Sh*t That Comes Out Today: November 6, 2012
Hello MetalSucks reader! Welcome to Sh*t That Comes Out Today, your Satanic bible of this week’s heavy new releases. We list ‘em, we spotlight ‘em, we link you to their preview jams and full streams — and we usually stick ‘em in a fancy Spotify playlist too (below) — all for your jammage! Now crank this shit up.
On their fourth album, Voyeur, Germany’s War From A Harlot‘s Mouth trades their trademark jazz sections for creepy ambience and unrelenting, discordant 8-string heaviness. It’s a tiring listen, though the epic synth climax of “Of Fear and Total Control” and the one-and-done Deftones chorus that turns up in “Scopophobia” do manage to spice things up. For fans of mighty noise and wanton soup.
Question: What do you get when you take four alumni of Nachtmystium who play in Chrome Waves, Goatwhore, and Wolvhammer? Answer: The unsuspectingly-titled Doomsday (these guys have got to be fun to google search). Like many low-medium-to-high profile “supergroups” in metal, Doomsday’s whole is less the sum of its parts, more a back-to-basics outlet for its creators. Call it stripped-down, crusty hardcore with occasional nods to their black metal roots. These guys know how to write some catchy riffs and make their minimalism work.
Temporal collection (Ipecac)
On a playlist with: Deftones’ B-sides And Rarities, Tool’s Salival, Porcupine Tree’s Stars Die
Listen “Ghost Key (Demo)” (here)
I’m not a huge fan of thrown-together compilation albums, but Isis’s send-off release is interesting at least. These remixes and demos from Wavering Radiant will not replace the real-deal tracks in your personal rotation, but they’ll seize more of your attention than you’d likely expect: “Ghost Key” is cool as an instrumental and so is “20 Minutes/40 Years” as an acoustic jam. Don’t hesitate to call Temporal “for fans only.” I suspect that was what Aaron Turner and crew intended.
On a playlist with: God Dethroned, Mirrorthrone, Cattle Decapitation
Listen “Forging Toward The Sun” (here) “Of Fire And Fucking Pigs” (here)
Read Ian Grey MetalSucks review (here)
If you were all about Anaal Nathrakh’s 2009 winner, In The Constellation Of The Black Widow, but then your boner was killed by its sterile and barren follow-up, then prepare for the resurrection of your stiffy via Vanitas! It marks a return of omni-instrumentalist Mick “Irrumator” Kenney’s saturated “wall-o-sound” production — the one that lent ITCOTBW its destructive power, but with even huger balls. Or, with even further-enhanced-by-technology drum and guitar tones. And that’s not a problem; analog realism has never really been as big a priority as the ripping off of your face in the most flamboyant of fashions. Vanitas does that and then some. Oh, and it’s official: Anaal Nathrakh is far too groovy to be called black metal. That’s a compliment.
On a playlist with: Tesseract, Cilice, The Faceless
Listen LMNTS full stream (here “Denial of Death” is a good place to start)
Sometimes a good band does everything to make sure no one hears their music. Like, say, a trans-continental project with the unpronounceable name RXYZYXR. (Roxy Zickser? Rick’s Easy Exer? Rocks Is Wiser?) It’s like this band was formed for the purpose of touring with Car Bomb and Cloudkicker (“∆ø†æˆ¥√∫ Tour 2012!”) Anyway, RXYZYXR is from Russia and were all-instrumental until the recent addition of Florida vocalist Thomas Wills. LMNTS is unavoidably djent but organic compared to many bedroom studio peers. And Wills is pretty unique in both his harsh and clean voices. Plus, with lyrics like “Impregnate every succubus” and “Losing our time … while we keep up with the Kardashians,” it can’t possibly suck.
Lights Out (Nuclear Blast)
On a playlist with: Kyuss, Tool, Black Sabbath
Listen Lights Out full stream (here)
Here at STCOT HQ, we have binloads of neo-old-school albums by wish-we-were-born-30-years-ago bands, and most of them are pleasant enough if not memorable or ambitious. The others — the good ones — integrate a little modernity into their Sabbath/BÖC worship, like the Family album we slavered over last week. Graveyard isn’t blazing new trails in doomy stoner rock, but their proto-alternative edge is pretty likable. It must be, cuz I haven’t yet forgotten vocalist Joakim Nilsson’s angsty belting and Lights Out‘s spacy palm-muted riffs.