Dephosphorus – Ravenous Solemnity

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Dephosphorus
Ravenous Solemnity
7 Degrees/Handshake Inc.

After exploding onto the scene with 2011’s ‘Axiom‘, a release that truly got the blogosphere going with the term ‘astrogrind’ being used to describe Dephosphorus for their cosmos-based themes, the Greeks get together again for a new album of space-fried fastness that becomes the finest release of their career and indeed, arguably the best album to emerge this year so far. The fourteen tracks of ‘Ravenous Solemnity‘ are rich with goodness – paying their own tribute to late Scottish author Iain M. Banks by lifting a few quotes from his novels in a few tracks, blending them into a mix of otherworldly riffing, exceptional drumming and their vocalists proclamations of the stars. They flit from one tempo to another with seamless ease, a sentient mix of black metal, technical death metal, and old school grind, most effectively on tracks such as ‘Storming the Sloan Wall’ and the phenomenally blasting ‘A Fountain of Daggers’; and with increasing depth, dexterity and mysterium on ‘Towards the Cold Dark Infinity’ and ‘Glorification of the Anti-Life Equation’. The use of spoken word and vocoder in ‘Astrocyde Portal’ always show this band does not intend to sit around and play it safe. More than just a grind band, Dephosphorus are utilizing their influences and honing them effectively so, proving to be as vast and as unpredictable as the universe itself.

Peter Clegg

Buy/download ‘Ravenous Solemnity‘ here
Stream it below:

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Cancerous Womb – Born of a Cancerous Womb

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Cancerous Womb
Born of a Cancerous Womb
Grindscene/Rising Nemesis

For nine years Scottish quartet Cancerous Womb have been plundering their venomous death metal/grind assault to audiences across the UK, building a following thanks to their modern day approach that takes in old-school tendencies, macabre lyrics plus the nuances of progressive and technical slants. A three-track EP, entitled ‘Austrian Basement‘, followed up by their appearance on a five-way ‘Split Roast’ release further enhanced their reputation, and now they finally bring us their debut album, ‘Born of a Cancerous Womb‘, which should hopefully open the gateway to further notoriety.

In much the same way as death/thrash whippersnappers Flayed Disciple do, CW don’t shy away from the gory themes popularised by Cannibal Corpse, early Death, Carcass, and later acts such as The Rotted and the wider goregrind scene. You get the gist. And while they nod to a cheeky dark humour in titles such as ‘Up To My Nuts in Guts’, the deliverance here is in suitably fierce riffery and some no-nonsense brutality. It doesn’t matter that there’s not a great deal of variation in the tracks, as it largely impresses on all fronts. The title track is tidy as is the savagery of ‘Grind, Tear & Slice’ and CW fan favourite ‘Torn From Gunt to C**t’. It’s been a good while in the making, but wholly worth it, and the band are tight with precision drumming at all tempos, great rhythmic teamwork and crunchy and effective riffage, if not too flashy (not necessarily a bad thing). Excellent production work from is the icing on the cake, and overall this will solidify and strengthen their position in the UK scene.

Peter Clegg

Buy ‘Born of a Cancerous Womb‘ here
Stream two tracks from the album below:

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Behemoth – The Satanist

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Behemoth
The Satanist
Nuclear Blast

It’s been an eventful five years for Polish blackened death metallers Behemoth. It began with ‘Evangelion‘, which, after years of building their way up the ranks in terms of the wider extreme metal scene, marked their further emergence onto the world stage, building upon the status they had already achieved. Led by its lead single, the thoroughly dark and crushing ‘Ov Fire and The Void’, Behemoth, at the time, seemed unstoppable. Then their founding member, vocalist Adam ‘Nergal’ Darski, was rushed to hospital with leukaemia in 2010, subjected in the metal media to a frenzy stating that at first, it was too advanced, and then it wasn’t. In any event, he was eventually released after having a bone marrow transplant early in 2011, and following this he was even threatened with prison over tearing up a Bible on stage. The dust finally settled back down, and the band entered into the recording the now arrived album, ‘The Satanist’, coming five years after ‘Evangelion’, recorded in roughly half of that time space.

Despite it being the longest gap between albums in their history, it’s clear time has not mellowed Behemoth in any way, but ‘The Satanist‘ is certainly a slightly different beast to the one that rose to the head of extreme metal. The tone is certainly set from the off with ‘Blow Your Trumpets Gabriel’, a song that for me seems a strange choice of single for the band to lead from – it doesn’t really grab at you like Behemoth usually do and instead it follows a path of intrigue, with a meaty slow riff that takes its time to build, eventually exploding into life towards the end, but in a way that doesn’t feel as though it befits the intro. Maybe it’s just me – it feels a bit of a grower but I’m still not sure about where it fits in. But that’s track one, and regardless of the menace and regality of the album’s beginning, the blood and thunder approach we normally expect from the band returns over the course of the next few tracks, really picking up by the time ‘Ora Pro Nobis Lucifer’ comes around – a galloping monolith of pounding drums, unerring riffery, and appropriate guttural sermons, though not before ‘Messe Noire’ ends with a whopping big guitar solo that again doesn’t seem like the Gdansk extremists, yet within the context of this album, but with repeated listening feels right at home and is one of the most affirmative points on the album.

Behemoth – Ora Pro Nubis Lucifer (official lyric video)

As it progresses, it becomes clear that Behemoth’s rise to the edge of the metal mainstream is possibly shaping their sound. ‘In The Absence Ov Light’ features a spoken word passage taken from ‘The Marriage’, sandwiched by some of the best riffing on the album, while the title track, and the amazing closer ‘O Father O Satan O Sun!’, utilise slower riffs and cold ambience to further increase the atmosphere. Sure there will be those who cry foul at this, but the band loses none of their depth, their power, nor their aesthetic in these moments. They are broadening their scope, making a case for domination. It’s Behemoth on a grander scale, bringing forth their vision with far more imagination than most metal bands can dream of. Put simply, they’re back, with as powerful a statement of intent as you could ever expect.

Peter Clegg

Buy ‘The Satanist‘ here

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Visions: Conan – Foehammer

Shit goddamn. This is one of the best videos I’ve come across for a while. Hail Conan, Liverpudlian lords of the riff, who have unveiled this amazing clip for their track ‘Foehammer’, taken from their forthcoming Napalm Records debut ‘Blood Eagle‘. After a delightful birth via cordyceps, a scorpion/squid- like creature starts to reign over the land, assuming various parts and continuing to grow in size, until it climbs on out of this world, enslaves our planet, and slices the moon in half. Superb. Top animation all round, and the track bloody rocks.

You can now pre-order ‘Blood Eagle direct from Napalm Records, released on Monday 3rd March in the UK/Rest of Europe.

Peter Clegg

YOB sign for Neurot Recordings!

OREGONIAN DOOM METAL TRIO JOIN THE NEUROT RECORDINGS FAMILY

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Behold the following press release from Rarely Unable, bringing forth some exciting news on one of our favourite bands here at We Must Obey – PC

Neurot Recordings is pleased to welcome long-running Eugene, Oregon-based doom metal trio, YOB, to their expanding household of eclectic, thought-provoking music. The band – founding vocalist/guitarist Mike Scheidt, drummer Travis Foster and bassist Aaron Rieseberg – will release their seventh studio offering this Autumn preceded by an appearance at the illustrious Roadburn Festival in Tilburg, The Netherlands in April.
 
   Comments Scheidt of the recent union, “YOB is very happy to have signed to Neurot for our new album. Travis, Aaron and I agree that Neurosis is the epitome of forward-thinking heavy music, made with zero compromise. Our love for their music is total. Neurot’s dedication to putting out uncompromising music is no different. To have this opportunity to put an album out on their label is an honor that runs deep. We cannot wait to share our new music with Neurot and our friends worldwide.”
 
   Neurosis’ Steve Von Till notes, “This was meant to be. Neurot has always sought out to work with those who share in the purification of spirit through sound and who harvest their sound from originality and intensity. When I listen to YOB, see them leave it all on the stage, or share a conversation with them about life,  I can say beyond a shadow of a doubt that they embody what Neurot stands for completely and we are so very honored that we get the opportunity to work together with them on their next album.
 
   Adds Scott Kelly, “YOB, as with all things that actually matter, there is only one. They have built their temple with a foundation concreted in absolute truth. The truth is the riffs, the truth is in the delivery, it’s in the unwavering commitment, and in the handshake and the look in their eyes. If you don’t know them, then you are fucking up your own lifes’ truth. There’s is nothing heavier on the face of this earth than this band. The Neurot Family is honored to be a part of legacy of this, the monolithic treasure of sonic achievement that is YOB.
 
Further details on YOB’s forthcoming new release to be unveiled in the coming weeks. Stay tuned. 
 
YOB might be one of the best bands in North America,” BEN RATLIFF: NEW YORK TIMES
 
YOB on Facebook
http://www.neurotrecordings.com
http://www.facebook.com/neurotrecordings

Cattle – Self-Titled EP

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Cattle
Self-Titled EP

The bass guitar. Often a symbol of groove, depth, and funk. Depending on your angle, and indeed what style of music you play, the bass can either be the one thing that hooks you into a song, or a powerful weapon of forcible downward magnitude, as ever with stoner, sludge and doom. There are those bands who either dispense with the bass altogether, and there are some for whom the bassist is seemingly unimportant (Metallica’s ‘…And Justice For All’ a seeming example for Jason Newsted fans).

But although the bass as a leading instrument is neither new or unique, there aren’t many that use the bass in such a way as Leeds’ Cattle, an intriguing three-piece, eschewing the usual need for guitars and dispensing with them in favour of a vocalist, bassist and two drummers, which becomes the integral part of their sound on this four-track EP. They fall somewhere between math rock and noise rock, juxtaposing often between the two. But whatever, they realise the importance of the bassist as both an instrument and as a force, exposing every groove, nuance, and occasional bludgeon. The first track, ‘Rockets’ ratchets up tension and atmosphere at first before the vocals come in, kicking off a delightful riff-fest. The second track, ‘Whoa Bessie’, is for me the highlight of this release, a bit like Big Business riding the Unsane bull and becoming every bit as much of a rodeo as the title suggests by speeding up and slowing down to great effect, like sailing the choppiest waters but without the feeling of seasickness. The bass is allowed to stand right out and at times it even resembles a bit of a lounge session, such as the toe-tapping riff that forms part of ‘Pyramid Shaped Hole’. When they do drop into noise rock territory, its every bit as trenched and rocking as you’d expect, but that they allow the bass to sometimes seem so sparse and alone, above the excellent percussive tones, occasionally bordering on minimalist, giving them an extra edge and a slight uniquity that often goes missing so often in bands these days.

It will be interesting to see where they head next, but Cattle are a rare breed indeed, and the curious amongst us will no doubt find appreciation in this band.

Peter Clegg

Buy/download ‘Self Titled’ EP here
Stream it below:
 

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‘Kin Hell Fest 2014 – The final six acts confirmed!

It felt like forever since the ‘Kin Hell Fest organisers gave us the explosive announcement of not one, not two, but three top UK exclusives in Friday’s triple loaded-bill of Pentagram Chile, Lock Up, and Napalm Death. Since then, the festival has been teasing the announcement of the third headliner, the closing act of this year’s edition of the festival.

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With expectation starting to reach fever pitch, with interest in the festival reaching new record numbers, it is with great excitement that we can bring you the news that British thrash legends Onslaught will close out proceedings on the final night of action. And if that wasn’t enough, Floridian death metal veterans Massacre are arriving as main support. They are about to release their first album in over 18 years, titled ‘Back From Beyond‘, and if nothing guarantees that Sunday will be a day for you to bang your head!

Also announced were rising UK death metallers Grave Miasma, Oxford’s melancholic doom/drone quartetUndersmile, hardcore/powerviolence stormersEmployed to Serve, and last but not least, our occasional scribe Michael Collins will be performing having been recruited into his latest band, Manchester riff merchants Pist!

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In further pleasant news, the riff lords that are slow, foreboding US sludge/doom duo Eagle Twin have been confirmed as the headline act for the ‘Yorkshire Riffer’ pre-show that takes place the week before the main festival. They join a stunning line-up including The Afternoon Gentlemen, Foetal Juice, Palehorse, BongCauldron, and many more.

Tickets are still available for both the main festival, taking place on the weekend of Friday May 2nd-Sunday May 4th, and the pre-show, happening the week before on Saturday April 26th. They can be obtained via the official ‘Kin Hell Fest site. And for all the latest announcements, news, updates, and other jollies, head over to the official ‘Kin Hell Fest Facebook page, and also here, via their Twitter feed.

Peter Clegg