studio Kabumm in rural Golzow, Germany, once again with producer/engineer/studio owner Thommy Krawallo, where his lauded sophomore album, Black Happy and both of his collaborative albums with Scott "Wino" Weinrich were created in full analog fashion. With virtually no specific details on his impending third solo outing available, the artist checks in from the studio with a bit of insight on the current recording sessions.
"Sun is bright at six after yesterday's rain. It´s crashing in. I can´t sleep; tried a few times but now I got up and sit outside Thommy´s place where yesterday we started recording.
I am full of bits and pieces, burning, some others cool me, too. They all came a long way to hang with me here, now, in the glassy morning. My friend Andreas asked me if I know how we will turn out here, with the album and all... I don´t. But I feel it´s the place and time to be, as we jump into it. Let´s make it ten good songs. That sounds right. Hey, just let it come, my friend would say.
I made coffee; as soon as Thommy wakes up we start rolling again. I miss you all. You´re with me here.
Love, Conny"
View several photos from the ongoing sessions HERE. Stand by for full disclosure of the details of CONNY OCHS' impending third solo outing upon completion of the album in the weeks ahead.

CONNY OCHS' 2010-released Raw Love Songs and 2013-released Black Happy solo outings, as well as his 2012 Heavy Kingdom and 2014 Freedom Conspiracy collaborative LPs with Wino are readily available on CD and LP through Exile On Mainstream Records and the label's stateside partner Earsplit Distro -- the sole US outlet for the Freedom Conspiracy vinyl -- and digitally via Exile On Mainstream. In North America view the wares at THIS LOCATION and internationally place orders HERE.

US doom psych pioneers SNAIL stream their new album in full via Classic Rock now!

West Coast psych metal pioneers SNAIL have teamed up with Classic Rock Magazine to stream their spellbinding new album "Feral" in full. Have a break, open your chakras and listen to the trio's fourth offering, before its release on September 25 via Small Stone Records... 
SNAIL's bassist and vocalist Matt Lynch comments on the making of the new record: "Musically, this album is the most diverse that we have released. Doom, Psych, Punk and Blues are all there. From amp-worshipping hypnosis to fuzz-laden freakouts and three part harmonies. The only requirement for sound was that it serve the song at hand. Thematically, the album deals with the dissolution of the Id or the "self" and the spiritual implications of that process. It's a psychedelic idea that is backed up by recent revelations in astrophysics as well as quantum mechanics. Infinite smallness as well as infinite expanse. It's all the same. This record is a description of that revelation."
Check out "Feral" in its entirety via Classic Rock
SNAIL formed in 1992 in Los Angeles, consisting of singer Mark Johnson (The Crucified, PASTE, Blessing the Hogs), bassist Matt Lynch and drummer Marty Dodson. The eponymous first album (Big Deal Records) garnered much praise in the press, and gained a loyal following from peers, leading to the DIY, 4-track cassette-recorded All Channels are Open EP, after which SNAIL sadly succumbed to the “sex, drugs, and rock and roll” lifestyle and eroded to the point of breaking up.
SNAIL set to work on Feral, their fourth full-length and first for Small Stone. Taking the varied approach of Terminus to new degrees of psychedelia and sonic heft, songs like “Smoke the Deathless” and “Thou Art That” epitomize the weighted melodic appeal of the band, while closer “Come Home” steps forward in its brazen emotionalism. Topped off with mind-bending artwork by Seldon Hunt, Feral is their best work to date, demonstrates the progressive capacity of the once-again trio of Johnson, Lynch and Dodson, and shows that Blood and Terminus may have just been the start of the wildness to come.
New album "Feral" out September 25th on Small Stone Records
Preorder on limited edition 180gr vinyl, CD and digital at this location
1. Building A Haunted House
2. Smoke The Deathless
3. A Mustard Seed
4. Thou Art That
5. Born In Captivity
6. Derail
7. Psilocybe
8. Come Home
Artwork by Seldon Hunt.

Mark Johnson - Guitars, lead vocals, keys
Matt Lynch - Bass, keys, vocals
Marty Dodson - Drums, percussion, vocals

Sunday, September 27, 2015

CLOUDS TASTE SATANIC release “Your Doom Has Come”

CTS Band Photo.jpg
Instrumental Doom Quartet Release Sophomore Full-Length
Brooklyn-based instrumental doom quartet CLOUDS TASTE SATANIC released their highly anticipated sophomore full-length on September 1st.  Titled Your Doom Has Come, the six-track follow-up to 2014’s critically-heralded To Sleep Beyond The Earth full-length was engineered and mixed by Nadim Issa at Let Em’ In Studios in Brooklyn and mastered by Alan Douches (High On Fire, Mastodon) at West West Side Music.
Thematically, Your Doom Has Come traces its inspiration to the darkest corners of the Book of Revelation.  Sonically, Your Doom Has Come finds the band at their fastest and most aggressive.  While To Sleep Beyond The Earth took a more Dopesmoker approach (with one forty minute plus song spread over 2 sides of vinyl), Your Doom Has Come takes a more De Vermis Mysteriis approach, compressing its conceptual storytelling into six minute plus songs of riff-filled Armageddon.  While all of Side A is joined together thematically to form the title song, the individual pieces work just as well on their own.
Check out the video for “Beast From The Sea” right now at:
CLOUDS TASTE SATANIC formed in Brooklyn, New York in 2013 and have spent the past two years building a reputation as one of the finest underground doom bands playing today.  They’ve patiently and deliberately developed a unique sound that melds riff dominated stoner rock with heavy doom.  With their live show, they work to create a multi-media mood that offers a true experience and companion piece to their albums.  CLOUDS TASTE SATANIC’s debut album, To Sleep Beyond The Earth was released in 2014 and managed to find its way into Decibel Magazine and across the blogosphere including The Sleeping Shaman ( ), CVLT Nation ( ), The Sludgelord ( ) and many more.
Your Doom Has Come Track Listing:                                                                                                     
Your Doom Has Come                                                                         
I.     Ten Kings                                                                                          
II.    One Third of The Sun                                                                           
III.  Beast From The Sea                                                          
Out of The Abyss
Dark Army
Steven Scavuzzo – Guitar
David Weintraub – Guitar
Sean Bay – Bass
Christy Davis - Drums
“To be completely honest I absolutely love this record!  I hate to just unabashedly gush over a piece of music, but when it’s good it’s good” The Sleeping Shaman (from review of To Sleep Beyond The Earth)

WE HUNT BUFFALO release Living Ghosts this Friday | Stream the album in full exclusively via METAL HAMMER
We Hunt Buffalo's Living Ghosts is released on 25th September through Fuzzorama Records

Fuzzorama Records is pleased to announce the release of Living Ghosts; the brand new album from Canadian psychedelic fuzz rockers We Hunt Buffalo.

Formed in the suburbs of Vancouver in 2010, with their debut EP the trio introduced the underground to a new band that in the words of Georgia Straight were, "dedicated to tracking down and capturing a dying breed of rock and roll.”

In hardly no time at all the band went on to generate a local buzz around the city’s rock scene where they soon crossed paths with Tanis Gibbons, apprentice to Colin Steward at local recording studio ‘The Hive’. Cutting their first full-length with Gibbons in 2011 – the self-titled We Hunt Buffalo – the album packed hard hitting, fuzz rock grooves and psychedelic metal in the spirit of Queens Of The Stone Age and Soundgarden. Fuelled by local acclaim, the band continued to play dirty rock and roll in and around Vancouver to a mounting fan base and in 2013 went on to release the EP Blood From A Stone, recorded at Nimbus School of Recording Arts by Alex 'Condor' Aligizakis. Of the EP’s title track Exclaim! Magazine described, “A fuzz-bomb riff that would make Tom Morello proud. A headbanger's paradise."

Throughout 2013 the band toured and performed with the likes of Sleepy Sun, Band of Skulls and Biblical and was added as main support to Monster Truck on their cross Canada tour later that same year. Fast-forward to today and the band has racked up notable support slots with Red Fang, Cancer Bats, Chevelle, Danko Jones, Electric Six and Steel Panther, along with an unforgettable appearance at Victoria's Rifflandia Festival.

Recorded by Jesse Gander (Bison, Japandroids, Anciients) at Raincity Recorders Living Ghosts will get an official release on Swedish record label Fuzzorama on 25th September.
We Hunt Buffalo:

Ryan Forsythe – Vocals/Guitar
Brendan Simpson – Bass/Vocals
Brandon Carter – Drums/Vocals
We Hunt Buffalo on Web | Facebook | Twitter


Fuzzorama (CD) –
Fuzzorama (LP) –

Saturday, September 26, 2015

Mark Lanegan - Houston (Publishing Demos 2002)

I’m not going to try to dazzle you with a meticulously-researched music history lesson about how, when, and at what speed the music of Seattle spread like wildfire around the country, because, truthfully, I only really know firsthand how it happened for me in Albuquerque.

Most of my indistinct memories of the second half of high school are set to the music of Judas Priest, Iron Maiden, and Mötley Crüe, as well as, regrettably, a fair sprinkling of Warrant, Ratt, Slaughter and Scorpions (the whistling Scorpions, not the rocking ‘70s Scorpions). 

But then, tucked in there in the fall of 1991, comes this sharp, lucid recollection of driving to school one morning and finally, belatedly, intensely noticing “Smells like Teen Spirit” playing on the radio. Who can guess how many times it had bounced off my ears without me processing what I was hearing?  It was high school; the radio was always on, but we weren’t always listening. 

I don’t recall going home and dramatically purging my CD collection – hell, I never even became that big of a Nirvana fan – but no further scenes in my mental high school movie are set to a hair-metal soundtrack.  Everything just seems a lot sharper and more significant after that.

By graduation, I was a big Pearl Jam and Alice in Chains fan, so I bought the Singles soundtrack as soon as it came out in the summer of 1992.  I didn’t recall until I was fact-checking my dates that the soundtrack album was actually released months before the movie, but I’m not surprised:  I really dug that movie, but I loved that soundtrack.  It was so undeniable, so perfectly compiled, that I wanted it to be my soundtrack, especially as I headed into college.  I soaked in it like cherries macerating in whiskey.  It got into my blood.  It had two previously unreleased Pearl Jam songs on it (igniting my lifelong obsession with exclusive, non-album tracks), but it also introduced me to a band with a singer unlike anyone I’d ever heard fronting a group.  Thanks to Singles, I discovered the Screaming Trees, and their unique, unmistakable voice, Mark Lanegan. 

Lanegan had a vocal delivery that was nothing like what I was accustomed to hearing from a rock frontman – no high-register wailing, no over-emoting to the point of pretentiousness.  His gravel-throated crooning seemed transplanted from a place where the founding tenets of cock-rock vocals hadn’t been popularized by Plant and perfected by Dio.  Rather, Lanegan coasted across the riffs like a smooth, baritone waverider, favoring longboard gliding over ostentatious shredding.  It was so subtle, actually, that it took me years to realize how cool it was.

I grew up in New Mexico, then went off to school in Florida for most of college.  Neither of those places ever had a sound that I experienced.  But Seattle had one, at least as far as I, a kid from New Mexico, knew.  And that sound was separate from grunge.  Grunge was a catch-phrase for a scene that got huge for a few quality bands from Seattle, got parlayed into success for some shittier bands from other places, then faded away, as anything does when you pour an increasingly diluted version of it down peoples’ throats for years.

I was barely paying attention to the scene.  I was tuning in to the sound of a city.  It was dark and gritty, and while no Seaweed song sounded like a Green Apple Quickstep song or a Mudhoney song, they all had a darkness and a struggling that united them and (in my mind) identified them with the place.  Defined the place.  I was captivated.

Over the years, my interest in some of those bands dwindled, while the Lanegan canon took on an increasingly prominent role in my life’s carefully curated score.  His songs, often haunting, seemed to indicate that he was generally living a rougher existence than most other artists, and that only gave them more weight. 

Mark Lanegan’s music brings an intensity to almost any moment, one you may not have expected or even wanted.  A walk through your neighborhood is just a walk till you put on “Leviathan” from Blues Funeral, and then it’s as if you’re carrying your last dead friendship in a metaphorical casket through a bittersweet funeral march.  One minute you’re contentedly posting photos of your breakfast on Instagram, but one listen to “No Easy Action” from Field Songs later and you’re gazing somberly at the ruin of the last fifteen years of your life, wondering how and where you went wrong.  I mean, shit, if Lanegan can hold it together, how the hell could you fuck it up?

Oh, and let’s not forget religion.  Lanegan’s songs are about Christianity the way Indiana Jones movies are about Christianity:  The little nods and touchpoints are there, but more because religious guilt and the threat of damnation make for great story anchors; no one is trying to send you home with a bible and a new joy at your place in God’s universe.

It’s 2015, and I’ve been living in Seattle for almost three years.  In just a few days, I’m leaving.  Measured from the year that Singles came out and this city caught my attention, it took me twenty years to get here, and now my stay is almost over. 

As a little reminder of the insubstantiality of things like time and place, I have a new solo album from Mark Lanegan, the onetime Screaming Trees singer that I’ve still never seen perform live, just to give me one last jab in the ribs.  (I missed him by an hour two years ago when I’d purchased scalped tickets to see him.  I guess it just wasn’t meant to be.)

His new record, Houston, is actually a collection of dark little demos from 2002, in which Lanegan is once again scraping at his soul for new ruminations on late nights, doomed pursuits and the burden of living.  As is generally the case with his music, these tunes epitomize the sound that has enthralled me for over half my life. 

Layne Staley once sang about struggling and losing himself in this city.  It’s a place where restlessness and territoriality create a weird sense of isolation (despite a population of over half a million), and Lanegan wrote and sang songs here about inner demons, alienation, and the stinking fucking rain for decades.  And, like a dark pint of porter on a cold city night, he always managed to make them sound comforting despite the chill.

Seattle has been weaving in and out of my life since 1991.  It gave me Alice in Chains and Sweet Water.  It taught me that an entire city could have a distinct musical personality, one that was indifferent to what the rest of the world was doing.  It’s where my first band made our first record, and, in 2012, it gave me a destination when I needed one.  It really is the Emerald City, and I’ve spent three glorious years here, soaking up its infuriating bleakness and standoffish idealism.  It’s been indescribably wonderful…even though whatever I thought could or would happen once I got here perhaps never did.

Through it all, Lanegan keeps putting out great records, and I’ll be singing “I don’t want to leave this heaven so soon” from Houston’s “When It’s In You” as I roll out of town.  He may live elsewhere now, as I soon will, but Mark Lanegan will always be the haggard, addictive voice of the Seattle sound for me.

- MeteorJadd

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