Almost as soon as Miscarriage stopped dropping that pavement slab onto everyone’s heads, along come Mylingar with another torso dragged up from the bottom of the septic tank. A haunting, mysterious force from some ineffable tomb, the Swedes forge a savage and singular death metal tradition all their own.
Named for the myth of unbaptised orphan ghosts searching endlessly for lone travellers who could carry them to a consecrated burial ground, the output of these Swedes is decidedly briefer – forty minutes, in fact – but no less disturbing. A hymnal to abuse, suffering and humiliation, Döda Själar is a disorientating morass that strangles listeners throughout, a fetid black/death crossover that draws comparisons from Pissgrave and Revenge to Blut aus Nord and latter-day Mayhem.
With relentless, ferocious drums swelling beneath, guitars stab and slash, switching from amphetamine-tipped chainsaws to tramadol-laced machetes effortlessly in seconds. This is best displayed during the final two tracks, both of which open with a riff seemingly reincarnated from the ordnance that spent the 1950s flattening Micronesian palm trees. The firestorm eventually collapses into a loop squealing in unison with guitar feedback, the latter croaking and crackling like a Geiger counter, the former clawing and scraping as the coffin lid is forced shut.
The mylingar of medieval Sweden would throw tantrums and increase in size if a host could not find them a grave quickly, gradually smothering the carrier. Let the rancid, heinous squalor of Döda Själar overtake and overwhelm you, forcing you into your own early grave before continuing its eternal search.
20 BUCK SPIN has delivered the haunting Döda Själar on CD and LP from this mysterious death cult.
A trio of mind-bending tape releases has emerged from the Bay Area’s Sentient Ruin in recent months, with Miscarriage, Sutekh Hexen and Suspiral intent on royally ruining your evening. As the hideous musical propaganda arm already carries a stunning legacy of hideous filth, one can only expect each of the label’s releases to carry a vicious and unique potency. Read the mission statement: “Denial of the human race through deviant analog audio forms.” Now you have some idea of what to expect. Representative of the whole, the following releases certainly do not fail to stand up to that reputation.
First up is the prolific Miscarriage‘s Imminent Horror, a colossal lurch forward from their 2017 debut Disposed Abomination, and in a direction only hinted at on previous material. Imagine the most warped and wretched dregs of Triumvir Foul and Qrixkuor dragged through a black hole and this cavernous: Lovecraftian nightmare becomes less hazy. Powerless to resist, Imminent Horror washes over its victims like a spring tide, challenging and threatening initiates to derive any sense whatsoever from its disorientating maw of carnage.
Sutekh Hexen‘s eponymous record is equally unsettling, summoning unseen, unknown terrors with ritualistic, blackened ambient. At close to an hour, much longer than their many singles and split releases, SH can more deeply immerse and oppress the listener, switching seamlessly between brooding dark ambient and harsh noise welded to a raw black metal frame. Those familiar with From the Bogs of Aughiska and Infetu will recognise the feelings of eternal dread, although the subtlety of the deepest ambient passages is lost on the sublimely-packaged cassette version.
Suspiral‘s aptly-titled Chasm sees the Spaniards take some fairly standard death and black metal influences and bend them into a hypnotic miasma through repetition and a refusal to work with anything as trite as verses and choruses. Each of these four songs is so far from conventional structure that there are parts that almost seem jammed, albeit by a very tight, possibly telepathic group. Psychedelic may not be a term that comes easily to death metal, but there is a dervish quality to Chasm that is difficult to escape. This could easily have fallen apart if not handled with care, indeed the final song seems like an afterthought, but the superior production, musicianship and writing all combine excellently.
A huge ongoing inspiration for Covenant Festival and this online zine component unsurprisingly came from the incredible work done by Roadburn Festival. Every year the lineup is a multi-faced, eclectically-curated explosion of sonic and visual art. We have yet to be on location for any of these historical events, but, lucky for us, our European (Irish)man on the ground was there to provide a dizzying moment-by-moment account of his experience. While a valiant effort was made to cover the entire fest … it just was not humanly possible. Sadly, our man missed out on some Covenant favourites and hopefuls like Soft Kill, Crowhurst, Molasses, Drab Majesty, Hexvessel, Slaegt, Ulcerate, and Dodecahedron, but it just goes to show how overwhelming the scope of this event truly is.
Drop in to the madness, see through the eyes of an attendee, and take in this rapid experience of one of the world’s most important festivals.
Despite the festival’s reputation for bending and breaking boundaries, the opening night at Roadburn is often an excuse to air some guilty pleasures. With heavy nods to Venom and the earliest of early Bay Area thrash, Hellripper arrive following an epic road trip from north-east Scotland with no intention of incorporating alt-country or jazz into their sound, sticking resolutely to their influences with pummelling effect.
Thursday’s main stage offering begins with the exact opposite: an acoustic collaboration from Myrkur, cellist Jo Quail and members of Heilung. Switching between her own work and Danish folk, the former holds up well to produce an hour of sincere melancholy. Beneath the arches of Het Patronaat church, Vile Creature take the weekend’s doom crown ahead of an extremely competitive field, the drummer’s visceral vocals reaching another level of intensity amidst some truly nasty guitar work. Across the street, Treha Sektori tick the ritualistic and meditative boxes that great dark ambient demands, but the inclusion of live drummers and a stunning video backdrop allows them to avoid the death by boredom that is an occupational hazard of the genre. Lingua Ignota’s cover of Dolly Parton’s Jolene is one of the more leftfield moments of the day, especially when it is overlaid with Aileen Wuornos samples. A barbiturate hellscape conducted in complete darkness save for footage of California wildfires, this is gruelling, phenomenal and the buzzword of the weekend. Deafkids’ slot is a pulsating beast that equally channels Melvins and the psychedelic end of rave, before Heilung dig up a pet cemetery for an unnerving Iron Age tomb ritual in which skulls and bones are the primary instruments. Bliss Signal’s futuristic, synth-drenched black metal and the one-woman siege of Pharmakon close the day in the 013 venue, after which the staid galloping riffs of Malokarpatan fall flat.
Throane are the early talk of Friday but thanks to a local restaurant taking ninety glacial minutes to produce a salad I’ll never find out. Triptykon’s combination with a Dutch orchestra to perform Requiem is thirty years in the making, the middle third written specifically for this performance, but while the orchestra is a nice addition, it feels less than vital. Igor Cavalera’s Petbrick team up with his compatriots Deafkids for a set that builds upon the latter’s set the night before, a drum-heavy hulk that surges and swells and is over all too quickly.
Fresh off a stateside tour with Rivers of Nihil, Conjurer’s neck-snapping morass of sludge, death and hardcore is a discordant joy in the sauna of Hall of Fame. After one of the more ludicrous openings to a black metal show, in which five topless lads throw about feathers and incense, Fauna’s transcendental black metal is captivating, but repeating those rituals before each song saps any momentum they create. After last year’s earth-rumbling collaboration with The Body, Thou team up with Emma Ruth Rundle to present new material that is less than the sum of its parts.
Saturday at the Het Patronaat is given over completely to Dutch black metal, beginning with Witte Wieven, who haunt and hypnotise even the church’s stained-glass priests. Laster’s avant-garde black metal is anchored by a drum performance that whirls dervishly beneath the thunder. Having made an appearance here in 2016, Laster are truly one of the most important bands in contemporary black metal. In the less sinister surroundings of a skatepark, lo-fi pairing Doodwens deftly summon classic Darkthrone to create the perfect Barrier Kult soundtrack. Multi-faceted Gothenburg unit Agrimonia is one of many that curator Tomas Lindberg has herded south from Sweden for the weekend, their seamless crust/death metal crossover with some gothier and post-punk touches being displayed to a much smaller crowd than it deserves. Bellrope smash through their savage, progressive sludge that makes metronomes of onlookers’ heads, before a ‘secret’ skatepark set that sees Thou run through a raucous, riotous forty-five minutes of Misfits covers.
To Sunday and the noise rock of Daughters is cut through with a post-punk hint and ends dramatically with the vocalist flailing himself with his own belt. Grey Aura respectably nod to polka and Nusquama solemnly perform their last record to round off a successful weekend for a highly productive Dutch black metal scene, while Bismuth rain feedback upon the skatepark stage. The main stage is a sardine can for the second Sleep set of the weekend, their monstrous riff wall having a tidal effect on both the audience and the smoke cloud above their heads. Imperial Triumphant have been open in their admiration of the visual aspects of inter-war American city life, with overtures to the Rockefeller Center and Metropolis a constant presence in their artwork. Musically, the jazz influences come through mainly labrynthine drum patterns and film noir-style muted trumpet segues, welded onto overpowering, angular blackened death. A bootlegger-hunting wayward detective stumbling upon a Crowleyite ritual at a Manhattan high society ball would make for the perfect video, but for now Imperial Triumphant have to settle for the midnight mass at a converted church in front of several hundred newly-baptised disciples.
Cut from the fertile Irish bog that has produced Malthusian, Unyielding Love, From the Bogs of Aughiska, and Vircolac in recent years, Dublin trio Sacrilegia offer up a furious half-hour of no-frills, no-mercy blackened thrash via Invictus Productions.
Masterfully recorded at Devil’s Mark (Destroyer 666, Demonomancy) in the eternal city of Rome, The Triclavian Advent is a pummelling debut record that only ever tightens the leash with the occasional mid-tempo deathmarch. Opener “Relics of Oncoming Doom” charges out of the speakers like a sledgehammer through a tombstone; anyone who fails to heed this warning will be trampled under hoof by the equally-ferocious “Beyond the Fouler’s Snare” and “On Herding of Swine.”
Unashamedly channeling the spirit of Possessed and early Bathory, The Triclavian Advent displays a talent for crafting rabid, snarling music without entering into the realms of mind-bending song structures, suffocating riffs, dissonant leads and atypical time signatures. Everything on this record is designed to keep heads banging, and “The Unhallowed,” with its early Slayer-esque riff, is the epitome of this. At three minutes it squeezes maximum efficiency from a verse-chorus arrangement packed with intensity, asking no questions and taking no prisoners.
The savage closing pair of “Unheeded Warnings” and “As With Spears We Come” is devastating, despite the latter ending on an anti-climactic fade-out just as it is hitting its stride with another crushing riff. Sacrilegia can now add an unforgiving studio effort to a growing live reputation, earned in just four shows since debuting last June as a late replacement at an Invictus anniversary show. Rounded out with some excellent artwork from Chris Kiesling (Sargeist, Uada, Sadistic Intent), The Triclavian Advent is a frightening debut and a harbinger of exciting things to come from a band who have just elbowed their way to the top table of Irish metal.
INVICTUS PRODUCTIONS is proud to present SACRILEGIA’s striking debut album, The Triclavian Advent on CD, black LP, and splatter LP.