#Derelenismo Occulere
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Derelenismo Occulere | Inexorable RevelaciĂłn | 2020
Ecuadorian Raw Black Metal
https://anciententityrecords.bandcamp.com/album/inexorable-revelaci-n-pre-order
#Derelenismo Occulere#Inexorable Revelación#Ecuador#Ecuadorian Black Metal#Black Metal#Raw Black Metal#Underground Black Metal#music#band
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Dust, Volume 6, Number 10
The SlugsÂ
September seemed to be the month when all the records on endless delay finally got kicked out the door, COVID or no, ready or not here we come. Weâre deluged with music, some recorded before the world changed, some clearly cooked up mid-pandemic. There are a lot of covers EPs, lots of solo material, lots of home-made lo-fi, lots of benefit comps, and who are we to complain? Better, instead, to reach for the headphones, load up the hard drive, pile on the LPs and do some listening. Hereâs some of the stuff that caught our attention, as usual ranging all over the continuum, from traditional to edgy and experimental, from silly pop punk to enraged death metal to bookish electro-acoustic improvisation. Contributors this time out included Jonathan Shaw, Patrick Masterson, Jennifer Kelly, Bill Meyer, Derek Taylor, Ray Garraty, Tim Clarke and Andrew Forell. Happy fall.
Amputation â Slaughtered in the Arms of God (Nuclear War Now!)
Slaughtered in the Arms of God by Amputation
Given the degree of smugness that accompanies utterances of the phrase âOld School Death Metal,â itâs frequently instructive to listen to some. Right on time, the misanthropic bunch at Nuclear War Now! has delivered some seriously Old School sounds to our digital doorstep. This new compilation LP gathers both of the demos of Norwegian knuckle-draggers Amputation, along with a contemporaneous rehearsal recording. Likely the resulting record will be of principal interest to fans of Immortal, the long-running, on-again-off-again Norwegian black metal band that Amputation would morph into in 1991. The songs collected on Slaughtered in the Arms of God have some additional musicological significance, as they document the sounds of 1989 and 1990, transformational years in Norwayâs metal scene. Mayhem and Darkthrone tend to get most of the attention, for reasons both good and bad; and like Darkthrone, Amputation made death metal before transitioning to blacker, more brittle sounds. The music on Slaughtered in the Arms of God is muddy, thudding and thick. Perhaps thatâs the result of the primitive recording tech the band used, likely of necessity. But through the murk (and to some degree because of it), you can hear the influence of Stockholmâs fecund death metal scene, especially Dismemberâs earliest stuff. Scandinaviaâs metal currents run deep and dark. Whether that means that Old School Death Metal is intrinsically a good thing is a different matter.
Jonathan Shaw
 Anz â Loose in Twos (NRG) 12â (Hessle Audio)
Loos In Twos (NRG) by Anz
I love the idea of listening to DJ mixes of original or all-new material; itâs probably why I still value, say, Ricardo Villalobosâ Fabric 36 so much. Manchesterâs Anna Marie-Odubote, aka Anz, has been doing just such a thing annually since 2015 and really went wild with spring/summer dubs 2020, which compiled 74 tracks into nearly an hour and a half of new music. That wouldâve been more than enough amid all of this (imagine me gesturing around vaguely), but âLoos in Twos (NRG)â on the venerable Hessle Audio imprint is an equally formidable, decidedly tighter release I played a lot at the start of September. Three club-ready tracks here break down acid, jungle and footwork, and while all three are heady breaks, the looped vocals and bongo of âStepperâ make it the one for me. Get those feet moving digitally now so theyâre comfortable once the vinyl arrives in early October.
Patrick Masterson
 Ashes and Afterglow â Everybody Wants a Revolution (Postlude Paradox)
Ashes and Afterglow drops pop punk melodies into deep buckets of fuzz, lets them bubble and bob to the surface before shoving them under again. The band is mainly the output of one Luke Daniel, who appears to have been in other band called Sea of Orchids, but neither outfit has left much of an internet trail. And sure, this is the kind of thing that could easily get shuffled under; it breaks no moulds. And yet shuffling âTo Take a Look at the World,â has a heart-worn resonance, Danielâs voice echoing in reverbed hollow-ness against surging tides of guitar noise. âMy Yesterday Girlâ churns a little harder, with a bright, pop-leaning sort of hopefulness hedged in by seething feedback. Itâs not bad, but it never hits a melodic vein the way that similarly inclined artists like Ted Leo or Ovlov or Tony Molina do, and it never pushes the noise over the top, either. Neither pop nor punk but somewhere in middle.
Jennifer Kelly
 Ballister â Znachki Stilyag (Aerophonic)
Znachki Stilyag by Ballister
A cake is still a cake, whether you put chocolate frosting and strawberries or white icing and a fondant roses on top. And while they donât all taste or look exactly the same, a Ballister album is still a Ballister album, and the first Ballister album in three years does not mess with the recipe. Dave Rempis (alto and tenor saxophones), Fred Lonberg-Holm (cello and electronics), and Paal Nilssen-Love (drums and percussion) still trade in a particularly hard-hitting form of total improvisation. The changes are ones of emphasis â Lonberg-Holm sounds like heâs using a wah-wah pedal and deploys some especially slashing feedback tones, thereâs a bit more space in Nilssen-Loveâs intricate beat configurations, and Rempis left his baritone sax at home â and of location. Znachki Stilyag was recorded during the fall of 2019 in Moscow, Russia, which may explain why the big horn stayed at home. But the ones you hear still cut and thrust with broadsword force and rapier precision. This is a cake you can trust.
Bill Meyer Â
 Vincent Chancey â The Spell: The Vincent Chancey Trio Live, 1987 (No Business)Â
Vincent Chancey likely isnât alone amongst his peers in feeling exasperated by folks singling out his instrument as uncommon or unusual to jazz. Itâs a form of damning through faint praise and one that feel
s even more lackadaisical with any time spent with his music. Chancey plays the French horn and heâs plied it in settings as diverse as Sun Ra Arkestra, Lester Bowieâs Brass Fantasy and Charlie Hadenâs Liberation Music Orchestra as well as gigs supporting Aretha Franklin and Elvis Costello. Itâs unclear whether the trio documented on The Spell was a working concern, but that hardly matters given how well bassist Wilbur Morris and percussionist Warren Smith gel with their convener. Spread across two sides of an LP, the concert recorded at a New York City art gallery covers four pieces, two by Morris bookending one apiece from Smith and the leader that stitch together very much like cohesive suite. An unadvertised surprise comes with Smithâs ample application of marimba alongside a regular drum kit. Recording quality isnât optimal, but Chanceyâs rich, rounded, phrases gain extra gravitas through the sometimes-grainy acoustics. Woefully underrepresented in the driverâs seat discographically, his acumen as both improviser and composer is easily vindicated by this limited edition (300 copies) release.
Derek TaylorÂ
 Che Chen â Tokyo 17.II.2012 (self-released)
Tokyo 17.II.2012 by Che Chen
Nowadays Che Chen has earned a measure renown as the guitar-playing half of 75 Dollar Bill, and all the praise is earned. But before that, he played a roomful of instruments in the True Primes, Heresy of the Free Spirit and duos with Robbie Lee, Tetuzi Akiyama and Chie Mukai. The through-lines to all these efforts is a willingness not to play things the way their supposed to be played, and a gift for supplying the right resonance in any setting. Since 75 Dollar Bill is a New York-based band made for social occasions, the COVID-19 lay-off has been especially hard â so thereâs no better time to see whatâs in those hard drives in the closet, right? Chen has released this solo concert from 2012 via Bandcamp. In Tokyo for a brief layover, he played amplified violin at a party held in the basement of someoneâs apartment building. The amplified part is important; dips and swells of feedback count as much as in this 25-minute performance as the fiddleâs bright, plucked notes and rough, bowed tones. Chen moves purposefully from one mode to next, taking time along the way to savor the roomâs lively acoustics.
Bill Meyer
 Jeff Cosgrove/ John Medeski/ Jeff Lederer â History Gets Ahead of the Story (Grizzley Music)
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Odds are that even the estimable William Parker would be surprised by the prospect of a William Parker cover album. But thatâs essentially what History Gets Ahead of the Story is as organized and realized by drummer Jeff Cosgrove. That the project is the province of an organ trio only adds to the potential consternation quotient. John Medeski officiates the Hammond B-3 console and saxophonist Jeff Lederer, doubling on flute, completes the combo convened by Cosgrove. The latterâs connections to Parker stem from a trio he was part of with the bassist/composer and pianist Matthew Shipp that disbanded in 2015 after fruitful collaboration. Parkerâs personage and music left an indelible mark and the seeds for the present album were sown. Collective creative license doesnât get in the way of soulful, energizing renderings of such staples as âOâNealâs Porch,â âCorn Meal Danceâ and âWood Flute Songs,â but troika also cedes time for a triptych of strong originals that align aurally with their dedicateeâs inclusive tone world sensibilities.
Derek Taylor Â
 Derelenismo Occulere â Inexorable RevelaciĂłn (Le Legione Projets)
Inexorable Revelacion (FULL LENGHT 2020) by Derelenismo Occulere
This sounds like a rehearsal gone wrong. In the time of the COVID pandemic, Neo Apolion, a guy responsible for the music in this Ecuadorean duo, recorded a demo and sent it to the bandâs vocalist Malduchryst with a message to do with it whatever he wants. Malduchryst took his band partnerâs words all too literally. With complete disregard to the music he began vomiting a noisy, messy mass of screams to a microphone (has he never heard of a black metal with no vocals?). If it sounds totally batshit, you can rest assured that it is. This is what makes Inexorable RevelaciĂłn actually great black metal. When a lot of metal bands these days are just Backstreet Boys with leather jackets on and with guitars, Derelenismo Occulere care about only fury and mayhem. Their Argentinean mix man Ignacio only adds more chaos to the album. The only flaw this tape has is that it is 15 minutes too long.
Ray Garraty Â
 Whit Dickey â Morph (ESP-Disk)
Morph by Whit Dickey
Drummer Whit Dickey and pianist Matthew Shipp have been recurrent partners since the early 1990s, when they were both members of the David S. Ware Quartet. Itâs fair to say that each man is a known quantity to the other, and that one of the things they know about each other is that they might still be surprised by the otherâs playing. Dickeyâs retreated from time to time in order to revise his approach, and while Shipp has often threatened to quit recording over the years, he has never stopped working or evolving. This double disc combines one duo CD and another that adds trumpeter Nate Wooley to the pair. Wooleyâs done a number of dates with Shipp in recent times, but he and Dickey were musical strangers before they entered Park West Studios in March 2019. Without Wooley, Shipp and Dickey seem very free and trusting of each other, transitioning with dreamlike ease from abstracted gospel to sideways swing to restless co-rumination this the ease. The trio seems more considered. The trumpeter dips quite sparingly into his extended technique bag, favoring instead linear statements that instigate fleet perambulations from the pianist and more supportive, less overtly dialogic contributions from the drummer. Both sessions work, and their differences complement each other quite handily.
Bill Meyer
 Dropdead â S/T (Armageddon)
Dropdead 2020 by Dropdead
Yep, itâs that Dropdead, the Providence-based powerviolence band that hasnât released a proper LP since 1998 and was on a long hiatus through much of the 21st century. Since 2011, Dropdead has put out a string of splits, with heavyweights like Converge and Brainoil. But a whole record? Maybe the unrelentingly shitty condition of our political and economic conjuncture motivated the four guys in the band (three of whom have been affiliated with Dropdead since 1991) to write the 23 burners, rants and breakdown-heavy hardcore tunes youâll hear across Dropdeadâs 25 minutes. Itâs a welcome addition. Bob Otisâs voice doesnât have the shredding quality of days of yore â but that ends up being useful. You can hear the lyrics, and theyâre drenched in venom and righteousness. The rest of the band hasnât lost a step. Pretty impressive for a bunch of guys with that much grey in their beards. That said, they donât pull any intergenerational, âweâre-older-and-wiserâ moves. This is still music that wants to collapse boundaries, between stage and mosh pit, between races and genders, between species, even. Not so much class positions: âWarfare State,â âUnited States of Corruption,â âWill You Fight?â Late capitalismâs depredations still bear the principal brunt of the bandâs anger. Things have gotten worse, and Dropdead respond in kind. They may be a lot older, but theyâre even more pissed off.
Jonathan Shaw
 Fake Laugh â Waltz (State 51 Conspiracy)
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Earlier this year, Kamran Khan released his second Fake Laugh album, the charming, playful Dining Alone, which made its way into Dustedâs mid-year round-up of favorites released in the first half of 2020. Khanâs third album, Waltz, is a very different beast, featuring just piano, vocals and the odd keyboard texture, casting his songwriting in sharp relief. Undoubtedly created in this stripped-down way out of lockdown necessity, itâs hard to listen to these wistful, melancholic songs without imagining where Khanâs knack for colorful arrangements might take them, given the chance. (As a tease, closing song âAmhurstâ offers up a shimmering electronic melody and some sighing synth chords.) Thereâs no doubting Khanâs way with a tune, and his naked vocal, though occasionally showing strain, suits the mood. Itâs understated and undeniably lovely, yet Waltz feels like a minor release for this talented artist.
Tim Clarke
 David Grubbs / Taku Unami â Comet Meta (Blue Chopsticks)
Comet Meta by David Grubbs & Taku Unami
In the 23 years since Gastr Del Sol fell apart, David Grubbs has done many things that donât sound much like his old band with Jim OâRourke. And Taku Unami has worked in such varied settings and ways that the most persistent quality of his engagement with sound is its ability to induce question marks and ellipses in any train of thought intending to decode it. So, itâs both remarkable and delightful that this record, the duoâs second collaboration, sounds rather like parts of Gastr Del Solâs Upgrade & Afterlife. The foundation rests upon the way two guys who can and do play intricate guitar duets make subtle use of other elements â creeping acoustic piano, humming synthesizer, urban field recordings â to make music that thickens atmosphere and accumulates mystery with such subtlety that you donât notice it until youâre in it.
Bill Meyer Â
 Guided by Voices â Mirrored Aztec (Guided by Voices Inc.)
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I know, I know, itâs another Guided by Voices record, the fifth since 2019, but hear me out. Pollard is still tapped into the fuzzy, rackety, melodic sap of the rock and roll universe, and he has only to knock his hammer a few times against the gnarled tree of life to extract more of what sustains us. Shorter version: he can do this all day, every day, without any noticeable let-up in quality. So, let us celebrate another batch of Who-like power chords, of rumbling drums and monumental bass thuds, of melodies that curve out delicately like springâs first vines, then thicken into thundering climaxes and triumphant refrains. Let us give thanks again for inscrutable lyrics that drift off into poetry then pull back in the most ordinary artifacts of the spoken word. âI Think I Had It. I Think I Have It,â crows Pollard in a voice that has been blasted by time but come out more or less intact, and yes, Bob, you still do.
Jennifer Kelly
 Edu Haubensak & Tomas Korber â Works for Guitar & Percussion (Ezz-thetics)
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The celebrated Wandelweiser aesthetic serves as a loose overarching impetus for the four interpretations of compositions by Edu Haubensak and Tomas Korber that comprise Works for Guitar & Percussion. Classical guitarist Christian Buck and improvising percussionist Christian Wolfarth ply their instruments through pairing and isolation. Essayist Andy Hamilton describes context by delineating a distinction between music (based in the language of tones) and soundart (which is non-tonal) and placing the duoâs interpretations in the opaque border between these realms. Repetition and timbral disparity frame Haubensakâs âOnâ while Korberâs âAufhebungâ applies scrutiny to microtonal diversity and temporal impermanence. Wolfarth fields Korberâs âWeniger Weissâ from behind snare drum, trading recurring stick rolls with varying segments of silence that compel ears accustomed to Western musical structures to consciously fill in the blanks. Haubensakâs solo âRefugiumâ finds Buck bending two closely tuned strings in an extrapolation of an Arabic maqam that feels tenuously connected to the form, at best.
Derek TaylorÂ
 Inseclude â Inseclude (Inseclude)
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Brad MacAllister of CTRL and Blue Images and Benjamin Londa of Exit have been working in the darkwave and chillwave scenes for several years and their first album as Inseclude is a long distance collaboration that mines the darker side of 1980s alternative and electronic rock. From Pennsylvania, MacAllister sent musical ideas to Londa in Texas who added guitars, lyrics and vocals to produce a set of songs that are well made and enjoyable if largely unmemorable. There are a number of contemporary bands doing similar things â Hamiltonâs Capitol and Manchesterâs Ist spring immediately to mind â taking the Cure, New Order, Sisters of Mercy template and why not? Unfortunately, the passage of time and the law of diminishing returns have led to overfamiliarity with this style of music that makes for easy and perhaps unfair comparisons. When they stretch themselves, Insecludeâs songs do hit. âSonderaâ and âFailing To The Pulseâ carry some real menace with the juxtaposition of wide-angle synths and paranoid vocals but elsewhere the pair seem held back by a restraint and lack of bottom end that diminish the impact of some pretty decent songs.
Andrew Forell
 Kvalia â Scholastic Dreams Of Forceful Machines (Old Boring Russia)
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ĐŸĐ»Đ°ŃŃĐžŃĐ”ŃĐșОД ĐŃŃĐ·Ń ĐĄĐžĐ»ĐŸĐČŃŃ
ĐĐ°ŃĐžĐœ by ĐĐČалОа
Krasnoyarsk sits on the banks of the Yenisei river in southern Siberia and is known both for the natural beauty of its surrounding landscape and for its primacy as an aluminum producer. Local musicians Aleksander Maznichenko and Aleksey Danilenko reflect the latter on their new five track EP Scholastic Dreams Of Forceful Machines, an icy, metallic collection of post-industrial clang pitched somewhere between EinstĂŒrzende Neubauten and early Clock DVA. Their machines are forceful but cranky, rusted, near obsolete. Maznichenko keeps the thrum of turbines is steady but the drum machines lurch and thump, the keyboards whine and scream, the Russian vocals protest their obstreperous charges. Danilenkoâs bass is post-punk elastic skipping amongst the raining sparks hinting at a will to dance with his mutant riffs. They sound like they mean it and the result is a terrific EP full of fire, fumes, steam and sweat.
Andrew Forell Â
 Mezzanine Swimmers â Kneelinâ on a Knife (Already Dead)
Kneelin' on a Knife by Mezzanine Swimmers
These songs circle around noise-crusted, repetitive beats, the drumming stiff and mechanical, the riffs chopped to short bursts, the vocals woozy and distended. âSexy Apologyâ reiterates a three-note keyboard lick ad infinitum, as main Swimmer Mike Smith drawls the title phrase, similarly on repeat. Yet within this unchanging structure, chaos erupts in detuned keyboards, miasmic feedback and corrosive noise. Itâs hard to say whether these songs are too tightly organized or too loose, a bit of both really, and yet, get past the headachy thud and thereâs an unhinged psychotropic transport. No one ever said that kneeling on knives would be comfortable.
Jennifer Kelly
 Mosca â The Optics (Rent)
Mosca · The Optics [RENT001]
Part of the initial wave of neon-infused dubstep hedonism surrounding the Night Slugs camp at the turn of the last decade, Moscaâs Tom Reid has since survived on the strength of a regular slot behind the decks at NTS and sparingly deployed releases on such renowned labels as Numbers, Rinse, Hypercolour and Livity Sound. âThe Opticsâ debuts his new Rent imprint, conceived as a way to get out music that doesnât fit in elsewhere. (Originally, this was to be an a-side for a coming AD93 release, but as he says, âThere's only so long you can keep a track with a baby crying in it back from the masses.â) Supposedly inspired by the Under the Skin beach scene, the five-minute track immediately throws you off with a dub-heavy shuffle and metallic, alien sounds that zoom around the mix. The main thrust of the melody arrives around a minute in, and gradually the sounds close in on you. Thereâs bells, birds, a baby crying and then, just when youâre feeling completely stressed out, it all falls away; a driving jungle rhythm carries you the rest of the way. Deeply satisfying dance from a head who hasnât lost his way.
Patrick Masterson Â
 Prana Crafter/ragenap â No Ear to Hear (Centripetal Force Studio/Cardinal Fuzz)
No Ear to Hear by Prana Crafter / ragenap
When Robert Hunter, the poet who wrote lyrics for the Grateful Deadâs âDark Star,â âRipple,â âTruckinâ,â âTerrapin Stationâ and many other songs, died in late 2019, long form psych musicians Prana Crafter (William Sol) and ragenap (Joel Berk) mourned separately but simultaneously. The night he died, both took solace in improvised music, which didnât so much evoke or represent Hunter, but captured some of their feelings about his work and their loss. When they talked, soon after, they found that both had made lengthy open-ended meditations on the same person. Those two extended pieces make up No Ear to Hear. Prana Crafterâs entry, âBeggarâs Tomb,â is weighted and slow moving, building gradually from simmering drones into towering edifices of feedback and dissonance. Although performed largely on guitar, the sound is filtered through gleaming effects and layers into astral strangeness, a mysticâs trip through mental interiors. ragenapâs âNightfallâ also takes shape slowly out of looming sustained notes and black velvet quiet and sounds that scratch and vibrate at the edges. A solitary acoustic guitar takes up space at the forefront finally, carving a hesitant melody across the hum. The tune turns fuller and more agitated as it progresses, adding layers of feedback and distortion. Neither of these pieces sounds much like the Grateful Dead, and of course, neither has any sort of lyrics. I doubt that anyone, hearing this album for the first time would say, âOh yeah, Robert Hunter.â And yet inspiration works in strange and, in this case, fruitful ways. You can enjoy this even if you donât like the Dead.
Jennifer Kelly
 Raven Throne â Viartannie (Chroniki Ćčmiainaj Ciemry) (self-released)
Viartannie (Chroniki Ćčmiainaj Ciemry) /The Return (The Chronicles of the Serpent Darkness) by RAVEN THRONE
These Belorussian black metal veterans are true materialists. On their seventh album, they show that nature is a social construct, not something given. And boy, their nature is not a loving mother. Unlike many metal bands convey nature via field recordings, Raven Throne craft their ferocious sounds with guitars and drums. Arenât these as natural instruments as stone and wooden sticks? The atmospheric black metal subgenre has been contaminated by pop and folksy metal so that itâs hard to maintain a truly evil sound, while still bringing the atmospheric elements into it. Raven Throne pull it off. This is how darkness should sound.
Ray Garraty Â
 The Slugs â Donât Touch Me Iâm Too Slimy (2214099 Records DK)
Don't Touch Me, I'm Too Slimy by The Slugs
The Slugs are an exuberantly lo-fi punk pop duo out of London who bash and thump and shout short, acidic ditties about being female, in a band, under assault and under the weather. Liberty Hodes, who is also one half of the comedy duo A Comedy Night that Passes the Bechdel Test, plays a jangling, forceful electric guitar, while her Phoebe Dighton-Brown bangs away in brutal simplicity on the drums. Both sing, sometimes in unison, sometimes in rough harmonies, occasionally in slashing counterparts. (One chants âFeel sick/canât be sickâ while the other rolls out mellifluous âah-ah-ah-ahsâ in âFeel Sick.â) There is a charming, unstudied quality to their music, which is a bit too smart and biting to be primitive, but nonetheless eschews frills. Itâs hard to pick favoritesâthe whole EP is over in five tracks and 11 minutesâbut âPestâ is giddy fun, with its slouching, battering guitar-drum motif and slacker choruses. The shout along chorus of âDonât touch me! Iâm too slimy!â is the best thing on the record, hitting a rebellious, unwashed spot of resonance in the work-from-home era. Second best, the gleeful tirade about sleazy male promoters in âGirly Gangâ (âGive you all the gigs if you touch my wangâ), which builds in round-singing euphorias until it ends suddenly and a la Jane Austen in matrimony (âMarried in a dress by Vera Wangâ). People are comparing the Slugs to the Shaggs, but thatâs just short-hand for banging away anyway without all the training. The Slugs are smarter, slyer and more autonomous, and if they sound a little rough, thatâs exactly how they meant to sound.
Jennifer Kelly
Tobin Sprout â Empty Horses (Fire)
Empty Horses by Tobin Sprout
Blessed with one of the finest names in music (alongside dEUSâs Klaas Janzoons), Tobin Sprout is best known for being part of the Guided by Voices line-up that created classic albums such as Bee Thousand and Alien Lanes in the 1990s. Though Sproutâs subsequent solo output has been a steady stream compared to Robert Pollardâs deluge, Empty Horses is his eighth solo album. In it, the now-65-year-old ruminates faith, mortality and American history atop a spare, country-tinged backing. Thereâs a deep ache to many of these songs, the kind of emotional weight that manifests in pointedly low tempos, sparse drum parts that hang behind the beat and vocal performances that are almost uncomfortably intimate. Running to a succinct half-hour, with many of the songs clocking in at just a couple of minutes each, Empty Horses confronts demons seemingly too pernicious to overcome. Yet, when the music becomes more expansive â such as the graceful pedal steel of âBreaking Down,â the woozy modulation of âAntietam,â or the biting fuzztone of âAll In My Sleepâ â Sprout sounds like he may be on the verge of making a much-needed breakthrough.
Tim Clarke Â
 Son Lux â Tomorrows I (City Slang)
Tomorrows I by Son Lux
Son Luxâs songs embed unsettling sounds in deep wells of silence, finding disturbing textures in string sounds, electronics, percussion and the fluttering soul falsetto of founder Ryan Lott. Tomorrows I, reportedly the first of three related albums, has a quietly dystopian vibe and a moist, echoing unease that might remind of you Burialâs classic Untrue. A brief, looped, keening violin motif punctures the opening cut, âPlans We Madeâ with all the threat of Bernhard Hermannâs shower music for the film Psycho, while Lott trills haunted phrases about being afraid to let go. âUndertow,â near the end, brings in a whole string quartet to swoon dissonantly, as a knocking beat (drummer Ian Chang) sounds like a body being dragged across the floor. âJust waiting for the undertow,â sings Lott in the dread empty spaces between, in arias of muted desolation. Minimalist and menacing and mesmerizing.
Jennifer Kelly
 Ulaan Janthina â Ulaan Janthina (Part 1) (Worstward)
Ulaan Janthina (Part I) by Ulaan Janthina
Steven R. Smith contains multitudes, and Ulaan Janthina is the latest manifestation of his mutating musical self. This release exemplifies three aspects of Smithâs practice. First, he likes to make beautiful things. Hard copies of this tape come in a custom-oriented box that contains tinted photos, shells and printed communications as well as the cassette. And heâs project-oriented. While other iterations have been devoted to an Eastern European vibe, or guitar noise or a virtual ensemble sound, Ulaan Janthina results from a decision to work primarily with the keyboards in his house. Itâs a winning strategy, since his synthesizers, organ and harmonium all benefit from the grittiness of Smithâs recording methodology, and his spare playing style makes his melodies stand out quite starkly from the background atmosphere. Like the name says, this is part one of the Janthina (named for a genus of sea snail that makes its own floating platform â not a bad metaphor for the survival-oriented independent musician) venture; a second, similarly packaged cassette is pending from Smithâs Worstward imprint soon, and a future release is already planned by Soft Abuse records.
Bill Meyer
 Various Artists â Spr Blk: Liberation Jazz and Soul From the '70s and Beyond (Paxico)
Liberation Jazz and Soul by Marcus J. Moore
Author Marcus J. Moore (late of The Nation but also found everywhere from Pitchfork to WaPo) has a book on the way in October, The Butterfly Effect: How Kendrick Lamar Ignited the Soul of Black America. In advance of its release via cassette devotees Paxico, Moore cobbled together ârare and somewhat familiarâ Black music from his own crates. âThese are the kinds of songs I play when walking through New York City or driving through Maryland,â he says in the release. What that means for you is a two-sided mix that burns slower on the A and gets more percussion-heavy on the B. Leading off with Doug Carnâs fittingly titled âSwell Like a Ghostâ and featuring jams from Willie Dale, Milton Wright, Ronald Snijders and other lesser jazz, soul and funk lights, itâs a revealing mix that will no doubt pair well with that fall reading youâre about to get going on.
Patrick MastersonÂ
 Vatican Shadow â Persian Pillars of the Gasoline Era (20 Buck Spin)
Persian Pillars Of The Gasoline Era by Vatican Shadow
Dominick Fernow is hugely prolific, and most folks with ears tuned to the densely churning worlds of noise and industrial music will be familiar with his abrasive, unsettling output under the Prurient moniker. Fernowâs releases as Vatican Shadow are fewer in number, and more attuned to ambient, even melodic movements and textures. Thatâs sort of odd, given that the Vatican Shadow records thematize and explore Fernowâs obsession with the history of the Middle East, especially post-9/11 collisions of Western military force, Islamic traditions of resistance and the tactics of terror used by both sides. Relaxing stuff, that ainât. Consistent with the larger projectâs tendencies, Persian Pillars of the Gasoline Era claims an interest in the CIA-coordinated Iranian coup (MI6 helped out, too, those imperial scamps) that deposed Mohammed Mossadeq, installed the Shah Reza Pahlavi and inaugurated some of the principal tensions that have shaped the last half-century of world history. Itâs unclear how Fernowâs pulsing, shimmering, sometimes juddering synth sounds are meant to represent or otherwise engage that history. For sure, record art and song titles summon all the right semiotics, sometimes with an interesting edge. But âTaxi Journey through the Teeming Slums of Tehranâ sounds more like a malfunctioning MP3 player than a taxi or a âteeming slumâ (can we all be done with that phrase now?), and âMoving Secret Moneyâ is pleasantly trance-inducing, rather than insidiously evil. Musically, itâs quite good. The packaging seems to want strike other notes. Maybe thatâs the point â too many folks are too busy consuming quietist pop to bother with the grind of the political. But is this the intervention we need? Â
Jonathan Shaw
#dusted magazine#dust#amputation#jonathan shaw#anz#patrick masterson#ashes and afterglow#jennifer kelly#ballister#bill meyer#vincent chancey#derek taylor#chen chen#jeff cosgrove#john medeski#jeff lederer#Derelenismo Occulere#ray garraty#whit dickey#dropdead#fake laugh#tim clarke#david grubbs#taku unami#guided by voices#inseclude#andrew forell#kvalia#mezzanine swimmers#mosca
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FĂ©mjelzĂ©s â a hĂ©t ĂșjdonsĂĄgai (2020. szeptember 28 â oktĂłber 4.)
FĂ©mjelzĂ©s â a hĂ©t ĂșjdonsĂĄgai (2020. szeptember 28 â oktĂłber 4.) - https://metalindex.hu/2020/10/04/femjelzes-a-het-ujdonsagai-2020-szeptember-28-oktober-4/ -
TemĂ©rdek Ășj anyag, sok-sok izgalmas koronggal, az oktĂłber eleje ismĂ©t meghozta a gyĂŒmölcsĂ©t!
Acta Sanctorum â Consignatum Satanas Actum (black metal) Aeon Bridge â Mixing Mythologies (speed/thrash metal) Aisumasen â Tunguska (sludge/doom metal) Alex Mele â Alien DoppelgĂ€nger (heavy metal) Amaranthe â Manifest (alternatĂv metal) Amiensus â Abreaction (progresszĂv black metal) Anaal Nathrakh â Endarkenment (industrial black metal/grindcore) Arroganz â Morsus (black/death metal) Arseis â Melz Venist Li Brullin (black/death metal/folk) Ascian â Elysion (death/doom metal) Bacchus Mass â ÎÏÏÏÎżÎœ ÎÏ
ÎœÎżÏ (melodikus black metal) Belethâs Curse â Belethâs Curse III (black/thrash metal) BleedSkin â Blood Reign (death metal) Bliss of Flesh â Tyrant (black/death metal) Brave the Cold â Scarcity (grindcore/death metal) Briqueville â Quelle (post-metal/rock) Brocken â Soma | Sema (doom metal) Cadaverous â Luguber (brutĂĄlis death metal) Cause Unknown â Ghost Metamorphosis (progresszĂv heavy metal) CimetiĂšre â Extinction (black metal) Concrete Age â Spirituality (thrash/power/melodikus death metal) Confrontation â The Six Battles of Courland (death/doom metal) Cryptae â Nightmare Traversal (death/doom metal) Cyanide Grenade â Kind of Virus (thrash metal) Dead in Silence â Vocatus et Morbo (nyers black metal) Demvr â Revolt of the Angels (black metal) Derelenismo Occulere â Inexorable revelaciĂłn (black metal) Destroyers â DziewiÄÄ krÄgĂłw zĆa (thrash metal) DevilDriver â Dealing with Demons, Volume I (groove/melodikus death metal) Diabolika â âŠAl Infierno!!! (thrash metal) Dialogia â Nostrum (doom/death metal) Disastrous â Disastrous (brutĂĄlis death metal) Disintegration â Prahara (brutĂĄlis death metal) Elcrost â Foregone Fables (black metal) Encenathrakh â Thraakethraaeate Thraithraake (technikĂĄs brutĂĄlis death metal) Endless Reign â Time Of Tyrants (thrash metal/metalcore) Enslaved â Utgard (progresszĂv black/viking metal) Executive Disorder â Social Insecurity (crossover/thrash metal/hardcore punk) Eye of Solitude â The Ghost (funeral doom metal) Fallen Angel â All Salvation Lost (death metal) Frailty â TumĆĄi ĆȘdeĆi (doom/death metal) Framtak â Framtak (black/folk metal) Fulanno â Nadie estĂĄ a salvo del mal (stoner/doom metal) FunĂ©rarium â Haunted (atmoszferikus black metal) Gallows Hymn â The Age of Decadence (progresszĂv folk metal) Giant â Born Again Dead Again (stoner/doom metal) Goot â The Everlasting (gĂłtikus metal) Gorephilia â In the Eye of Nothing (death metal) Grevlar â Cloud of Death (death metal) Harpago â ParaĂso Perdido (heavy/speed metal) HĂ€xenzijrkell â Die Nachtseite (black metal) Herald â Kurat (heavy metal) Herbstschatten â Abschaum (black metal) Höllenabgrund â Tote Seelen (black metal) Horde of Hel â Döden nalkas (black metal) Hylskog â Summoning the North Coldness (black metal) Iron Angel â Emerald Eyes (power/speed/thrash metal) Isengard â VĂ„rjevndĂžgn (folk black metal) Iternia â Between Good and Evil (power metal) Ivory Moon â Lunar Gateway (epikus szimfonikus metal) Ixion â Lâadieu aux Ă©toiles (atmoszferikus doom metal) John Matrix â Empty Hands (sludge metal) Karpackonaut â Transmissions (experimental sludge/post-metal/rock) Kivelak â The Spiral (industrial black metal) Lamp of Murmuur â Heir of Ecliptical Romanticism (black metal) Largo Viaje â El sabio (folk metal) Last Century â A State of Being Aware (technikĂĄs thrash metal) Li Nus â Li Nus (sludge/death metal) Malignant Curiosity â The Portal (melodikus death/power metal) Medieval Demon â Arcadian Witchcraft (melodikus black metal) MemĂłrias PĂłstumas â Descanse Em Dor (doom metal) Methodica â Clockworks (progresszĂv metal) Monsterworks â Malignment (thrash/death/heavy metal) Moon Wizard â The Night Harvest (stoner/doom metal/rock) Movarbru â Sob o DomĂnio do Antigo Culto (black metal) MyGrain â V (melodikus death metal) Nachtblut â Vanitas (melodikus gĂłtikus/black metal) Necroneutron â Goetiaâs Mourners (black/thrash metal) Nemesis â Warrior Queen (EP) (doom metal) Nether â Beyond the Celestial Sphere (thrash metal) Nightmare â Aeternam (heavy/power metal) NouseyesuoN â Death Is Nothing to Us (szimfonikus metal) Nubivagant â Roaring Eye (black metal) Ohm Rune â Gargantua (stoner/doom metal) Old Sorcery â Sorrowcrown (black metal/ambient/dungeon synth) Oldmoon â The Osteomantic Incantation (doom/death metal) Once Awake â Bridgeburner (groove metal/metalcore) Orgiastic Defleshment â Perverse Carnivorous Humanicide (brutĂĄlis death metal) OriginâHell â Realm of Necromass (death/thrash metal) Orion â Mysterivm Cosmographicvm (thrash/death metal) Pandemic Holocaust â Human Extermination Kult (death metal) Panzram â Black Hearted Battery (industrial/black/doom metal/ambient) Periodeater â Wore More than Your Life (black metal) Persefone â Truth Inside The Shades 2020 (melodikus death/progresszĂv metal) Project Alcazar â Lost in Centralia (progresszĂv metal) Projekt NebelkrĂ€he â Deutsches Requiem (black metal) Protokult â Transcending the Ruins (folk metal) Rerthro â The Birdâs Song (black/death/thrash metal) Rezn â Chaotic Divine (pszichedelikus doom/stoner metal) Rimethurses â Rimethurses II (nyers black metal) Sammasâ Equinox â TulikehrĂ€t (black metal) Sandworm â Revenge of Bygone Clans (nyers black metal) Satanâs Basement â Devout Malevolence (sludge/drone doom/grindcore/death metal) Serpent Column â Kathodos (avantgĂĄrd black metal) Six Feet Under â Nightmares of the Decomposed (death/groove metal) SkĂĄphe â SkĂĄpheÂł (black metal) Skycrater â Journey to the Motherland (heavy metal) Skyless Aeons â Drain the Sun (melodikus black/death metal) Smogg â Watch Yourself Rot (thrash/death/groove metal) Sorrowful Life â Far Away from This World (depresszĂv/atmoszferikus black metal) Sove â Tapte sjeler (black metal) Striborg â Unknown Entities (blackened coldwave/elektronika) Strigon â Lone Wolf (black metal) Sumac â May You Be Held (atmoszferikus sludge metal) Swarmageddon â Inhuman (melodikus death metal) Symphia â Anteludium (szimfonikus metal) Synthetic â Clepsydra: Time Against Infinity (melodikus death metal) Takezo â Reality Left Behind (sludge/doom metal) Tchort â Happy Devilâs Necrophiliacs (black metal/industrial/ambient) Terror Mundi â Terror Mundi (heavy metal) Thanatorture â Iesu Nazarenus Rex Inferni (doom metal) The Erkonauts â I Want It to End (progresszĂv metal) The Initiation â Misanthropic Litany (black metal) The Plague Physicians â In Arkhamâs Shadow (doom metal) Thirteenth Sign â The Ashes Of A Treacherous Silence (melodikus death/thrash metal) Those Who Bring the Torture â Dark Chapters (death metal) Toadeater â Bit to ewigen daogen (post-black metal) Trident â North (death/black metal) Umbilicus Necis â Confine Astratto (post-black metal) Until My Funerals Began â Traitor (funeral doom metal) Vaginal Anomalies â Violent Devotion to Kill (brutĂĄlis death metal/goregrind) Vanik â III (heavy/speed metal) Vardan â Dark and Desolated March (black metal) Viikate â Rillumarei! (melodikus heavy metal) Vuduwasa â áŹáá©á (sludge/stoner/doom metal) Waroath â Infernal Tortures Blades (thrash/speed/black metal) Winter Elf â Vow of Revenge (EP) (experimental black metal) Wolfdusk â The Beginning (doom metal) Yovel â Forthcoming Humanity (black metal) Zarabanda Moon â Unseen Forest Patriot (black metal) ZöldĂŻer NoĂŻz â Merci (death/thrash metal)
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DERELENISMO OCCULERE - AVE Satan - USED CD Black Metal Ecuador
DERELENISMO OCCULERE â AVE Satan â USED CD Black Metal Ecuador
RARE BLACK METAL COLLECTIBLES $5.50 End Date: Sunday Mar-17-2019 23:32:50 PDT Buy It Now for only: $5.50 Buy It Now | Add to watch list
MY BLOG: http://www.rockoutwithyourcockout.com/
from Rock Out With Your Cock Out http://rover.ebay.com/rover/1/711-53200-19255-0/1?ff3=2&toolid=10039&campid=5338022605&item=382790064996&vectorid=229466&lgeo=1 via IFTTT
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[Bandcamp] Noche Eterna / Beelzebul / Thy Endless Wrath / Esbbat / Derelenismo Occulere / - Compendivm Daemonicvm I https://t.co/7sSx5FJhTD http://pic.twitter.com/YUoL2xsB6R
â #Black metal in BC (@bmtag_bot) October 18, 2017
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DERELENISMO OCCULERE - AVE Satan - USED CD Black Metal Ecuador
RARE BLACK METAL COLLECTIBLES
$5.50 End Date: Sunday Mar-17-2019 23:32:50 PDT Buy It Now for only: $5.50 Buy It Now | Add to watch list
MY BLOG: http://www.rockoutwithyourcockout.com/
from Rock Out With Your Cock Out http://rover.ebay.com/rover/1/711-53200-19255-0/1?ff3=2&toolid=10039&campid=5338022605&item=382790064996&vectorid=229466&lgeo=1 via IFTTT
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