I loved The Oath’s self-titled release last year. So it was with a deep sense of shock and confusion that I heard they broke up shortly after its release. So in the shadow of 2014, what does Johanna Sedonis’ new band, Lucifer, bring us in 2015?
J. Andrew's Posts
Inspired by the recent episode of On The Record focusing on album art, contributor J. Andrew Zalucky decided to explore…
Technical death metal is a crowded field these days. And it's not a new style either, so maintaining a sense…
In terms of pure, outstanding black metal in the 2nd-wave tradition, Gorgoroth has produced some of the finest albums ever made. Though there is much to praise in the artistic risk-taking of later eras, the trilogy of Pentagram, Antichrist and In the Sign of Hell will always hold sway as the defining emblems of the band’s legacy (infamous performances in Poland notwithstanding).
It feels right to have a new Drudkh album arrive in 2015. The legendary Ukrainian band is known for their deep affection for their homeland and its history, even using lines of poetry from Taras Shevchenko. And with the events of the past year in mind, there’s a certain relevance and timeliness to having an album like this come out now.
This album was actually self-released by Wende’s sole member, Zamiel, back in 2011. But this debut album, along with its follow up (The Third and the Noble) has been re-released by Moribund Records, who’ve begun marketing it as “Burzumic Black Metal.”
For those of us who often lament that there’s no energy left in punk, that its all been done before (over and over again), Violent Reaction offers us all some hope. They’ve been called part of the “New Wave of British Hardcore.” I suggest we all pay close attention.
There were many bands in the 1990s who, having began as doom-infused death metal, later transitioned to melodic goth metal…
Australia has steadily gained a reputation for mind-blowing metal (Ignivomous being a personal favorite of mine), and Abominator, formed in 1994, is certainly part of that. So with that in mind, Evil Proclaimed is a very good, very satisfying blast of demonic fury.
Leviathan’s excellent new album sounds like…death metal! From the crushing low-end riffs, to the guttural vocals and pinch harmonics, this reminds me less of Under a Funeral Moon and more like Where No Life Dwells. Both voices are clearly present, but one is markedly louder than the other.
A look back at an uprising that captured the spirit of the heavy metal community a decade ago.
When it comes to black metal, most people think of Darkthrone’s classic trilogy (A Blaze in the Northern Sky, Under a Funeral Moon, and Transilvanian Hunger). And though they would be correct, we should not overlook the contributions of Bergen, Norway’s Gorgoroth.
These bands embody all the best things about metal: catchy riffs and great songwriting, effective use of melody to create a narrative structure, vocals soaked in reverb, and all the brutality one needs without resorting to cheesiness or self-parody.
Though it’s commonly summed up as a homogenized slab of Gothenburg riffs and 90’s hardcore breakdowns, the metalcore explosion of the mid-aughts was actually more diverse than its detractors would care to admit. One example of this would have to be 36 Crazyfists.
Their previous two albums, Under a Frozen Sun and Fallen Angel’s Dominion show a band with a well-honed focus on what they love. The results are so precise, that you’d think Dissection secretly had a stash of unreleased material hidden in some basement
While I was writing my review of Black Metal: Evolution of the Cult, I thought it'd be a good idea to reach out to the book's author, Dayal Patterson, to let him answer some questions. While he's given numerous interviews about the book, there were still some lingering points I thought worth addressing. Also, since he has a new series of books coming out, Black Metal: The Cult Never Dies, I figured he'd like the opportunity to plug it for our readers here at Metal Injection.
Though Enslaved has become renowned in metal circles for records like Isa, Ruun and RIITIIR, there’s no denying the power of the band’s early output. Frost and Vikingligr veldi are both crucial contributions to the canon of 2nd-wave black metal, but there’s something uniquely fascinating about any band’s primordial work, and 1992’s Yggdrasill is no exception.
Into the band comes Teloch, a Norwegian guitarist who played in several other black metal bands and was a touring guitarist with Gorgoroth (another demanding gig, to be sure). I had the pleasure of seeing Teloch perform with the rest of Mayhem over in NYC (well, minus Necrobutcher, who had visa issues to wrap up), and was granted the opportunity to ask him about the band's new album, Esoteric Warfare